History since 2007

2012-2013 / White Noise 2.0 exhibited in Vienna, Moscow, Bregenz. 3D-print

2010 / Whitenoise Matter, Competition SCIEN&ART organized by Second Physics, SL Art and Experience Italy, groups of Second Life. Entered this show in collaboration with Selavy Oh.

2009 / Whitenoise Harmonisation: Warning! The Whitnoise Bot is cocooning. He rests inside. Treat him with respect, he want to be alone! Single Bot cocooning at Simulation Fiteiro Cultural. Semiautonomous Puppet Architectonics at exhibit A on Odyssey: a simulator in Second Life dedicated to art and performance and IDIA (Institute for Digital Intermedia Arts) Artists in Residence Exhibition Whitenoise Morphosis (website and video) at Golden Thread Gallery/ ISEA 2009 Belfast Opera Automatica der Trivialmaschinen, February 2009, on display at uqbar. media art culture e Rinascimento Virtuale

2008 / Whitenavatar Demo, testing whitenoise avatars, November 2008 Whitenoise Cyberspace, contructions in different virtual worlds like Lively.com and twinity.com, July 2008 Litttle Whitenoise 3D-Print, GAMES. Art & Politics of Games, Vienna, Kunsthalle Wien (project space karlsplatz), July 2008 2007 WhiteNoise setup at International Telematic University UNINETTUNO 1st Annual Architecture & Design Competition in Second Life: Whitenoise ars electronica 2007 Litttle Whitenoise, compressed to 10×10 meter, inworld, September 2007 Whitenoise (aka Whitenoise I) , August 2007 Draft setup on simulation Klein, Juli 2007

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Whitenoise

Whitenoise I, August 2007

WhiteNoise quotes:
Conceptually and technically innovative is “White Noise”, a work from Vienna based Mosmax Hax. This experiment in non-human architecture utilises the detritus of Second Life, freebie objects such as teddy bears and discarded skateboards, to construct a dazzling white snow-palace. This mishmashed building enfolds on multiple levels of detail and evokes the perfect domicile for the realm of Second Life.

Torley Linden made a comment on it:
OMG, that CRAX ME UP so much! What a mash-up of freebies in “Whitenoise”. I recognize some of the objects within myself. I like how they’ve all been… whitened to appear more homogeneous in one cacophonous mix of “FREEEE!!!!”

1st Annual Architecture & Design Competition in Second Life: Whitenoise
ars electronica 2007, Max Moswitzer (AT)

”A experiment for non-human architecture in second life. This construct uses Freebee objects which are all set to white. The interesting views are when these objects affiliate with others. With a tool we use this build has just around 25 prims, normaly it would have 1000 prims. It is a ongoing project and will go into more “high res” detail, we call it “WHITE-NOISE”. White Noise, a reference to random pattern and “Bildrauschen”, which we as builders see working on it for houres and you think you get snowblind.” (M.M.)

WhiteNoise setup at International Telematic University UNINETTUNO

“Un’esperimento per architetture inumane, in Second Life”

Questa costruzione è stata costruita usando oggetti “Freebee” e settati and un colore bianco. I più interessanti punti di vista sono quando questi oggetti si intersecano con altri. Con uno strumento speciale, siamo riusciti a costruire questa struttura con soli 25 prims (forme primarie o elementari). Normalmente per costruire qualcosa del genere, sarebbero necessari 1000 di questi prims! È un progetto in crescita orientato ad ottenere un livello di dettaglio ad alta risoluzione: noi lo chiamiamo ? “WHITE-NOISE” (rumore bianco). WHITE-NOISE, è un riferimento ad un modello casuale collegato a “disturbi casuali” di un’immagine.

White Noise 2.0

From virtual artefacts over metaverse objects to 3D print.

White Noise 2.0 / 25×25 cm / 3D-Druck / Pulver und Epoxy Infiltrat / Galerie Lisi Hämmerle, Bregenz / Viennafair 2012, Bits To Pieces, The Fifth Moscow Biennale of Contemporary Art, Russia, 2013

Avatar and WN 2.0 object at New Genres Grid (www.ngrid.org)

Materialisation, 3D print

“Nicht wissen, sondern neu denken!” Dieser Satz des System Theoeretikers Heinz von Foerster kann als Programm und Fortsetzung der seit 2003 andauernden Arbeiten in 3D printing, Laser Sinthering und dem Transfer von Daten-Objekten aus kollaborativen virtuellen Welten Max Moswitzers verstanden werden. Die exemplarische Arbeit „White Noise 2.0“ rekombiniert und koppelt strukturell 3D Objekte als found footage Material, es interessiert nicht mehr die Bedeutung sondern lediglich die aus der Kombination entstandene Form. Dies absurde Koppelung ist ein statement des subversiven Kommentars zur „ Halde weißer und nutzloser Versatzstücke, die als tausch wertloses Mobiliar auf den konsumistischen Charakter des Spiels verweisen“ (Strouhal/ Fuchs, 2008. In: Kunsthalle Katalog „Games. Kunst und Politik der Spiele“).