Digital #MediaArt(s) Numérique(s)
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Digital #MediaArt(s) Numérique(s)
Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
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celle - the world’s first neural synthesizer by Guy Benary 

cellF is the world’s first neural synthesizer. It is a real “wet-alogue” Synthesizer. cellF’s “brain” is made of a biological neural network that grows in a Petri dish and controls in real time an array of analogue modular synthesizers that were custom made to work in synergy with the neural network. It is a completely autonomous, wet and analogue instrument.

In 2012, Guy Ben-Ary received a fellowship to develop a biological self-portrait, and decided to portray one of his juvenile dreams: to become a rock star. 

Guy Ben-Ary had a biopsy taken from his arm, then he cultivated his skin cells in vitro in the labs of SymbioticA at UWA, and using Induced Pluripotent Stem cell technology, he transformed his skin cells into stem cells. When these stem cells began to differentiate they were pushed down the neuronal lineage until they became neural stem cells, which were then fully differentiated into neural networks over a Multi-Electrode Array (MEA) dish to become - “Ben-Ary’s external brain”.

The MEA dishes that host Ben-Ary’s neural networks consist of a grid of 8×8 electrodes. These electrodes can record the electric signals (action potentials) that the neurons produce and at the same time send stimulations to the neurons – essentially a read-and-write interface to the “brain”.

 

http://guybenary.com

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An Ecosystem of Excess (2014 - first draft)
- installation by pinard yoldas / #bioart #mediaart

This project starts in the Great Pacific Garbage Patch. Covering between 700000 and 15 million square kilometers, the site is a monument to plastic waste on a global scale. Referring to Kantian aesthetics, it is a truly ‘sublime’ kinetic sculpture built by all the nations around the Pacific Ocean through many years of mindless, unsustainable consumption. As environmental activist and discoverer of the Trash Vortex Captain Charles Moore boldly claims, ‘the ocean has turned into a plastic soup.’ From primordial soup to plastic soup, An Ecosystem of Excess asks a very simple question: ‘If life started today in our plastic debris filled oceans, what kinds of life forms would emerge out of this contemporary primordial ooze?’

The project introduces pelagic insects, marine reptilia, fish and birds endowed with organs to sense and metabolize plastics as a new Linnean order of post-human life forms. Inspired by the groundbreaking findings of new bacteria that burrow into pelagic plastics, An Ecosystem of Excess envisions life forms of greater complexity, life forms that can thrive in man-made extreme environments, life forms that can turn the toxic surplus of our capitalistic desire into eggs, vibrations, and joy. Starting from excessive anthropocentrism An Ecosystem of Excess reaches anthropo-de-centrism, by offering life without mankind.

http://www.pinaryoldas.info

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BIOMEDIALE - Contemporary Society and Genomic Culture - project curator : Dmitry Bulatov

BIOMEDIALE - Contemporary Society and Genomic Culture - project curator : Dmitry Bulatov | Digital #MediaArt(s) Numérique(s) | Scoop.it

Overcoming any borders, be they external borders or one's own, is invariably accompanied by a feeling of their other predestination. The matter seems to lie not even in the fact that man in himself is a creature implicating restrictions, and only through it and thanks to it he can overcome them - it is rather that while leaving a border one always approaches another border. In the long run, by repeatedly reproducing the border situation, the man rather ritually recreates the only verge, a reminder-verge, over which he - a being formed within the framework of his heredity flow - is initially denied possession of power. Namely, he cannot possess power over the borders set by his birth and death… Nothing can bring out this essentially simple speculation better than issues of time and technologies that claim abolishment and removal of time constraints. The pioneering direct manipulations in this field, performed via bio- and genetic technologies, definitely belong to the most significant milestones of the current era and are an important step forward in the development of the general theme of "borders" within European cultures, and a new subject in the exploration and realization of this theme. Never before, it seems, has the price of such research been so breathtakingly high: man begins to reshape himself according to his own conceptions. By decoding our biological structure and learning to alter it, we gain power over our own evolution. We start traveling into the unknown …

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#Robotic stingray powered by light-activated muscle cells by By Elizabeth Pennisi / #innovation

#Robotic stingray powered by light-activated muscle cells by By Elizabeth Pennisi / #innovation | Digital #MediaArt(s) Numérique(s) | Scoop.it
Kevin Kit Parker wants to build a human heart. His young daughter loves the New England Aquarium in Boston. In this Science report, father’s and daughter’s obsessions have combined in an unlikely creation: a nickel-sized artificial stingray whose swimming is guided by light and powered by rat heart muscle cells. 

