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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The Garden of Earthly Delights by Jheronimus Bosch an online interactive adventure

The Garden of Earthly Delights by Jheronimus Bosch an online interactive adventure | Digital #MediaArt(s) Numérique(s) | Scoop.it

The interactive documentary Jheronimus Bosch, the Garden of Earthly Delights provides an in-depth tour though The Garden of Earthly Delights. In a web interface the visitor will be taken on an audio-visual journey, including sound, music, video and images to enrich the storytelling.

The interactive documentary Hieronymus Bosch, The Garden of Delights is part of the transmedia tryptich: 'Hieronymus Bosch'. The transmedia tryptich consists of the documentary film 'Hieronymus Bosch, touched by the devil', the interactive documentary 'Hieronymus Bosch: Garden of Earthly Delights' and the Virtual Reality documentary 'Hieronymus Bosch, the Eyes of the Owl'. Website: http://jheronimus-bosch.nl

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This is the true stoy of the rise of the animated #GIF - Kenyatta Cheese

This is the true stoy of the rise of the animated #GIF - Kenyatta Cheese | Digital #MediaArt(s) Numérique(s) | Scoop.it

This is the true story of the Animated GIF told as a fairy tale through animated gifs of Snow White.

by kenyatta cheese, originally presented at The Conference in Malmö, August 2013 and in version 2 form at The Story in London, February 2014.Watch the video version here.

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Computers Are Learning About Art Faster than Art Historians

Computers Are Learning About Art Faster than Art Historians | Digital #MediaArt(s) Numérique(s) | Scoop.it
An algorithm took just a few months to draw connections between artists that scholars have been working on for years.

omputers are getting better at some surprisingly human tasks. Machines can now write novels (though they still aren’t great), read a person’s pain in their grimace, hunt for fossils and even teach each other. And now that museums have digitized much of their collections, artificial intelligence has access to the world of fine art.

That makes the newest art historians on the block computers, according to an article at MIT Technology Review. ...

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A Brief History of Animated #GIF Art, Part three - by Paddy Johnson /// #netart #gifart

A Brief History of Animated #GIF Art, Part three - by Paddy Johnson /// #netart #gifart | Digital #MediaArt(s) Numérique(s) | Scoop.it
In the third installment of her history of animated GIF art, Paddy Johnson looks at the huge impact of Tumblr on digital art-making practices.


Welcome to part three of this brief journey through the rich history of one of the newest and most popular art forms, the animated GIF. The previous installments are “The Early Years: 1997–2008" and "Group Blogs, Surf Clubs, and the Beginning of Social Networking."


Let's face it, after about 2009 GIF production accelerated at such a rate that any attempt to identify key artists would not only be futile, but create a post so long no one would read it. As such, for this section I've decided to focus solely on Tumblr, whose role is significant enough in the development and dissemination of GIF art to earn a post of its own.

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A Brief History of Animated #GIF Art, Part One - by Paddy Johnson /// #netart #gifart

A Brief History of Animated #GIF Art, Part One - by Paddy Johnson /// #netart #gifart | Digital #MediaArt(s) Numérique(s) | Scoop.it

What does the history of GIF art look like? This is a tricky question to answer because while there has been no shortage of animated GIF exhibitions, there is a dearth of documentation. Bond Street, a Brooklyn-based gallery that hosted Laurel Ptak's exhibition “Graphics Interchange Format" in August 2008, no longer exists and neither does its website.

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“Save for Web," a GIF exhibition that opened in August 2009 at Xpace Cultural Centre in Toronto has its own 1.0 website at Angel Fire, but no install shots or GIF slideshows. The same is true of the non-profit digital arts organization Rhizome, which heavily promoted its 2006 exhibition, “The Animated GIF Show," on MySpace, and hosted the show in San Francisco.

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This poses a problem because it means it's much more difficult to piece together a history of how GIFs have been used in an art context. That history isn't going to be told in one article, but given the pervasive lack of documentation, an overview is essential before key moments are completely forgotten.

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Interview With Domenico Quaranta - By Daniel Rourke | on furtherfield

Interview With Domenico Quaranta - By Daniel Rourke | on furtherfield | Digital #MediaArt(s) Numérique(s) | Scoop.it

Daniel Rourke: At Furtherfield on November 22nd 2014 you launched a Beta version of a networked project, 6PM Your Local Time, in collaboration with Fabio Paris, Abandon Normal Devices and Gummy Industries. #6PMYLT uses twitter hashtags as a nexus for distributed art happenings. Could you tell us more about the impetus behind the project?

Domenico Quaranta: In September 2012, the Link Art Center launched the Link Point in Brescia: a small project space where, for almost two years, we presented installation projects by local and international artists. The Link Point was, since the beginning, a “dual site”: a space where to invite our local audience, but also a set for photographic documentation meant to be distributed online to a global audience. Fabio Paris' long experience with his commercial gallery - that used the same space for more than 10 years, persuaded us that this was what we had to offer to the artists invited. So, the space was reduced to a small cube, white from floor to ceiling, with neon lights and a big logo (a kind of analogue watermark) on the back door. ...

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A Visual History of Typewriter Art from 1893 to Today

A Visual History of Typewriter Art from 1893 to Today | Digital #MediaArt(s) Numérique(s) | Scoop.it

“Art is not a thing — it is a way,” Elbert Hubbard observed in 1908 in what became one of history’s finest definitions of art. Hubbard was writing at the dawn of an unusual new art form, wherein artists were appropriating a new thing — a trailblazing technology — to find a new way of making art. The product and legacy of that is what graphic design scholar Barrie Tullett explores in Typewriter Art: A Modern Anthology (public library) — a fascinating chronicle of “the development of the typewriter as a medium for creating work far beyond anything envisioned by the machine’s makers,” embedded in which is a beautiful allegory for how all technology is eventually co-opted as an unforeseen canvas for art and political statement. ...




