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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
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L’expérience de l’expérimentation - Les pratiques sonores d'aujourd'hui par Matthieu Saladin (dir.) #soundart

L’expérience de l’expérimentation - Les pratiques sonores d'aujourd'hui par Matthieu Saladin (dir.) #soundart | Digital #MediaArt(s) Numérique(s) | Scoop.it
Un point sur les pratiques sonores expérimentales aujourd’hui.

Le XXe siècle a été le théâtre d’une recherche intense et plurielle dans le champ musical, remettant sur le chantier l’ensemble des normes qui structuraient et définissaient la nature même de la musique : du futurisme à la noise, en passant par l’improvisation, la poésie sonore, l’électroacoustique, la live electronic music, ou encore l’installation sonore, furent ainsi reconsidérés les rapports entre musique et bruit, musiciens et non-musiciens, à l’espace et au langage, les notions de forme et de temps musical, les modalités de la création sonore, tout comme sa relation avec le quotidien et les autres arts. Si l’expression « musiques expérimentales » a pu désigner durant la seconde moitié du XXe siècle – et plus particulièrement dans les pays anglo-saxons – les recherches effectuées principalement dans une filiation diffuse avec l’esthétique cagienne ...

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L'Âge du faire, Hacking, travail, anarchie (2015) - Michel Lallement /// #maker #hacker #hacking

L'Âge du faire, Hacking, travail, anarchie (2015)  - Michel Lallement /// #maker #hacker #hacking | Digital #MediaArt(s) Numérique(s) | Scoop.it

De nouveaux lieux de conception, de production et de collaboration voient aujourd’hui le jour un peu partout dans le monde. Équipés de machines industrielles comme des plus récents équipements informatiques, les hackers inventent un nouveau modèle d’activité : le faire (make). À distance des exigences imposées par le marché et les grandes organisations bureaucratiques, les membres des hackerspaces et autres laboratoires de fabrication font du travail une fin en elle-même, sans que quiconque n’impose d’objectifs, de délais, de contraintes… Juste l’envie de faire pour soi.

Fruit d’une enquête ethnographique menée dans la région de San Francisco, là où les chantres de la contre-culture libertaire côtoient les entrepreneurs de la Silicon Valley, ce livre plonge au cœur du mouvement faire. Il en décrit les origines historiques ainsi que ses multiples impacts sur l’économie et la société. Michel Lallement a partagé la vie des hackers, les a regardé inventer, bidouiller et s’organiser au quotidien dans des communautés frottées, pour certaines d’entre elles, aux principes de l’anarchisme. Il les a fait raconter et expliquer leurs vie, leurs choix, leurs idées. ...

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Sean Cubitt – The Practice of Light: A Genealogy of Visual Technologies from Prints to Pixels | Neural #lightart

Sean Cubitt – The Practice of Light: A Genealogy of Visual Technologies from Prints to Pixels | Neural #lightart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Sean Cubitt’s most recent book combines a high level of intellectual elaboration with detailed reference to source materials. It is unusual to find a book in the field of media theory capable of articulating so many key topics (the history of painting, the printing press, engraving, photography, film, television and digital media) with such depth and clarity. “The Practice of Light” does not separate concepts thematically as being exclusive to one particular media but rather identifies common scenarios, allowing for the drawing of broader conclusions. Time spent discussing the material culture associated with the diverse practices of visual media allows the author to propose a concrete genealogy of elements that have shaped the historical transformation of various media. ...

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Livre Raspberry Pi - Exploitez tout le potentiel de votre nano-ordinateur

Livre Raspberry Pi - Exploitez tout le potentiel de votre nano-ordinateur | Digital #MediaArt(s) Numérique(s) | Scoop.it
L'objectif de ce livre est de fournir au lecteur des bases solides pour explorer les ressources offertes par le Raspberry Pi tant du point de vue du système d'exploitation que du développement et de l'interfaçage physique. Aucun prérequis en Linux, en programmation ou en électronique n'est nécessaire.