Incorporating advances in engineering, cell culture, genetics, and biomechanics, the “living” robot is “clearly a technical tour de force,” says Adam Summers, an integrative biologist at the University of Washington, Seattle. And some think that by melding cells and artificial materials into a pulsating structure, the device brings Parker’s dream of engineering a human heart a step closer. “One can imagine that one day we can use this technology to rebuild parts of the human body,” says Kedi Xu, a neural engineer at Zhejiang University in Hangzhou, China. 
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(Art)ScienceBLR - Public Laboratory at the Srishti Institute of Art, Design and Technology // India

(Art)ScienceBLR - Public Laboratory at the Srishti Institute of Art, Design and Technology // India | Digital #MediaArt(s) Numérique(s) | Scoop.it

(Art)ScienceBLR is a public laboratory at the Srishti Institute of Art, Design and Technology for artists and designers to engage with scientific practices. Residencies, exhibitions, workshops, talks...

 

We look at the artistic, social and political implications of technologies from computing to biotechnologies. Our work exists at the intersection of art-science and pedagogy, creating spaces of dialogue and interaction between artists, designers and scientists.

 

Since our inception in 2009 we have focused on using DIY techniques to build low-cost laboratory equipment, so as to offer more accessible forms of engagement with the life-sciences.

 

We also run a community electronics and BioLab which encourages students and the community to make/hack and prototype.

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The sculpture controlled by bees: Wolfgang Buttress's Hive

The sculpture controlled by bees: Wolfgang Buttress's Hive | Digital #MediaArt(s) Numérique(s) | Scoop.it

My approach to a sculpture seeks to frame nature so one can experience it more intimately,” says British artist Wolfgang Buttress, whose 17-metre high Hive installation opens at the Royal Botanical Gardens at Kew, in London on Saturday. “I want visitors to feel enveloped, wrapped-up and involved in the experience, rather than adopting the position of an external observer.”

 
How much do you know about bees? - quiz
 

Its 170,000 pieces of aluminium, suspended from the ground, appear as a twisting swarm of bees from afar, but as you come closer it becomes a hive-like structure of latticework whose low humming sound and hundreds of flickering LED lights draws you in to a multi-sensory instillation. The intensity of sound and light is controlled by the vibrations of honeybees in an actual hive at Kew that is connected to the sculpture. ...

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Robertina Šebjanič - working in the cross field of art – technology – science // #mediaart #SciArt

Robertina Šebjanič - working in the cross field of art – technology – science // #mediaart #SciArt | Digital #MediaArt(s) Numérique(s) | Scoop.it

Robertina Šebjanič /based in Ljubljana/ is working in the cross field of art – technology – science. 

 

Her art – research focus is since several years oriented towards the project developed in the field of Living systems (bio-art), AV performances, noise/sound art, installations and interactive ambiental responsive immersive environments.
The context for her ideas and concepts is often realized in collaboration with other authors (artist, scientist, humanist, makers, hackers…), and through interdisciplinary and informal integration embodies in her work.

 

She is member of Hackteria Network, Ljudmila, UR Institute and Theremidi orchestra.

 

In collaboration with various art producers such as DécaLabKiblaLjudmilaKapelica GalleryStadtwerkstatt, Gallery Alkatraz she did developed her works and project.

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#Bioart : on m’a connectée à une interface humain-champignon - Par Claire Richard Prix Cube 2016

#Bioart : on m’a connectée à une interface humain-champignon - Par Claire Richard Prix Cube 2016 | Digital #MediaArt(s) Numérique(s) | Scoop.it
Une installation slovène propose d’entrer dans une interface humain-champignon. L’occasion de réfléchir sur la communication entre espèces et le bio-art.

 

C’est un œuf oblong, blanc et strié, qui ressemble à une capsule spatiale de série Z. J’entre et je m’allonge. On me tend un casque audio, puis un capteur à tenir pressé contre mon pouce. On enserre mes bras et mes jambes avec des demi-cercles de plastique. Au-dessus de moi, la lumière est douce et pulsée.

