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Rescooped by arslog from Digital #MediaArt(s) Numérique(s)
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#Book: Thinking Through Digital Media by Dale Hudson, Patricia R. Zimmermann (2015)

#Book: Thinking Through Digital Media by Dale Hudson, Patricia R. Zimmermann (2015) | arslog | Scoop.it

Thinking through Digital Media offers a means of conceptualizing digital media by looking at projects that think through digital media, migrating between documentary, experimental, narrative, animation, video game, and live performance. Hudson and Zimmermann analyze projects at the intersections of imbedded technologies, transitory micropublics, human-machine interface, and critical cartographies to forward a set of speculations about how things work together rather than what they represent. The book frames debates on participation/surveillance, outsourcing, global warming, migrations, GMOs, and war across some of the most dynamic, innovative sites for digital media, including Brazil, Canada, China, Germany, India, Indonesia, Italy, Kenya, Nigeria, Palestine, Saudi Arabia, Singapore, and the United States.

Special thanks to Thomas Shevory, Sharon Tay, and Claudia Pederson at FLEFF and to Gina Marchetti, Tim Murray, and Jan-Christopher Horak for the wonderful endorsements. Our book would not have been possible without the inspiring projects by artists/intellectuals/advocates and collectives, including Dena Al-Adeeb, Rico Loco Aditjondro, Nicole Əntēbī, Craig Baldwin, Mez Breeze, Rebecca Baron, Ursula Biemann, Eduardo Cachucho, Helen De Michiel, Leonard Retel Helmrich, Babak Fakhamzadeh, Jonny Farrow, Renate Ferro, Doug Goodwin, Ben Grosser, Invisible-Borders Trans-African, Art Jones, Shambhavi Kaul, Laura Kissel, Nick Knouf, Brenda Longfellow, Jennifer McCoy, Christina McPhee, Evan Meaney, Torry Mendoza, Minoo Moallem, Carlos Alejandro Motta, Leila Christine Nadir, Raqs Media Collective, Alex Rivera, Stephanie Rothenberg, Ruang Rupa, Eddo Stern, Simon Tarr, Ushahidi, Uturn Entertainment, Miyö Van Stenis, Visualizing Palestine, Anders Weberg, Kenneth White, and many others


Via Jacques Urbanska
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Rescooped by arslog from Digital #MediaArt(s) Numérique(s)
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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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«Drone-2000» - performance de Nicolas Maigret / Gamerz-Festival #10 - #mediaart #artnumerique

«Drone-2000» - performance de Nicolas Maigret / Gamerz-Festival #10 - #mediaart #artnumerique | arslog | Scoop.it

Tels des oiseaux de proie, deux drones autonomes bourdonnants survolent le public. Enfermé entre quatre murs de l’école supérieure d’art d’Aix, vendredi soir, celui-ci assiste à la première de la performance Drone-2000 de Nicolas Maigret, sorte de post-rave dystopique.


Via Jacques Urbanska
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Réalité augmentée, réalité orientée, par le philosophe Eric Sadin | #AR #enhanced #cyborgs

Réalité augmentée, réalité orientée, par le philosophe Eric Sadin | #AR #enhanced #cyborgs | arslog | Scoop.it

La notion de «réalité augmentée» peut être prise au pied de la lettre dans la mesure où le procédé permet de saisir des dimensions dissimulées rendues manifestes, révélant un panorama élargi des choses non directement perceptibles par les sens. Appellation qui pourrait tout autant faire l’objet d’une torsion, vu les conseils à vocation généralement commerciale, qui appelleraient un léger déplacement de la dimension plutôt flatteuse «d’augmentation», pour la prise en compte de la force «orientante», devant alors plus justement être qualifiée de «réalité orientée». ...


Via Jacques Urbanska, Lockall, luiy
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luiy's curator insight, April 3, 2014 4:26 AM

TOURNANT COGNITIF

 

La réalité augmentée expose la preuve patente d’une puissance virtuellement omnisciente de la technique collant désormais au corps ou faisant corps à notre perception des choses, à l’instar des Google Glass ou autres lunettes connectées qui adjoignent à l’expérience quotidienne un réservoir en théorie infini et évolutif d’indications en rapport. Ultime étape avant l’implémentation de lentilles au contact des rétines, nous érigeant comme des cyborgs non pas augmentés d’organes artificiels, mais enveloppés de données individuellement ajustées à chacun de nos «profils» et de nos situations. Dispositifs en sophistication croissante, dont on ne peut réduire la portée et les enjeux à de seules informations ou conseils prétendument «pertinents», mais qui appellent de saisir le «tournant cognitif» qui s’instaure.

Rescooped by arslog from Digital #MediaArt(s) Numérique(s)
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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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Magazine MCD #75 / Archéologie des média - #mediaart #artnumerique

Magazine MCD #75 / Archéologie des média - #mediaart #artnumerique | arslog | Scoop.it

L’archéologie des média est quasiment inconnue en France, bien qu’elle ait plus de vingt d’existence. Pourtant, elle a produit (et continue de produire) des effets majeurs dans le champ de la création, de l’exposition, de la médiation, de la conservation et de la théorisation des œuvres médiatiques et numériques. Héritant d’esprits indisciplinés de Marshall McLuhan, de Michel Foucault et de Friedrich Kittler, l’archéologie des média est multiple, inter- et a-disciplinaire. Le numéro MCD #75 sera à son image. 


Pour la première fois, MCD confie la direction d’un numéro à une école d’art. Au croisement de la création et de la conservation-restauration, l’École Supérieure d’Art d’Avignon, et en particulier le laboratoire PAMAL (Preservation, Archaeology, Media Art Lab), entre en dialogue, dans un esprit de questionnement et de diversité, avec ce courant atypique de la pensée d’aujourd’hui, qui interroge principalement la temporalité et la matérialité des média.


Emmanuel Guez


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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