Start copying what you love. Copying, copying, copying. And at the end of the copy, you will find yourself.[1] Copying has always been the key to cultural production. More recently the interdependence of our creativity has been obscured by powerful cultural ideas, but technology is now exposing this connectedness. Today we’re struggling legally, ethically && artistically to deal with these implications [2]. Ripping in ripZipRARLANd frames piracy as a cultural prerogative. [3] It’s understood that piracy’s preserving effect, while little known, is actually nothing new. Through the centuries, the tablets, scrolls && books that people copied most often && distributed most widely survived to the present [4].

RipZipRARLANd ( which takes its combination name from several new media terms ) is a utopian local area network inspired by experimental new media art. This gallery serves as didactic context for the works which are contained in a downloadable archive ( zip file ). The works ( themselves having been ripped from the web ) focus on critical ripping, plundering && copying.

ripped by Morgan Higby-Flowers, Nick Briz && Jon Satrom

including works by, 0Day-Art, Ana Zhang, Craig Baldwin, Emergency Broadcast Network, Emilio Gomariz, Evan Roth, Evolution Control Committee, Geraldine Juarez, John Oswald, Negativland, Okapi, Pirates of the Amazon, Rachel Law, Recyclism && Sven Konig

[1] ripped from
[2] ripped from
[3] ripped from
[4] ripped from



Terms of Service, AltaVista, Constant Dullaart – 1996

A never-seen-before piece by Constant Dullaart was just discovered. It has been dated as “before the turn of the century,” placing it within the most pivotal decade for and, potentially, positioning it as Dullaart’s earliest new-media work on record.

Terms of Service - Alta Vista, Constant Dullaart 1996

The 1996 piece, entitled ‘Terms of Service – AltaVista,’ pre-dates Google Inc. by 2 years and Dullaart’s 2012 ‘Terms of Service’ by 16 years. The popularized ‘Terms of Service 2012’ features the Google homepage speaking updated Terms of Service. The recent discovery, ‘Terms of Service – AltaVista’ operates in nearly the exact manner–which begs the question: Are these two works the bookends of an unreleased 16 year-long ‘Terms of Service’ series by Dullaart?


In its day, AltaVista was a leading search engine, as Google is now. Will media archeologists begin unearthing Dullaart TOSs from Yahoo!, Lycos, HotBot, Ask Jeeves and/or JSTOR?

This remarkable discovery highlights the evolution of the ‘net–from an open sandbox in the 1990’s to the contemporary gated corporate playground we are now familiar with. It’s sure to catch the eye of new-media art collectors world-wide as it goes up for sale in New York City on December 14, 2013.


Net VVorth


I  recently found a tape I made a few years back. It documents the options for the Sony DCR-TRV11 HandyCam. I’ve always been a sucker for the clunky internal interfaces of visual hardware.


There’s something poetic about the language used and something impressive about how much engineers are able to (presumably, cost-effectivly) milk from consumer devices; adding aesthetic features/filters like “OLD MOVIE” and “NEG. ART.”


It’s a rather long video by today’s browsing standards. Though it’s boring, there’s something about it that I find captivating. The video appears to simply go through the features of the camera. After the simulation, I spell hopped on the just-demoed titler and wrote STAMINA, a prominent word on the main demo page promoting battery life and, incidentally, what it takes to watch the video… I like it on loop…


Related to internal interfaces of video hardware, check out the FACTORY PRESETS video by I ♡PRESETS.