 

Puis un son industriel retentit dans le casque, le plastique se met à vrombir et contre toute attente mon cœur s’emballe. Il est vrai qu’on m’a annoncé que j’allais être connectée à une interface humain-champignon, à travers les battements de mon cœur. C’est un peu normal qu’il soit désarçonné...

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Le #design à l'intersection de la technologie et de la biologie - Ted

Le #design à l'intersection de la technologie et de la biologie - Ted | Digital #MediaArt(s) Numérique(s) | Scoop.it
La designer et architecte Neri Oxman conduit la recherche pour trouver des façons de faire interagir la fabrication digitale et le monde biologique. En travaillant à l'intersection de la conception par ordinateur, de la fabrication additive, de l'ingénierie des matériaux et de la biologie synthétique, son laboratoire est un pionnier d'un nouvel âge de symbiose entre les micro-organismes, nos corps, nos produits et même nos bâtiments.
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Stranger Visions (2012>13) - a project by Heather Dewey-Hagborg /// #mediaart #bioart

In Stranger Visions artist Heather Dewey-Hagborg creates portrait sculptures from analyses of genetic material collected in public places. Working with the traces strangers unwittingly leave behind, Dewey-Hagborg calls attention to the developing technology of forensic DNA phenotyping and the potential for a culture of biological surveillance. Designed as an exploratory project based on emerging science, the forecast of Stranger Visions has proved prescient. For an example of DNA phenotyping at work in forensics check out the companies Parabon NanoLabs and Identitas and read about their collaboration with the Toronto police. Also see Mark Shriver's research at Penn State on predicting faces from DNA.


For my analysis of the issues of structural racial bias embedded in this new technique see my article "Sci-fi Crime Drama with a Strong Black Lead" at the New Inquiry magazine.


http://deweyhagborg.com/strangervisions

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#Bioart: Altered Realities - by William Myers (2015) #book - #mediaart

#Bioart: Altered Realities - by William Myers (2015) #book - #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

BioArt profiles contemporary art that demonstrates how advances in the life sciences and their application as biotechnology have a dislocating effect on culture. Specifically, these advances alter our notions of the self, environment, and the definition of life. Popular understanding strains to catch up with these changes while artists are detecting and vigorously responding to them, creating new images, sculpture, living material installations, video, and performance. In this way the work of bioartists echoes that of the Surrealists of the early 20th century who reacted to the new terrain of the unconscious and widespread anxiety in the aftermath of industrialized war.

BioArt closely examines the work of sixty different artists, collectives, and organizations from around the world. Interviews with eight leading artists and designers provide deeper insight into the intentions and methods of this new breed of creative practitioners.

Contributing writers: Mariam Aldhahi, Suzanne Anker, Julia Buntaine, Wythe Marschall


William Myers is a writer, curator and teacher based in Amsterdam. His first book Biodesign (2012) identified the emerging practice of designers and architects integrating living processes in their work. It was published by The Museum of Modern Art in New York (MoMA) and Thames & Hudson in London. His upcoming book Bio Art: Altered Realities profiles art that uses biology in new ways or responds to recent research in the life sciences that disrupts our sense of identity, nature and the definition of life. William's recent exhibitions include Matter of Life at the MU Gallery in Eindhoven, Biodesign in Rotterdam at the New Institute, and Cut/Paste/Grow at Proteus Gowanus in Brooklyn, New York.

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Michał Brzeziński - #BioArt: Affective Communication Art for Transspecies Zoecratic World / #mediaart

Michał Brzeziński - #BioArt: Affective Communication Art for Transspecies Zoecratic World / #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Michal Brzezinski's main fascination is the way how the world stays in persistent communication process on each of levels of the so-called life. His art is discussing with life definition trying to expand it out of carbon based organisms and his art is kind of visualisation of this idea with the biosemiotics and informatics as background. Affect takes the main place in his direct-theory art process. You can find here embodied cognition and affective interactions, as well as direct cinema, material film and structural video.



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#Book - Bio Art: Altered Realities by William Myers - #mediaart #bioart

#Book - Bio Art: Altered Realities by William Myers - #mediaart #bioart | Digital #MediaArt(s) Numérique(s) | Scoop.it

In an era of fast-paced technological progress and with the impact of humans on the environment increasing, the concept of “nature” itself seems called into question. Bio Art explores the work of “bio artists,” those who work with living organisms and life processes to address the possibilities and dangers posed by biotechnological advancement.

