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Contemporary Art, Science, Technology
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The Early Disruptors: 7 Masterpieces of '90s #NetArt Everyone Should Know About - By Dylan Kerr

The Early Disruptors: 7 Masterpieces of '90s #NetArt Everyone Should Know About - By Dylan Kerr | arslog | Scoop.it

Much of the art made today has some kind of digital component, but the movement known as net art—the Internet-based artwork created in the 1990s, the first decade or so of the World Wide Web— still looks radical. Taking to heart early net artist Heath Bunting's credo “do something different,” net artists took advantage of suddenly ubiquitous personal computers and the first user-friendly web browsers to evoke a de-physicalized existence with infinite possibilities. ...


Via Jacques Urbanska
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GIFbites Archive for Bitrates Exhibition - #netart #gif

GIFbites Archive for Bitrates Exhibition - #netart #gif | arslog | Scoop.it

Bitrates is the first New Media Art exhibition in the city of Shiraz in Iran, curated and organized by artists Morehshin Allahyari and Mani Nilchiani, hosted by Dar-ol-Hokoomeh Project at Shiraz Artist House. With a vision to create a space dedicated to emerging artistic practices, workshops, talks, presentations and exhibitions, Dar-ol-Hokoomeh Project (co-founded by Mohsen hazrati and Milad Forouzandeh) seeks to expose the creative community and general public to the potentials of new technologies and New Media theory and practice.


In their curation process, Morehshin and Mani have selected artists that each use variety of digital tools, material, and software in their works to present a specific category and technological aesthetics of new media art; from artgame, creative coding, experimental 3D animation to glitch art and animated GIF. The significance of the term “Bit Rate” is two fold: On the one hand, every digital art work at one point or the other needs to navigate the bottleneck of “bits”. Ideas turn into bits, bits are streamed over a network, to a screen, or to a tangible output such as a 3D printer to form an experience. While simultaneously, as a generation who sought their exposure to the world outside through slow, clunky dial-up modems, our interaction with the world at large was at the mercy of “bit rate”. بیت بر ثانیه (Bitrates) draws attention to these ideas through the presentation of the work that engages and explores technology and internet as a medium.


Via Jacques Urbanska
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Urban Media Aesthetics - artistic and curatorial practices with digital art forms in urban environments

Urban Media Aesthetics - artistic and curatorial practices with digital art forms in urban environments | arslog | Scoop.it

Urban Media Aesthetics is an ongoing curatorial research project that investigates subject matters relevant to artistic and curatorial practices with digital art forms in urban environments. 

 

The notion of urban media aesthetics as a curatorial subject relates to the presentation and integration of artistic, visual digital content in urban contexts. This materializes in various contemporary examples, such as digital art installations, media facades, pervasive and mobile displays, big screens, projections of moving images, architectural mapping and animation, responsive architecture, and other types of “exhibition forms,” which take the urban environment as their exhibition space while integrating digital content, infrastructure and digitally-inspired forms into the urban ecology. 

 

While urban media aesthetics as a research area might reflect a history of technologies, with relations between developments in screen and projection technology and developments in artistic expression and presentation, this initiative is not looking for a historical narrative or line of progress or development. There is no ‘one’ history of this discourse and no archive laying the ground for it either. There is no established framework for grasping, approaching and critiquing the emerging artistic and curatorial practices with media aesthetics in urban public contexts. Perhaps we can look towards principles of nomadicism, interdisciplinarity and emphasis on cultural and social situations, which we find in an archeological approach, to avoid relying on historicity that would tell us about technological “progress” without questioning what progress even means.


Via Jacques Urbanska, Ghislaine Boddington
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Are Algorithms Conceptual Art’s Next Frontier? by Nicholas O'Brien

Are Algorithms Conceptual Art’s Next Frontier? by Nicholas O'Brien | arslog | Scoop.it

In an essay titled What Can a Network do?,  Alexander Galloway discussed the need for humans to adopt machine-like capabilities for reading networks. Instead of treating a network as a text—as humanities scholars would want—we should instead read it as a machine would, through a process of parsing. This procedure takes data and sorts it into categories of relevance in order to create a meaningful analysis. The parsing machine par excellence is the algorithm, and it dominates much of our digital lives. In recent years, algorithms have been telling us what music to listen to, who we should date, what stocks we should buy, and even what we should eat. It comes as no surprise, then, that it should also tell us what art we should view. But what happens when the art we are looking at becomes the algorithm itself?


Via Jacques Urbanska
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#ArtNumérique et industrie: «Les artistes n’ont plus peur des marques» - interview Anne-Cécile Worms (MCD MAG)

#ArtNumérique et industrie: «Les artistes n’ont plus peur des marques» - interview Anne-Cécile Worms (MCD MAG) | arslog | Scoop.it

Anne-Cécile Worms est depuis longtemps passionnée de l’univers croisé entre l’art et les nouvelles technologies. A l’origine de la start-up Art2M (Art to Machine), spécialisée dans la production et la diffusion d’œuvres d’art numérique, elle est également la fondatrice et directrice éditoriale du Magazine des cultures digitales (MCD) qui vient de publier un très large panorama théorique et pratique sur les relations entre l’art numérique et l’industrie. Entretien.

 

« Art et Industrie », est-ce le moment d’interroger cette relation dans le domaine des arts numériques ?

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