Après une présentation physique du Raspberry Pi, vous aurez un aperçu des systèmes d'exploitation que vous pouvez utiliser avec cet ordinateur. Vous serez guidé pour installer rapidement le système d'exploitation de votre choix sur une carte SD et rendre votre Raspberry Pi opérationnel. L'utilisation de NOOBS, outil d'installation d'un système, de récupération de la carte SD et de gestion du multiboot est expliquée en détail. Une première étape de découverte du système Linux à travers la ligne de commande précède la mise en œuvre du Raspberry Pi en mode graphique. Vous verrez comment utiliser des mémoires de masse externes (clé USB, disque dur USB) et faire démarrer le Raspberry Pi sur un de ces supports de stockage externes. Vous apprendrez à utiliser les environnements de développement disponibles pour le Raspberry Pi : en Scratch et en Python. La description du GPIO suivie d'exemples d'utilisation des ports d'entrée-sortie du Raspberry Pi et de mise en œuvre de cartes d'interface ouvrent la voie à des applications dans lesquelles le Raspberry Pi interagit avec le monde physique. Vous apprendrez comment transformer votre Raspberry Pi en poste bureautique avec la suite LibreOffice (édition et impression), en média-center avec XBMC, en serveur web avec lighttpd et WordPress, ou en serveur de flux vidéo avec VLC.
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Collectif Hyperfictions | Manifeste / comment/quand un contenant dédié à un ou des supports numériques fait livre

Collectif Hyperfictions | Manifeste / comment/quand un contenant dédié à un ou des supports numériques fait livre | Digital #MediaArt(s) Numérique(s) | Scoop.it
L’objet livre face au numérique vient soulever des problématiques propres à la rencontre de deux médias. Les productions d’artistes abordant ces questions s’inscrivent dans un champ de tensions se développant entre livre papier, livre-objet plastique et livre numérique.

Le livre papier édité s’inscrit dans une économie (d’offre et de demande, de reproductibilité) – dont le livre d’artiste (pièce unique, fanzine ou multiple) s’émancipe. Sa lecture s’accompagne d’une certaine transparence de l’énonciation éditoriale, de l’oubli du support matériel au profit d’une recherche d’“immersion” (en particulier dans les textes de fiction), jusqu’aux jeux plastiques les plus divers. Cette dernière démarche interroge la forme du livre-objet. Celui-ci déborde de la définition traditionnelle du “livre”, jusqu’à, parfois, la mettre à mal. Des expérimentations d’artistes sur les formes plastiques, le volume et le support attribués à ce livre-objet mettent au défi les pratiques de lecture.

Nous distinguerons le livre numérique du livre homothétique de format pdf ou de certains ePub, dont la forme se contente d’imiter le livre papier. Il ne s’agit pas non plus d’un site Web au sens classique du terme : un support au contenu extensible et dont la forme ouverte (Eco) est difficilement circonscriptible par le lecteur. Ce qui fait livre dans le numérique est une forme autoportée, circonscrite, quoique dynamique et parfois non linéaire, et dont l’essence n’est pas nécessairement littéraire ni textuelle. L’éventuel paradoxe du “livre” numérique se résout dans une adéquation totale entre les particularités du support au service d’un contenu pensé nativement pour celui-ci.

Il s’agit ici d’expérimenter comment (et quand) un contenant dédié à un ou des supports numériques fait livre.
Les enjeux plastiques des formes observables à l’écran seront abordés ici “au pixel près”.
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#Books review : The converging of art history and #mediaart // RealTime magazine

#Books review : The converging of art history and #mediaart // RealTime magazine | Digital #MediaArt(s) Numérique(s) | Scoop.it

I was in a reviewing reverie as I embraced Oliver Grau’s MediaArtHistories, which brings together the work of media researchers who have been prolific in interpreting the relationship between new media art and art history.

In Australia, with its strong 25-year history in media art, we have witnessed an inevitable pulling back of media art into the immersive folds of traditional visual art. Grau views this process as a positive development. He also demonstrates, however, that traditional notions of visual art will have to be revised to absorb the ineluctable impact of science and technology on contemporary art practice. ...