A contextual introduction traces the roots of bio artistic practice, followed by four thematic chapters: Altering Nature, Experimental Identity and Mediums, Visualizing Scale and Scope, and Redefining Life. The chapters cover the key areas in which biotechnology has had an impact on today’s world, including ecology, biomedicine, designer genomes, and changing approaches to evolutionary theory, and include profiles of the work of sixty artists, collectives, and organizations from around the world. Interviews with eight leading bio artists and technologists provide deeper insight into the ideas and methods of this new breed of creative practitioners.


William Myers

William Myers is a writer, teacher, and curator based in Amsterdam. He has worked for the Museum of Modern Art, the Smithsonian Cooper-Hewitt National Design Museum, the Guggenheim, and Genspace, the first community biotech lab in the United States. His writing has appeared in Metropolis magazine, The Architect’s Newspaper, and New York Magazine.

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Eduardo Kac: Transgenic Artist - Talk @ Chicago Humanities Festival 2013

Eduardo Kac is a pioneer of bio art. The School of the Art Institute professor has pushed boundaries—and buttons—throughout his career. He is best known for his series of "transgenic" works, art that blends natural and created elements in highly unexpected ways. These works include a green fluorescent rabbit, a synthetic gene built on a Morse code translation of a sentence from the Book of Genesis, and a genetically engineered petunia that contains Kac's DNA. Join curator Hamza Walker and Kac for a conversation on his radical art practice and the many questions it poses for our genomic time.

The annual Richard Gray Visual Art Series recognizes a significant gift from founding CHF board member and distinguished art dealer Richard Gray. Thanks to the generosity of Lorraine and Jay Jaffe, Eduardo Kac will also visit a Chicago-area classroom and lead an interactive experience with the students.

Video produced by Pentimenti Productions.

This program was recorded on November 9, 2013 as part of the 24th Chicago Humanities Festival, ANIMAL: http://chf.to/2013Animal

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12.09.2016 >>> Ars Electronica Festival 2016: Radical Atoms and the alchemists of our time // #mediaart 

12.09.2016 >>> Ars Electronica Festival 2016: Radical Atoms and the alchemists of our time // #mediaart  | Digital #MediaArt(s) Numérique(s) | Scoop.it
… and what comes after self-driving cars and the internet of things?

 While the world still has its hands full dealing with the Digital Revolution and the cultural and social transformations and challenges that it’s brought about, a young generation of scientists and creative engineers has set a course for new frontiers and is already at work amalgamating the disembodied world of digital data with the physical world of our bodies.
They’re interconnecting bits and atoms in elementary form, fabricating new high-tech materials from natural substances. They’re teaming up with artists and designers, employing the neurosciences and biotechnology, digital hardware & software, and bringing together old handicrafts traditions with 3-D printers and laser cutters.

With their unorthodox approaches and highly inspiring projects, they’re not only blazing trails for new developments; they’re also opening up completely new ways of looking at the role of science in our society and the interplay of technology and nature...
 
 
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Cellout.me by Jeroen van Loon - 380 GB of personal DNA data to sell // #mediaart #bioart

Cellout.me by Jeroen van Loon - 380 GB of personal DNA data to sell // #mediaart #bioart | Digital #MediaArt(s) Numérique(s) | Scoop.it

With Cellout.me, artist Jeroen van Loon is offering his complete DNA sequence for sale.

 

His DNA sequence contains 380 GB of data, which consists of the three billion ACTGs that make up his source code. The DNA sequence has been determined with a 30-fold coverage depth, making it ‘laboratory’ quality. The data is stored on a server in a server rack which shows the DNA sequence and the website www.cellout.me. The public can see both the current bid and the actual data simultaneously. The buyer of Cellout.me will own an extremely personal ‘self portrait’ and will become co-owner of the artist’s DNA.

 

By turning DNA data into a commodity, Cellout.me tries to show some of the future ethical, financial and artistic questions and consequences that arise with DNA sequencing technology, which is getting cheaper, easier and more accessible each day. Biology is converted into binary data – data that is stored in data centers. Data that can be copied, manipulated, shared, sold, bought and so on.

