"ENFIN ! Le rassemblement tant espéré de l’histoire de la musique, du 8-Bit et des GIF. Des instants de l’histoire de la musique populaire que tout le monde a en tête. De la danse chevaleresque de PSY que vous n’avez que trop regardé cette année, auw Beatles sur Abbey Road en passant par le moonwalk de Michael Jackson, les pantalons de MC Hammer et l’incontournable playing “Johnny B. Goode” de Mary McFly. Le musicien Joshua Carrafa est a l’origine de cette série de GIF que l’on retrouve sur son Tumblr Music History In GIFs. [...]"
Le GIF désigné mot de l'année 2012 par l'Oxford American DictionnaryLe Huffington PostD'un live de l'élections présidentielle américaine par le Guardian à la bibliothèque municipale de New-York qui transforme ses archives en images animées en...
"Further Abstracts seems to be a forming contemporary statement on the classic theoretical and ideological assertions of Alloro's later studies in the Bauhaus University of Weimar, Germany. In pen drawings on architectural paper, later developed into short frenetic animation pieces, Alloro revives the Bauhaus movement's celebrated core symbols (the triangle, square and circle), only to subvert their refined ideology of functional beauty. Replacing iconic solid colors with a hyper-saturated radiance, the bare technical grid-aesthetics of these corrupted Bauhaus designs render the modern myth of functionality obsolete. Lacking a decisive objective or directing ideology, Alloro's practice parades these founding modernistic national elements into an amusing low-tech salad of dysfunctional glitch. Just like the action of a frustrated web user, stubbornly re-clicking on a computer icon whose link is broken, the line between distinct function and abstract causality breaks down."
Gabriel S. Moses
"Born Tel Aviv 1982 Alma Alloro is an artist, musician and performer from Tel Aviv. She is rooted in the backyard of popular culture using diversified media from drawing, installation, music, and animation to internet; her recent works focus on the correlation between old media and new media. Alloro studied “Fine Art and Education” at the Midrasha school of Art, and received her MFA in “New Artistic Strategies” from Bauhaus-University Weimar. She lives and works in Berlin, operating out of Studio74 and performing chipmusic under the alias Bikecore."
"Artisits Wendy Marvel and Mark Arnon Rosen create mechanical flip books.
Instead of a crank on the side, there’s a tiny motor that rotates the spindle and flexible cards flip by giving the illusion of moving pictures. Then they connect several boxes together and coax the flipping images to tell a little story in a scene that travels from box to box."
"In “Lambeaux”, the television stream is taken as raw material, a material lacerated by a process of motion capture which extract in real time all the pixel that have changed during the broadcast. Those fragments are captured and recast, in a spatial-temporal way, on a twenty-four images loop.
The accumulation process takes place within the contours of past images and the way pixels are then reorganized in real time produces a jagged image with unreal effects - a ghostly memory of the video flux, a colourful palimpsest where fragments of motion and time coexist.
Lambeaux will be exhibited as a live video installation (using local TV broadcast) in Le Hublot at Nice, France from the 17th of March to the 8th of April 2012."
"A cinemagraph series, Diego Agulló, Agata Siniarska divided in 3 acts: Breatless, FIngering and La petite mort." "Diego Agulló graduated in Philosophy and Music aesthetics Universidad Autónoma de Madrid. Multidisciplinary artist, he is since 2005 based in Berlin crossing the fields of video, dance, music and philosophy."
"Artist Evan Roth (b. 1978) reappropriates public space, popular culture, and digital techniques to create surprising and illuminating works both on and off the Internet. A Tribute to Heather consists of ten new entries in his ongoing series, One Gif Compositions. For these works, Roth embeds a single animated GIF in a website hundreds of times to produce a rich tapestry of color and motion. The URL of each Composition serves as its title, describing the repeated animation and the background color. Because file load times vary every time a One Gif Composition website is accessed, each viewing is unique. [...]" February 27–June 30
"The past week we’ve seen a lot of chatter about how cinemagraphs are elevating the GIF to fine art, thanks in large part to an article in The Atlantic that ruffled some feathers in the art community. And while there’s no denying that the GIF is undergoing an unlikely renaissance some 20 years after it first showed up to animate our web experience in 1987[...]"
"Jerome Saint-Clair is a French artist and engineer working mainly in the field of new media.
His artwork includes computer based generative systems, interactive installations, software libraries, but also drawings and computer-free installations or objects. He developed a strong attachment to transdisciplinarity and also enjoys and supports open source initiatives. Over the years, he always tried to make his work available for free, on the Internet.
His recent works focus on graffiti and also the permeability between the digital and the physical worlds. He initiated the creation of the French branch of the Graffiti Research Lab"
"The GIF graphics file format was invented by CompuServe in 1987. In the years since, a debate has been raging as to the correct way to pronounce "GIF": like "jif" as in the peanut butter, or with a hard 'g' as in "gift" as a majority of Mac users seem to prefer. With this page I intend to clear this up once and for all...
It's pronounced like "jif". Period. The end. That's final. End of story.[...]"
In the early days of the Web there was a lot of experimenting going on. It was a brand new world where almost anything seemed possible. Decades later, many of those dreams have come true and new dreams have been born.
Un extrait: "[...]Image manipulation. I begin by selecting elements as for a collage, but today’s exciting appliances further allow one to scale, skew, fondle and otherwise perturb the source material so that the result is alien to the ingredients.
I should mention that I am actually a writer (by trade, temperament, and grander intent), and view this visual work simply as ornament, subordinate to the text. When a piece of mine is purely graphic, I see it as assuming the condition of text, and when it operates completely outside of narrative, then to me it has adopted a complementary role by performing some extra-literary function. These relations are always present, if not apparent. Anyway, synthesizing an original image out of found sources is not unlike composing a sentence out of extant words.[...]"