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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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Creative Machine | Curators: William Latham, Atau Tanaka and Frederic Fol Leymarie

Creative Machine | Curators: William Latham, Atau Tanaka and Frederic Fol Leymarie | Digital #MediaArt(s) Numérique(s) | Scoop.it
A major exhibition exploring the twilight world of human/ma- chine creativity, including installations, video and computer art, artificial intelligence, robotics and apps by leading artists from Goldsmiths and international artists by invitation. 


A major exhibition exploring the twilight world of human/machine creativity, including installations, video and computer art, Artificial Intelligence, robotics and Apps by leading artists from Goldsmiths and international artists by invitation.


The vision for organising the Creative Machine Exhibition is to show exciting works by key international artists, Goldsmiths staff and selected students who use original software and hardware development in the creative production of their work.


The range of work on show, which could be broadly termed Computer Art, includes mechanical drawing devices, kinetic sculpture driven by fuzzy logic, images produced using machine learning, simulated cellular growth forms and the self-generating works using automated aesthetics, VR, 3D printing, and social telephony networks.


Traditionally, Computer Art has held a maverick position on the edge of mainstream contemporary culture with its origins in Russian Constructivist Art, biological systems, “geeky” software conferences, rave / techno music and indie computer games. These artists have defined their own channels for exhibiting their work and organised conferences and at times been entrepreneurial at building collaborations with industry at both a corporate and startup level (with the early computer artists in the 1970s and 1980s needing to work with computer corporations to get access to computers). Alongside this, interactive media art drew upon McLuhan’s notion of technology as extensions of the human to create participatory, interactive artworks by making use of novel interface technology that has been developed since the 1980s.

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Machines Pensantes - curation par l'Association Concert Urbain

Machines Pensantes - curation par l'Association Concert Urbain | Digital #MediaArt(s) Numérique(s) | Scoop.it
La vie sous toutes ses formes


L'association Concert-Urbain mène une action originale afin de mettre les nouvelles technologies au service du dialogue et de la concertation sociale.

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augmented reality blog | the augmented reality news by Tobias Kammann

augmented reality blog | the augmented reality news by Tobias Kammann | Digital #MediaArt(s) Numérique(s) | Scoop.it
Latest discoveries and news on augmented reality developments collected and commented.


This blog www.augmented.org is fully dedicated to discover, show and comment on the latest developments in the cutting-edge technology known as Augmented Reality. This website has a history of over 8 years and is blogging for over 2 years now. Keep reading and discover the projects listed aside!


The site is run by me, Tobias D. Kammann, holding a Dipl. Inform. in Computational Visualistics. I’m involved in AR since late 2002 and worked on different projects for movie and television production and AR research, including movie previzualisation and realtime sports augmentation. "I studied in Koblenz (Germany), Lappeenranta (Finland) and Donostia (Spain) and worked in Berlin and Prague for the production of Roman Polanski’s Oliver Twist. Currently I live in Munich and work for RTT in their research department as lead AR developer for (mainly) automotive products".

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The second of the conference series titled Sound Curating will take place at ZKM - 19 > 21.08.2013

The second of the conference series titled Sound Curating will take place at ZKM - 19 > 21.08.2013 | Digital #MediaArt(s) Numérique(s) | Scoop.it

The role and function of the curator is being transformed by the modus operandi and creative practices of mediated art forms, interactive art and design. One of the effects of this transformation is the creation of a new emerging field that of sound art curating.

 

The theme of the seminars and the LEA Special Issue are organized around a number of seminars taking place in 2013 and 2014, which will focus on the methodologies, histories, theories and practices of sound art curating. The seminars will present an opportunity to focus on the increasing use of interactive art and design for curatorial purposes, which is transforming the curator’s role into a hybrid function placed between art, science and social technology.

 

Traditionally, the curator has been affiliated to the modern museum as the persona who manages an archive, and arranges and communicates knowledge to an audience, according to fields of expertise (art, archaeology, cultural or natural history etc.). However, in the late twentieth century the role of the curator changes - first on the art-scene and later in other more traditional institutions - into a more free-floating, organizational and ’constructive’ activity that allows the curator to create and design new wider relations, interpretations of knowledge modalities of communication and systems of dissemination to the wider public.

