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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Magmart - International #videoart festival, since 2005 // #mediaart

Magmart - International #videoart festival, since 2005 // #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Magmart is an international video arts festival which is held in Naples, Italy.

 

The festival is a project of an Italian studio tad (design) in partnership with the Casoria Contemporary Art Museum (CAM). The first festival was held in January 2006 with about 190 entrants from various countries around the world. The jury selected 30 videos which have become part of permanent collection of CAM. Over 220 artworks were presented during the second festival held in 2007 with a large increase in women's participation (about 33% of all artists).

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Lumina Light #Festival, Cascais 2015 /// #lightart #mediaart

Lumina Light #Festival, Cascais 2015 /// #lightart #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

The 3rd edition of LUMINA Light Festival, took place in Cascais from 12 to 14 September 2014, showing 26 artworks coming from numerous countries scattered along the Light Walk, offering the public moments of discovery, magic and thrill. The program was varied and included details that reminds us the connection of the town with the sea and light.

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In 2015, from 11 to 13 September, LUMINA will be back in Cascais with an entire new and exciting program, for another Brilliant edition!

Follow the Blue Light!

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ANATOMIZE - Curatorial projects of Rollin Leonard (2013) - #gif

ANATOMIZE - Curatorial projects of Rollin Leonard (2013) - #gif | Digital #MediaArt(s) Numérique(s) | Scoop.it

A Bill Miller, USA (1) (2); Adam Harms, USA (1); Alexandra Gorczynski, USA; Alex Thebez, Indonesia (1) (2) (3); Angela Washko, USA (1) (2) (3); Ann Hirsch, USA (1); Anthony Antonellis, USA (1) (2); Arjun Srivatsa, USA (1); Carla Gannis, USA (1); Carlos Saez, Spain (1); Claudia Mate, Spain (1); Daniel Temkin, USA (1); Emilio Gomariz, United Kindom (1) (2); Erica Lapadat-Janzen, Canada (1); Eva Papamargariti, Greece (1) (2); Fabien Mousse, France (1); Faith Holland, USA (1) (2); Gaby Cepeda, Argentina (1); Georges Jacotey, Greece (1) (2) (3); Giselle Zatonyl, Argentina (1); Hyo Myoung Kim, United Kingdom (1) (2); Jennifer Chan, Canada (1); Jesse Darling, USA (1) Jessica Wilson, USA (1); Kim Asendorf, Germany (1); LaTurbo Avedon, Internet (1); Lee Russell, USA (1); Lilly Handley, USA (1); Lorna Mills, Canada (1) (2); Ole Fach, Germany (1) Organ Armani, Canada (1); Rea McNamara, Canada (1); RM Vaughan + (Keith Cole + Lorna Mills), Canada (1); Robert Lorayn, USA (1); Sally Mckay, Canada (1); Sarah Weis, USA (1); Tony Halmos, Canada (1); Tristan Stevens, United Kingdom , Canada (1); V5MT, Poland (1) (2) (3); Yoshi Sodeoka, USA (1) (2)

Screening at Transfer Gallery March 2013. Online 2015 xasyas.com.

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In the Uncanny Valley - by Domenico Quaranta /// #mediaart

In the Uncanny Valley - by Domenico Quaranta /// #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

According to Wikipedia, “the uncanny valley is a hypothesis in the field of robotics and 3D computer animation, which holds that when human replicas look and act almost, but not perfectly, like actual human beings, it causes a response of revulsion among human observers.”


What fascinates me in this concept is the idea of a “limit”, set not by an external constraint (in this case, advancements in technology), but by human sensibility.


We already can exceed this limit, but if we do, we will produce a monster. I like to think that the same idea can be extended to any kind of human artifact. Uncanny valleys are everywhere.


This is the place where I collect and share my research notes about art, and about what is uncannily similar to it. Enjoy.

Domenico Quaranta

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SPAMM of Virtualism // #NetArt exhibition // WEB - NEW YORK - PARIS - MOSCO

SPAMM of Virtualism // #NetArt exhibition // WEB - NEW YORK - PARIS - MOSCO | Digital #MediaArt(s) Numérique(s) | Scoop.it

" SPAMM of Virtualism ", Net Art exhibition offers to connect with a webcam interactive scenography these great capitals, Moscow, Paris and New York, around a digital creation on the Internet and the artistic movement of virtualism.


As Art is a source of communication, Art is a communication in itself, this exhibition is a symbol of unity around the sharing tool which is the Internet 2.0

« The virtualism is an artistic movement that defines art forms designed with the help of digital tools. It interprets the notions of gestures and materials in the field of digital: the virtualist work is based on a creative act in power, reflected by the interfaces that reduce the action to simple actions, automated by peripheral tools. »
Encyclopedia, « 100 notions of digital art »
Editions de l’immateriel


The raw material of digital creations being virtual, the acted gesture of creation redefines the creative act in power. Indeed, what is virtual is inherently powerful and the creative gesture in this case has no tangible impact on the material being worked. The gesture in power is what is observable in the digital, the acted gesture on the interface. The virtualism is a reconsideration of the creative act and its plastic relationship to the material.