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#Book - "Eyes on the Sky" by Jed Carter

#Book - "Eyes on the Sky" by Jed Carter | Digital #MediaArt(s) Numérique(s) | Scoop.it

Eyes on the Sky is a process-based investigation into generative design and the weather. Jed Carter linked 64 public-access web cameras across Europe, recording the colour of the sky, at each point, at regular intervals and produced a book that collects a week of paintings where cameras paint the weather, once every hour.

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Link Editions - publishing initiative of the LINK Center for the Arts of the Information Age

Link Editions - publishing initiative of the LINK Center for the Arts of the Information Age | Digital #MediaArt(s) Numérique(s) | Scoop.it

LINK Editions is a publishing initiative of the LINK Center for the Arts of the Information Age. LINK Editions uses the print on demand approach to create an accessible, dynamic series of essays and pamphlets, but also tutorials, study notes and conference proceedings connected to its educational activities.


A keen advocate of the idea that information wants to be free, LINK Editions releases its contents free of charge in .pdf format, and on paper at a price accessible to all. Link Editions is a not-for-profit initiative and all its contents are circulated under an Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0) license.

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#MediaArt. Toward a new Definition of Arts in the Age of Technology by Valentino Catricalà

#MediaArt. Toward a new Definition of Arts in the Age of Technology by Valentino Catricalà | Digital #MediaArt(s) Numérique(s) | Scoop.it

This publication and the festival with which it is associated – takes an anthologi-cal approach to Media Art, with a focus upon the host nation but in a wider Euro-pean context. This is apposite, as the term Media Art is quintessentially European rather than Anglo-Saxon, where it has not thus far been comfortably adopted as a collective label for the wide variety of artistic activity that has been produced and developed since the early 1980s. There is presently a diverse range of practice: Media Art can encompass many media and art-forms (film, video, sound – sound art, time based art, performance art, installation art, computer art, sci-art, interac-tive art etc.), but today is most often associated by the use of digital technologies. As an artist that has lived and produced work through two technological break-throughs: the emergence of video as a carrier and recorder of sound and image; secondly the advent of the personal computer; I hold an ambivalent position to claims for ‘the digital’. Media art is contemporary and temporary and certainly not all the same: there are many differences of background, training and motivation between the pro-tagonists – the artists. They may identify themselves as a media artist, sic artist, technologist, media activist, video artist or none of the above. If this is true of the artists it is even more so for the theorists and writers on media art.

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100 notions pour le #crossmédia et le #transmédia - Ghislaine Azémard - Librairie Eyrolles

100 notions pour le #crossmédia et le #transmédia - Ghislaine Azémard - Librairie Eyrolles | Digital #MediaArt(s) Numérique(s) | Scoop.it

Premier volet d'une collection dirigée par Ghislaine Azémard, l'ouvrage 100 notions pour le crossmédia est une encyclopédie collaborative crossmédia sur le crossmédia, une base de connaissances scientifique pluridisciplinaire sur le numérique, organisée sous la forme de notions clés autour de la création, la production et diffusion crossmédia.


Ses ambitions sont les suivantes : analyser et penser les usages transmédias et crossmédias, les modèles économiques, afin d'agencer au mieux les complémentarités des modèles traditionnels avec ceux portés par les nouveaux médias collaboratifs : comprendre les enjeux juridiques du crossmédia, notamment autour de la question du droit d'auteur, de la propriété intellectuelle sur les différents supports, ainsi que de la protection des données personnelles. L'ouvrage aborde les mutations des médias traditionnels et les stratégies éditoriales des médias émergents, les usages et enjeux communicationnels, mais questionne aussi les réseaux sociaux, la viralité, le profilage, la tactilité, la télévision connectée et les objets communicants...

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Guide d'autodéfense numériques - Tome 2 — en ligne

Guide d'autodéfense numériques - Tome 2 — en ligne | Digital #MediaArt(s) Numérique(s) | Scoop.it
C'est l'objet principal de ce second tome que de permettre à tout un chacun de comprendre quels sont les risques et les limites associés à l'utilisation d'Internet [et] de se donner les moyens de faire des choix éclairés quant à nos usages de l'Internet.