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Videographies 4.0 #6 - Art(s) & ‪#‎Hacktivisme, émission préparée par Jacques Urbanska - RTBF

Videographies 4.0 #6 - Art(s) & ‪#‎Hacktivisme, émission préparée par Jacques Urbanska - RTBF | Digital #MediaArt(s) Numérique(s) | Scoop.it

Ce sixième numéro de Vidéographies défriche le champ ultra-contemporain du champ Art(s) & Hacktivisme. Spécialiste du domaine, Jacques Urbanska nous guide à travers pas moins de 25 œuvres et performances mêlant arts, sciences et militantisme.

Par les détournements opérés par les hackers, des objets du quotidien au réseau informatique, le spectateur ou l'utilisateur est amené à repenser son rapport à la société d'aujourd'hui.

Diffusion ce samedi 02 juillet 2016 sur la troisième chaine de la RTBF (en partenariat avec Transcultures). Online 7 jours >> http://www.rtbf.be/auvio/detail_videographie?id=2123944

 

Avec les oeuvres/projet de : Adam Harvey (De/USA), Alessandro Ludovico + Paolo Cirio (It), Christoph Wachter & Mathias Jud (Ch), Compagnie Le Clair Obscur / Frédéric Deslias (Fr), Digital Kitchen (USA), Dries Depoorter (Be), Emmanuel Pire (Be), Esra’a Al Shafei (Bh), Eva Mattes & Franco Mattes (0100101110101101.ORG It/USA), FuturePerfect Productions (USA), Gilberto Esparza (Mx), Jacob Tonski (USA), Jacques Servin & Igor Vamos ( The Yes Men - USA), Josh Begley (USA), Josh On + Futurefarmers group (USA), Julian Oliver (Nz/De) & Danja Vasiliev Superdrone Oneslave (Ru/De), Julius von Bismarck (De), Ztohoven (Cz)

 

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Audiopill by Jan Poope - creates a rave inside your body /// #mediaart

Audiopill: for enjoying music from the inside. Art and technology.
Project audiopill.net.
Part of exhibition Prolapse of Love, 14. - 24.1. 2016, Prague, prolapseoflove.com

 

On the occasion of his exhibition Prolapse of Love, artist Jan Poope will introduce a world-unique device Audiopill, designed for enjoying music from within your own body. You swallow the pill and it then starts to rumble at a preset BPM. Techno party you can’t avoid.The second part of "musical component" in this conceptual art by Jan Poope is based on an Italian medical device Sirio. Ultrasound scratching on human bodies is a brand new music genre. Extremely personal and uncopyable. No one can hear anything, not even the performer-musician, the only one who enjoys the music is the listener.Audiopill is a functional prototype yet and simultaneously with its official introduction/exhibition opening on January 14, 2016, a crowdfunding campaign will start on indiegogo.com. If successful, anyone in the world will be able to make their dreams about exciting musical self-destruction come true.

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Technologically Empowered Body as a Weapon | By Marta Heberle on .dpi - revue féministe d'art et de culture numérique

Technologically Empowered Body as a Weapon | By Marta Heberle on .dpi - revue féministe d'art et de culture numérique | Digital #MediaArt(s) Numérique(s) | Scoop.it
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Golnaz Behrouznia - Multimedia Arts, Art & Biologie // #mediaart #bioart

Golnaz Behrouznia - Multimedia Arts, Art & Biologie // #mediaart #bioart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Born in 1982 in Shiraz, Golnaz Behrouznia orientedherself from a young age in visual arts.She began practicing sculpture while studying finearts in Tehran and, after that, continuedher  work  as  a  professional  artist.  In  Iran,  she  participated  in  fifteen  solo  and  groupexhibitions in Tehran, Isfahan and Shiraz and won several awards at festivals and biennials.In  2008  she  decided  to  go  to  France  to  continue  herartistic  career.  Fascinated  bymultimedia, she studied Digital Media Design in inToulouse. She has presented her work inthe form of sculptures, video installations and paintings in different places like the “Muséedes Abattoirs",  "La salle des Illustres" and "la Fabrique culturelle" in Toulouse, the "SalleEspalioux" in Pamiers, the "Salle Aubette" in Strasbourg and the “PAD” art fair in Paris

 

 

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Weird Science: Biotechnology as Art Form
By Carolina A. Miranda (2013) #bioart

Weird Science: Biotechnology as Art Form<br/>By Carolina A. Miranda (2013) #bioart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Tissue cultures, genetic modification, bacterial colonies. Over the last decade, more and more artists have been giving up the studio in favor of the laboratory.