 

Furthermore, the nature of the archive and its stored objects has changed radically. With the urge of including new media and immaterial works of art into collections the complexity of the archive has simply outgrown traditional models of curating. Consequently, curators have started to develop and cultivate new ways and methodologies to ensure that sound art and archives reach the public.

 

Over the last decade or so, many interesting new methodologies have emerged within the field of sound curating. These methodologies are strictly linked to the creative use of digital technologies and computational techniques such as physical and tangible computing. Specifically, interactive art and design seem to offer a promising new potential for letting the audience experience and interact with sound objects (tangibly, bodily, etc.) and through that experience acquire insight and knowledge about them. In this sense interactive art and design obtain a meta-position - being works of art in themselves, but designed for the purpose of communicating and experiencing sound objects.

 

How does the modality of interactive art and design affect the methodologies of sound (art) curating?

 

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CRUMB - Curatorial Resource for Upstart Media Bliss - #mediaart

CRUMB - Curatorial Resource for Upstart Media Bliss - #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

CRUMB aims to help those who 'exhibit' new media art, including curators, technicians and artists.


CRUMB is supported by the University of Sunderland with funding from the Arts and Humanities Research Council, The Leverhulme Trust, Arts Council England.

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Everyday Listening - Sound Art, Sound Installations, Sonic Inspiration

Everyday Listening - Sound Art, Sound Installations, Sonic Inspiration | Digital #MediaArt(s) Numérique(s) | Scoop.it

Everyday Listening collects inspiring and remarkable sound art and creative sound design projects, installations, reviews of urban soundscapes, places, contemporary or experimental, mostly electronic music. The term Everyday Listening is used to describe the way we use sound to find our way in our everyday life.


Hugo Verweij founded Everyday Listening in 2009 and currently works as a sound designer for Apple in California. Previously he designed sound in various contexts: Installations, apps, interfaces, radio, motion graphics, contemporary dance. He has almost a decade of experience in education as a lecturer on sound design, music production and related subjects at HKU University of the Arts Utrecht. His work focuses on the synergy between what’s audible, visible and tactile. 


Mark IJzerman is a sound artist and composer with a great interest in interactive and procedural sound.



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9-Eyes - a curation of Google Maps street view project by Jon Rafman

9-Eyes - a curation of Google Maps street view project by Jon Rafman | Digital #MediaArt(s) Numérique(s) | Scoop.it

In 2007, Google initiated the Google Maps project by sending out an army of hybrid electric cars supplied with the latest image capturing devices; the 9 eyes. This camera, mounted to a pole on the top of the car, creates a picture every 10 to 20 meters. A computer software then stitches the 9 photos together and creates 360º horizontal and 290º vertical panoramic views.

Rafman's role in his 9 Eyes project is as much an artist, as being a curator. Not only browsing through millions of images created by a generic and automated process, but establishing cultural and historical context to this process. Curating the images into an endless amount of categories: gritty urban life reminiscent of hard-boiled American street photography, postcard perfect shots, old family snapshots, landscape photography and so on.

Rafman belongs to a new breed of artists that fully embraces the endless possibilities of the internet. A breed so new that they have not yet been defined by a single term: Rafman refers to his work as the work of an 'internet aware artist'. Breaking the boundaries of traditional art, and its presentation, these artists are constantly experimenting. The 9 Eyes project touches the concepts and philosophy of past Dadaist artists, anarchist in nature. However, instead of exposing and ridiculing contemporary culture, Jon Rafman uses it as vehicle to express his vision.

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News, sounds, images and ideas from the Sonic Art Research Unit at Oxford Brookes University by @saru_brookes

News, sounds, images and ideas from the Sonic Art Research Unit at Oxford Brookes University by @saru_brookes | Digital #MediaArt(s) Numérique(s) | Scoop.it
news, sounds, images and ideas from the Sonic Art Research Unit at Oxford Brookes University...
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