Aussi :

Le Guide d'autodéfense numérique était jusqu'ici disponible uniquement en version électronique. La sortie du second tome est l'occasion d'une édition papier. Un livre incluant les deux tomes ainsi que de nouvelles illustrations vient donc de sortir aux éditions Tahin Party.


Même si le format papier rend complexe les mises à jours (n'oubliez pas de vous tenir au courant des nouvelles éditions sur http://guide.boum.org/ de temps en temps), il se révélera, nous l'espérons, un support plus facile à appréhender par certaines personnes que le format PDF.


Pour en finir avec les illusions et les demi-solutions, apprenons et diffusons des pratiques d’autodéfense numérique avec un vrai livre en papier !

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Open Models - Les business models de l’économie ouverte - #OpenCulture #OpenEconomy

Open Models - Les business models de l’économie ouverte - #OpenCulture #OpenEconomy | Digital #MediaArt(s) Numérique(s) | Scoop.it

Logiciel, éducation, conception industrielle, données, science, art et culture, les open models sont partout. Les acteurs qui utilisent ces approches ouvertes remettent en cause les positions établies par les acteurs traditionnels. Souvent, des communautés s'organisent pour résoudre collectivement des problèmes sur lesquels buttent les organisations centralisées. Tabby, la voiture en kit open source, Protei, le drone marin open source, Open street map, en sont quelques exemples. ...


Changer de modèle c'est aussi changer son propre regard. Ainsi, pendant votre lecture, posez votre smartphone à côté du livre, lancez OpenModels.fr et tournez les pages au fur et à mesure de votre lecture. Vidéos, interviews, commentaires en direct, flux twitter, votes, le numérique vous offre un autre contexte, une autre façon de comprendre les choses.

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The Performance of Infrastructure: Review of Interactive Art and Embodiment... by Nathaniel Stern

The Performance of Infrastructure: Review of Interactive Art and Embodiment... by Nathaniel Stern | Digital #MediaArt(s) Numérique(s) | Scoop.it

Earlier this year, I had the good fortune to sit in on a talk given by Simon Penny on May 6th 2014 at the University of Exeter. Penny, not unlike Nathaniel Stern, is best known for his praxis, writing and teaching on interactive (and robotic) installations focusing on issues of embodiment, relationality and materiality. So as unorthodox as its inclusion is to start off a review, Penny’s reflections are pertinent here (in this case, Penny’s famous installations Fugitive (1997) and Traces (1999).


The purpose of Fugitive and Traces (if you can say they had one) sought to ‘embody’ virtual reality through multi-camera infra-red sensors, visual models and real-time movements. At that time, Penny’s unique theoretical take was to distance human-computer interaction away from “a system of abstracted and conventionalised signals” to where the user would “communicate kinesthetically”: instead of investigating the non-human or “inhuman” formal qualities of its medium, or some vague VR future that leaves the body behind, the system itself would “come closer to the native sensibilities of the human.” ...


Via Xavier Leton
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Xavier Leton's curator insight, November 17, 2014 5:33 AM

Earlier this year, I had the good fortune to sit in on a talk given by Simon Penny on May 6th 2014 at the University of Exeter. Penny, not unlike Nathaniel Stern, is best known for his praxis, writing and teaching on interactive (and robotic) installations focusing on issues of embodiment, relationality and materiality.

[.../...]

Interactive Art and Embodiment: The Implicit Body As Performance by Nathaniel Stern. ISBN 978-1-78024-009-1 (printed publication), Gylphi Limited, Canterbury, UK, 2013. 291 pp., 41 Colour Stills. 


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Video Mapping book (2015) /// gloWArp.com /// #VideoMapping #Vjing #tutorial

Video Mapping book (2015) /// gloWArp.com /// #VideoMapping #Vjing #tutorial | Digital #MediaArt(s) Numérique(s) | Scoop.it
Studio gloWArp.com is proud to announce the exit of english book "Augmented reality in public spaces: basic tecniques for video mapping"


Author: Donato Maniello
co – Author: Luigi Console
Foreword: Bruno Di Marino


The Book can be purchased on AMAZON.CO.UK which provides a worldwide shipping (select Le Penseur Publisher among sellers).