The virtualism in the post-industrial context


In the 1960s, in the heart of the industrial society, the consumption of goods is the major societal concern. Thus Yves Klein and Pierre Restany develop the new realism theory. By implementing the object of consumption as a subject in itself, this artistic movement is directly related to the context of industrial society. This approach will be extended by the creation of the current sociological art by Fred Forest and the relational art by Nicolas Bourriaud. Thus the history of art is in dialogue with the social context and it should be taken into account this context while writing new theories. The 1980s saw the birth of the concept of post-industrialism, an assumption that the raw material of industrial society would be replaced by a knowledge economy through an exponential growth of tertiary sectors. This theory, rediscovered in the 2000s, is particularly visible in the digitalwhere the information is dominant in a social system. It is in this movement that fits the virtualism, in a society where the digital is spreading in a daily life of virtual reality.

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Miyö Van Stenis about the *Beautiful Interfaces - Pavilion of The Wrong Biennale - #netart

Miyö Van Stenis about the *Beautiful Interfaces - Pavilion of The Wrong Biennale - #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Beautiful Interfaces in a pavilion that focuses on social media interfaces, but is created to exist in the deep web - which is not a normal place for art and definitely not for social media. The Deep in the Void Miyö Van Stenis


www.thedeepinthevoid.com

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Aram Bartholl : A new way of curating digital art - #mediaart #netart

Aram Bartholl : A new way of curating digital art - #mediaart #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Berlin-based conceptual artist Aram Bartholl is well known for his work around digital and physical world relationships. He is also the inventor of a unique and playful way to display digital art : the Speed Show. Introducing what could be called " the new wave of digital curating ".

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NewHive.com - multimedia publishing platform - #netart

NewHive.com - multimedia publishing platform - #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

With custom tools and a blank canvas feel, NewHive is giving creativity
back to the internet. 


Whether you’re a digital artist or not, internet culture shapes everything we do: we think in Tweets, see in Instagrams, and try to scroll on analog devices.


NewHive Curator Lindsay Howard explores how the internet is shaping artistic practices and culture, spotlighting the work of artists who transform the effects of internet culture into multimedia experiences on the web. The online publishing platform provides the blank space for them to do so, along with custom tools and a code editor, which supports HTML, CSS, JS, Processing, and three.js. Designed with creators in mind, NewHive prioritizes the  “desktop experience” and always ensures “that creators own all the rights to their work.” Featuring the work of emerging and established creators, NewHive and Howard are commissioning projects ranging from zines to curated exhibitions online. ...

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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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Roberta Colavecchio - New Media Art & Technocultures | Events & Exhibition Production

Roberta Colavecchio - New Media Art & Technocultures | Events & Exhibition Production | Digital #MediaArt(s) Numérique(s) | Scoop.it

independent curator and cultural producer whose research is situated on the borders of contemporary art and new technologies.

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LeCollagiste // Artist, Curator #VJ, WebMag on #VJing Culture // #videomapping

LeCollagiste // Artist, Curator #VJ, WebMag on #VJing Culture // #videomapping | Digital #MediaArt(s) Numérique(s) | Scoop.it

LeCollagiste VJ works in various and multidisciplinary fields, deploying his multiple skills: Webmaster, Web Designer, Multimedia Designer Computer Graphics, Animation, Web / Short Movie Director , Music.


Audiovisual artist  and technician producing his own images, he established and developed his graphic universe in order to create an atmosphere suitable for listening, always looking for the interaction between the visual and the other artists’s performance.


LeCollagiste VJ deals with several musical styles: Drum’and’Bass, Jungle, Breakbeat, Reggae, Ragga, Dub, Trans, Hardtek, electro jazz, gypsy jazz and various live shows, techno, rock, electro.


Today the audiovisual artist-technician as he likes to define itself, aims to combine technologies of the image with projections of large surface area to work on new concepts of video streaming.

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GENERATIVE.NET - collaborative collection of artworks /// #generativeart

GENERATIVE.NET - collaborative collection of artworks /// #generativeart | Digital #MediaArt(s) Numérique(s) | Scoop.it

generative.net is a collaborative collection of artworks, research and experiments by artists and academics interested in the possibilities of generative art. Much of this work manifests itself as digital artwork, or online interactive experiences. We collect links to online works of interest with the aim of archiving this information permanently, and we run a mailing list that facilitates discussion and posting of relevant materials. We have also hosted the GENERATOR exhibition's web site and have an interest in supporting projects that promote and further the understanding and use of generative techniques in art, design and commerce.


The possibilities of generative art have been long known, and yet we continuously see a fresh turnover of ideas being explored by the academic, creative and commercial sectors. This would indicate that generative art has a capability beyond traditional notions of art that often stagnate. If you are interested in or actively persue the realm generative art, feel free to join generative.net in some way.