 

In the spring of 2008, curator Paola Antonelli at the Museum of Modern Art in New York was forced to kill a work of art. A thumb-size “jacket” cultivated from mouse tissue that lived inside a sterile glass ball, Victimless Leather was not your typical museum piece. The cells were very much alive—and they were multiplying. So rapidly, in fact, that five weeks into the exhibition, they were threatening to clog the incubation system that kept them alive. Antonelli would have to cut off the nutrient supply. But she couldn’t bring herself to do it. “There was no way I was going to switch it off,” she recalls. “I can’t even kill a mosquito.”...

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Art-Science: the cerebral & the sensory // Ella Mudie in RealTime Arts - Magazine (2012)

Art-Science: the cerebral & the sensory // Ella Mudie in RealTime Arts - Magazine (2012) | Digital #MediaArt(s) Numérique(s) | Scoop.it

This collision between the art of deception and the science of perception has also intrigued artists Michele Barker and Anna Munster, who bring this fledgling area of enquiry into the media art realm with HokusPokus. Comprising one half of the visual arts program in Performance Space’s 2011 Exchange season, this collaborative work employed an interactive cinematic magic show to explore the corporeal aspects of seeing. The artists’ playful and experimental journey into neuroscience was paired with a stunning immersive installation in the main space informed by the biological sciences, Peta Clancy and Helen Pynor’s The Body is a Big Place, with sound by Gail Priest, which engaged the organ transplantation process to challenge the disconnect we have with our own bodies and to create greater empathy for this remarkable yet often misunderstood medical procedure...


RealTime plus OnScreen online and print arts magazine covering innovative practices in media art, digital art, hybrid art, performance, dance, visual art, sound and music, film in Australia and internationally

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Ren Ri’s Beeswax Sculptures - interview

Ren Ri’s Beeswax Sculptures - interview | Digital #MediaArt(s) Numérique(s) | Scoop.it

Artist Ren Ri (who trained at Tsinghua Academy of Art and Saint Petersburg State University in Russia) creates art that is influenced by his childhood—one that occurred amongst the beautiful scenery of Wuhan’s lush vegetation. “Back then, I was spending a lot of time observing animals and plants; my passion for moulding was parallel to an interest for insect ethology,” he recalls. Thus came the inspiration for his project “Yuansu II” which is crafted from the extraordinary medium of beeswax.

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RealTime Arts - #MediaArt Archive: reviews, articles and commentaries 1994>2015

RealTime Arts - #MediaArt Archive: reviews, articles and commentaries 1994>2015 | Digital #MediaArt(s) Numérique(s) | Scoop.it

RealTime's Media Art Archive provides access to reviews, articles and commentaries on an innovative and challenging field of practice from 1994 to the present.

Explore this unique resource covering the work of Australian and international artists via our search facility or a range of non-exclusive categories.


Read the introduction by Darren Tofts: I've grown accustomed to your interface

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#Book review: Bio Art. Altered Realities by writer, teacher, & curator William Myers || #bioart #mediaart

#Book review: Bio Art. Altered Realities by writer, teacher, & curator William Myers || #bioart #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

In an era of fast-paced technological progress and with the impact of humans on the environment increasing, the concept of “nature” itself seems called into question. Bio Art explores the work of “bio artists,” those who work with living organisms and life processes to address the possibilities and dangers posed by biotechnological advancement.


A contextual introduction traces the roots of bio artistic practice, followed by four thematic chapters: Altering Nature, Experimental Identity and Mediums, Visualizing Scale and Scope, and Redefining Life. The chapters cover the key areas in which biotechnology has had an impact on today’s world, including ecology, biomedicine, designer genomes, and changing approaches to evolutionary theory, and include profiles of the work of sixty artists, collectives, and organizations from around the world. Interviews with eight leading bio artists and technologists provide deeper insight into the ideas and methods of this new breed of creative practitioners. - Thames & Hudson

...

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