For any questions you can contact us by e-mail info@lepenseur.it

 

Brett Jones, researcher Microsoft and Disney, he dedicates the book a beautiful article on his personal website. Read

 

This book, the first in a series, dedicated to New Technologies for the Arts, is aimed at all digital arts students (PC and MAC users) who want to try video mapping for the first time. Thanks to a course of reading that alternates theoretic concepts and practical exercises – explaining from how to take a photograph to how to request permission, from the layer masks to 2D and 3D animation, up to the final projection and warping – the reader will be able to project a video mapping event.

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28 Mai 2015 - Living Art, Fondation - Au cœur de la nouvelle économie / Florent Aziosmanoff et Edmond Couchot

28 Mai 2015 - Living Art, Fondation - Au cœur de la nouvelle économie / Florent Aziosmanoff et Edmond Couchot | Digital #MediaArt(s) Numérique(s) | Scoop.it

Living design, living architecture, living urbanisme, living éducation... Au-delà de l’art, tous les champs de l’activité humaine se voient aujourd’hui investis de mécanismes animés par l’intelligence artificielle. Florent Aziosmanoff décrypte ces activités en plein essor qui promettent de révolutionner notre société.


Il montre en particulier que lorsqu’une personne se trouve confrontée à un dispositif ayant un comportement autonome, sa propre attitude est guidée par la relation établie avec ce dispositif. Les enjeux de discours du créateur s’expriment ainsi au travers du comportement du spectateur, qu’il dirige à travers son œuvre. Le living art se trouve être ainsi un art « qui vit » autant qu’il est « à vivre », portant le discours de l’artiste dans l’évidence d’une relation intime et personnelle, vécue au quotidien entre l’œuvre et son spectateur. ...


Jeudi 28 Mai 2015 à 17h à la Gaîté Lyrique
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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) | Digital #MediaArt(s) Numérique(s) | 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

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#Books /// Abstract/Ext - A first approximation to abstract literature

#Books /// Abstract/Ext - A first approximation to abstract literature | Digital #MediaArt(s) Numérique(s) | Scoop.it

A collective effort to push the boundaries of written text, in order to achieve a very promising first approximation to abstract literature. All texts are delivered in a limited edition of 1000 printed copies, 240 pages each, written by 45 international authors from around the world.

 Abstract|Ext features original texts by: Ïrving Armstrong, Steve Price, Carlos Issa, Ellectra Radikal, Richard Noyce, Zves Konstantinos, Elena Garnelo, Ross Lesko, Peterson Ruiz, miEKAL aND, Joana Brabo, Lee Kwo, Eugenio Tisselli, Spencer Selby, Dustin Hostleter, Graziela Calfat, Anton Unai, Keigo Depict Hara, Tina Dempsey, Veronika Sheer, Delling Conley, Scot Cotterell, Lucie Kåss, Johann Velit, Ann Bogle, Spencer Troth, Orville Vinz, Marisa Terrizzi, Jukka-Pekka Kervinen, David Quiles Guilló, Thomas Havlik, AG Davis, Lanny Quarles, Carmen Racovitza, Jörg Zemmler, Andrew Cantrell, William Bain, Jaan Patterson, Anthony Donovan, Jeanette Luchese, Erik Blagsvedt, Logan K. Young, Isabelle Chak, Erik H Zepka and Janire Goikoetxea. Compiled and edited by David Quiles Guilló.


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#Book - International Journal for Digital Art History /// #mediaart

#Book - International Journal for Digital Art History /// #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

This new journal seeks to gather current developments in the field of Digit- al Art History worldwide and to foster discourse on the subject both from Art History and Information Science. The Digital Age has revolutionized economy, society and our private lives. For decades now, digitalization has also touched most branches of the humanities.


With the rising importance of the so called Digital Humanities, Art History is at the brink of new ways of accessing its material and gaining un- precedented insights. Many approaches are currently evolving in the international sphere of Art History and many questions still remain unanswered: What require- ments does Art History have towards Information Technology? ...