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#GIF Artists World Map - A project by Alessandro Scali - #netart #mediaart

#GIF Artists World Map - A project by Alessandro Scali - #netart #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

GIFs are really global now. Well, not much more than before, but Alessandro Scali—who previously allowed us to bring GIFs anywhere with the Giphoscope—made a public Google Map based on @giphy artists list that gives visitors an easy way to see the glitchy, DIY animations from creatives all over the world. Explore the animation: here.


From Haydiroket in Turkey to Mike + Claire in New York (old favorites of The Creators Project), the map is the step in the right direction for categorizing and archiving the various individuals working in a medium that's only beginning to get recognized as an art medium. The map by no means represents the whole GIF community, and many names are missing, but as Scali notes, "it's a first step."

The map includes 78 artists from 19 different countries, which probably doesn't even scratch the surface of the amount of GIF tinkerers out there. ...


Want to be added on the map? Contact me at lssndrscl@gmail.com or info@okkul.lt, and don't forget to write your website and your location.


A project by http://bit.ly/alessandroscali | www.okku.lt

Featured on The Creators Project: http://bit.ly/1lCNP8H

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The Forever #War Is Always Already Here: Introducing Phase Zero - by William M. Arkin

The Forever #War Is Always Already Here: Introducing Phase Zero - by William M. Arkin | Digital #MediaArt(s) Numérique(s) | Scoop.it

Welcome to Phase Zero, a new Gawker Media site that will cover the world of spying and killing.

Phase Zero will attempt to apply Gawker's modus operandi of honesty and impertinence to the deadly serious world of intelligence, war, policing, and homeland security. With an assist from Gawker's Adam Weinstein, I will expose secrets. I will name secret programs and tell you where they live, who is running them, and what they are doing in your name. I will try to drag the architecture of permanent war out of the shadowy protection program its stewards in the Pentagon, Congress, intelligence community, and journalistic establishment have built for it.

The name requires a bit of an explanation: "Phase Zero" is national security jargon. I first noticed it popping up in official documents about a year ago. When I hunted down the bureaucratic definition, I was amused but not surprised: It means peace. Not peace like a normal person might define it. Instead, think "pre-war." Pentagon planners like to chop their wars up into neat, easily digestible nuggets—Phase One, for instance, is the "deterrent phase," when we try to scare the enemy into backing down. Phase Two is seizing the initiative and deploying forces, etc., on to Phase Five, the return of conquered lands to civilian authority. ...

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IASLonline: Lessons in #NetArt by Thomas Dreher - #mediaart

IASLonline: Lessons in #NetArt by Thomas Dreher - #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Lessons: Since 1999 the Lessons in NetArt introduce to examples of the possibilities of artistic creativity in the internet. They appear in irregular intervals.


Tips: The tips refer to actual projects. They are presented and discussed in a scarce form. Commented short tips introduce further interesting projects.


Theory: The section Theory contains contributions and discussion forums concerning problems of NetArt and its wider context. Fundamental problems of NetArt are presented in NetArt: Einführung (in german) as a part of the history of Intermedia Art.


Links: Links refer to platforms and texts on NetArt. Further links present platforms, portals, mailing lists and newsgroups with actual informations on NetArt, net conditions, activism, databases for Intermedia Art and book reviews in "IASLonline Rezensionen".


Thomas Dreher : Born 1957 in Krumbach/Schwaben, youth in Ulm until 1978 (Germany). Lives in Munich since 1978. Study: Art History since 1978, doctorate in 1988 (Ludwig-Maximilians-University, Munich). Writes art criticism since 1985, mostly on intermedia art, conceptual art, performance art and computer art, esp. net art. Published books: Conceptual Art in America and England from 1963 to 1976 (in german, Peter Lang, Frankfurt 1992); Performance Art since 1945: Action Theater and Intermedia (in german, Wilhelm Fink, Munich 2001). Website: Intermedia Art: http://dreher.netzliteratur.net (in german). IASLonline Lessons in NetArt (: http://www.iasl.uni-muenchen.de/links/lektion01.html (german/english).

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#InteractiveArt - YouTube Channel by the Creators Project - #mediaart #curatethecurators

#InteractiveArt - YouTube Channel by the Creators Project - #mediaart #curatethecurators | Digital #MediaArt(s) Numérique(s) | Scoop.it

Interactive art is a form of art that involves the spectator in a way that allows the art to achieve its purpose. Some interactive art installations achieve this by letting the observer or visitor "walk" in, on, and around them; some others ask the artist to become part of the artwork.


Works of this kind of art frequently feature computers and sensors to respond to motion, heat, meteorological changes or other types of input their makers programmed them to respond to. Most examples of virtual Internet art and electronic art are highly interactive. Sometimes, visitors are able to navigate through a hypertext environment; some works accept textual or visual input from outside; sometimes an audience can influence the course of a performance or can even participate in it.


Though some of the earliest examples of interactive art have been dated back to the 1920s, most digital art didn’t make its official entry...

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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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