Editors: Harald Klinke, Liska Surkemper

Editorial Board: Günther Görz, Anna Bentkowska-Kafel, Hubertus Kohle, Maximilian Schich

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Art, Technology, Consciousness - mind@large Edited by Roy Ascott (2000)

Art, Technology, Consciousness - mind@large Edited by Roy Ascott (2000) | Digital #MediaArt(s) Numérique(s) | Scoop.it

Within a technological context, this volume addresses contemporary theories of consciousness, subjective experience, the creation of meaning and emotion, and relationships between cognition and location. Its focus is both on and beyond the digital culture, seeking to assimilate new ideas emanating from the physical sciences as well as embracing spiritual and artistic aspects of human experience.
Developing on the studies published in Roy Ascott's successful Reframing Consciousness, the book documents the very latest work from those connected with the internationally acclaimed CAiiA-STAR centre and its conferences. Their artistic and theoretical research in new media and art includes aspects of:
• artificial life
• robotics
• technoetics
• performance
• computer music
• intelligent architecture
• telematic art

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White Heat Cold Logic (British #ComputerArt 1960 - 1980) | The MIT Press // #mediaart

White Heat Cold Logic (British #ComputerArt 1960 - 1980) | The MIT Press // #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Technological optimism, even utopianism, was widespread at midcentury; in Britain, Harold Wilson in 1963 promised a new nation "forged from the white heat of the technological revolution." In this heady atmosphere, pioneering artists transformed the cold logic of computing into a new medium for their art and played a central role in connecting technology and culture. White Heat Cold Logic tells the story of these early British digital and computer artists—and fills in a missing chapter in contemporary art history.


In this heroic period of computer art, artists were required to build their own machines, collaborate closely with computer scientists, and learn difficult computer languages. White Heat Cold Logic's chapters, many written by computer art pioneers themselves, describe the influence of cybernetics, with its emphasis on process and interactivity; the connections to the constructivist movement; and the importance of work done in such different venues as commercial animation, fine art schools, and polytechnics. ...


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At the Edge of Art - by Joline Blais & Jon Ippolito

At the Edge of Art - by Joline Blais & Jon Ippolito | Digital #MediaArt(s) Numérique(s) | Scoop.it

At the Edge of Art makes the case for art that is empowered rather than emasculated, seditious rather than sedate. Yet as important as art's new functions may be, the Internet--that global lifeblood through which so much of this new art circulates and is recognized--offers no wall labels or a gallery shingles to tell us whether a work is art.

To remedy this, At the Edge of Art looks at six genres--code art, computer games, online autobiography, political activism, online communities, and artificial life--asking in each case where the edge lies between art and software, politics, or science.

The answers are surprising--as the authors argue that many creators working in today's scientific laboratories and street politics are more deserving of support as artists than artworld insiders with international reputations and studios full of paintings or sculpture.

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Printing Things. Visions and Essentials for 3D Printing - by Dries Verbruggen & Claire Warnier

Printing Things. Visions and Essentials for 3D Printing - by Dries Verbruggen & Claire Warnier | Digital #MediaArt(s) Numérique(s) | Scoop.it

Publisher Gestalten writes: 3D  printers will soon be found in more and more workshops, offices, and homes. With them, we will be able to print out small pieces of furniture, prototypes, replacement parts, and even a new toothbrush on-site at any time. Consequently, new production methods and business models are developing--along with a new visual language of multidimensional formal explorations. Today, 3D objects and complex forms can already be printed out that were previously impossible to achieve with traditional methods.


Printing Things is an inspirational and understandable exploration of the creative potential of 3D printing. The book not only introduces outstanding projects, key experts, and the newest technologies, but it also delves into the complex topics that these paradigm-shifting technologies bring up, such as how to handle copyrights and seamless manufacturing. ...

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Internet artwork, artists and computer programmer : sharing the creative process - Jean-Paul Fourmentraux, 2006

Internet artwork, artists and computer programmer : sharing the creative process - Jean-Paul Fourmentraux, 2006 | Digital #MediaArt(s) Numérique(s) | Scoop.it
C
ollaborative situations between artists andimportant “extra personnel,” composed of all those who, in various ways, contribute to the realization of the work, arenumerous in the history of artistic practice. Although theseartworks are the results of collective activity, the different con-tributions to production are often hidden to benefit the myth-ical figure of the singular author, the final guarantor for “thecardinal activity of art” [1]. In the case of Net Art, the inter-activity postulated as a technical imperative of the work re-quires computing skills that the artist does not always possess.Computer programmers are needed for the algorithmic pro-gramming of the artistic
dispositiv
[2]. Observation of thespaces of mediation, translation and negotiation enables a bet-ter understanding of the ways in which a plan begun throughindividual initiative can evolve into a shared work. From thispoint of view, the digital arts involve a simultaneous redefin-ing of an artwork’s localization (i.e. where or what exactly isthe artwork?) and of the responsibilities of its authors. Cer-tain questions arise:

What is it that makes us consider a work of Net Art to bean artwork? How do the perspectives of the artist and thecomputer programmer differ in terms of what constitutesthe artwork?

How do these different partners proceed to share the ac-tivities of conception? What are the tasks attributed to eachone at the beginning of the plan? What are the tasks that each one is in charge of in practice? Who is responsiblefor what? Who is the author?
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An Irreverent Guide To #Transhumanism And The Singularity by R.U. Sirius and Jay Cornell

An Irreverent Guide To #Transhumanism And The Singularity by R.U. Sirius and Jay Cornell | Digital #MediaArt(s) Numérique(s) | Scoop.it

Futurists R.U. Sirius and Jay Cornell have published a witty, snide, and incredibly informative new book titled, Transcendence: The Disinformation Encyclopedia of Transhumanism and the Singularity. We spoke to the authors to learn more about the project and their own personal visions of the future.


Many of you will remember R.U. Sirius — aka Ken Goffman — from his co-publishing work at MONDO 2000, the first popular digital culture magazine (and a kind of precursor to io9). He's a "digital iconoclast" who has written about technology and culture for Wired, BoingBoing, Rolling Stone, and many other publications.

Jay Cornell is a writer, editor, and web developer. He's also the former managing editor of h+ magazine, and the former associate publisher of Gnosis magazine. He's quite active in the futurist community, currently serving as a member of the Board of Advisors of the Lifeboat Foundation, a nonprofit organization dedicated to defending humanity from existential risks. ...


Via Jean-Philippe BOCQUENET
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Hacker, Hoaxer, Whistleblower, Spy: The Many Faces of Anonymous by Gabriella Coleman: (2014) — Monoskop Log

Hacker, Hoaxer, Whistleblower, Spy: The Many Faces of Anonymous by Gabriella Coleman:  (2014) — Monoskop Log | Digital #MediaArt(s) Numérique(s) | Scoop.it

Writings on art, culture, and media technology.

A book on the worldwide movement of hackers, pranksters, and activists that operates under the non-name Anonymous.


Half a dozen years ago, anthropologist Gabriella Coleman set out to study the rise of this global phenomenon just as some of its members were turning to political protest and disruption (before Anonymous emerged as a player in the battles over WikiLeaks, the Arab Spring, and Occupy Wall Street). She ended up becoming closely connected to Anonymous and the story of her inside-outside status as Anon confidante, interpreter, and erstwhile mouthpiece forms one of the themes of this engrossing book. ...


Via Xavier Leton
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Xavier Leton's curator insight, November 17, 2014 10:18 AM

Half a dozen years ago, anthropologist Gabriella Coleman set out to study the rise of this global phenomenon just as some of its members were turning to political protest and disruption (before Anonymous emerged as a player in the battles over WikiLeaks, the Arab Spring, and Occupy Wall Street). She ended up becoming closely connected to Anonymous and the story of her inside-outside status as Anon confidante, interpreter, and erstwhile mouthpiece forms one of the themes of this engrossing book.

[.../...]


Publisher Verso Books, London and New York, November 2014
Creative Commons BY-NC-SA license
ISBN 1781685835, 9781781685839
452 pages
via Marcell

Review (David Gilbert, IB Business Times, 2014)
Review (Publishers Weekly, 2014)
Review (Haley Mlotek, National Post, 2014)
Review (Kirkus Reviews, 2014)

Debate with Gabriella Coleman, Cory Doctorow and James Bridle, London, 4 Nov
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WorldCat

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