Via Laura Brown
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#Mediaart and culture - Wiki for Collaborative Studies of Art, Media & the Humanities - by Monoskop

#Mediaart and culture - Wiki for Collaborative Studies of Art, Media & the Humanities - by Monoskop | Digital #MediaArt(s) Numérique(s) | Scoop.it

Wiki for Collaborative Studies of Art, Media and the Humanities.


The term media art is useful and used for artistic projects bringing up the technological, aesthetical, social, cultural, legal and political issues that come along with the emergence of new media. Since 1990s the new media have included internet, web, mobiles, wireless, GPS, and others. Media culture in this regard uses and is used by new media.

Media art includes projects exploring technological and aeshetical of emerging tools and standards, such as video, computer, mobile devices, internet, software, code, computer games, streaming, GPS, sound production devices, or robotics. These projects usually focus on the manuevre limitations, stereotypes of perception, or aesthetics of these tools.


Looking at the media art and culture mailing lists, conferences and festivals, the current discussions are held on various topics, such as public domain and accessibility of data, software, and devices, democratisation of electromagnetic spectrum (open spectrum), social web (or web 2.0), protection of personal data and identity, and human rights, and deal with related social, cultural, legal and political issues. ...

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Une Histoire des arts numériques - de 1900 à nos jours - Labomedia #mediaart #artnumerique

Une Histoire des arts numériques - de 1900 à nos jours - Labomedia #mediaart #artnumerique | Digital #MediaArt(s) Numérique(s) | Scoop.it

Qu'est ce que "l'art numérique" aussi appelé de différentes façons selon les auteurs ? De quels héritages historiques et technique les pratiques artistiques qui s'en revendiquent ont-elles bénéficiées ?

Pour répondre à ces questions, considérons que dans l'histoire de l'art, les pratiques peuvent être définies par la technique employée : peinture, sculpture, photographie, cinéma, ... Pour autant, définir l'art numérique à partir de l'ordinateur ou du code binaire (les 0101001 qui constituent l'élément de base de l'informatique) est à la fois trop large et trop restrictif. Trop large car le numérique s'immisce aujourd'hui partout, y compris dans des pratiques artistiques "traditionnelles" en entrant par exemple à un moment dans le processus de production/création (le montage au cinéma et bientôt la diffusion des films en salle) ...

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History of the Open Source Movement

History of the Open Source Movement | Digital #MediaArt(s) Numérique(s) | Scoop.it

From operating systems to development tools and programming languages to browsers and thousands of utilities and applications, Open Source has led the way. Now, discover the movement's history.

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Art History 2.0, From A 16-Year-Old, Rising Digital Arts Star | By Charlotte Japp

Art History 2.0, From A 16-Year-Old, Rising Digital Arts Star | By Charlotte Japp | Digital #MediaArt(s) Numérique(s) | Scoop.it
Gen-Z artist David Marinos introduces us to future nostalgia.
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Computer Love & Hacking the Timeline v3.0 : Two events about the historification of Computer Art

Computer Love & Hacking the Timeline v3.0 : Two events about the historification of Computer Art | Digital #MediaArt(s) Numérique(s) | Scoop.it

Developing a serious academically rigorous discourse, concerning the evolution of digital art, from its original elite origins to today’s ubiquitous world-culture was a focus of two consecutive evenings in Los Angeles in early 2014.

As part of USC One Archive’s three-month long retrospective series on EZTV’s early history (read the KCET Artbound article here) , these two related and back-to-back events, on  April 15th & 16th focused on the dialogue between critical practice and an arts practice based on the ever-evolving journey of digital art.

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course : Internet History, Technology, and Security by Charles Severance - free download

course : Internet History, Technology, and Security by Charles Severance - free download | Digital #MediaArt(s) Numérique(s) | Scoop.it

Course including videos, presentation files and subtitles for the videos [ENG only] - free download

The impact of technology and networks on our lives, culture, and society continues to increase. The very fact that you can take this course from anywhere in the world requires a technological infrastructure that was designed, engineered, and built over the past sixty years. To function in an information-centric world, we need to understand the workings of network technology. This course will open up the Internet and show you how it was created, who created it and how it works. Along the way we will meet many of the innovators who developed the Internet and Web technologies that we use today.

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Data Science and Digital Art History - by Lev Manovich / #mediaart

Data Science and Digital Art History - by Lev Manovich / #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

I present a number of core concepts from data science that are relevant to digital art history and the use of quantitative methods to study any cultural artifacts or processes in gen-eral. These concepts are objects, features, data, feature space, and dimension reduction.  These concepts enable computational exploration of both large and small visual cultural data. We can analyze relations between works on a single artist, many artists, all digitized production from a whole historical period, holdings in museum collections, collection metadata, or writings about art. The same concepts allow us to study contemporary vernacular visual media using massive social media content. (In our lab, we analyzed works by van Gogh, Mondrian, and Rothko, 6000 paintings by French Impressionists, 20,000 photographs from MoMA photo-graphy collection, one million manga pages from manga books, one million artworks of con-temporary non-professional artists, and over 13 million Instagram images from 16 global cities.) While data science techniques do not replace other art historical methods, they allow us to see familiar art historical material in new ways, and also to study contemporary digital visual culture...


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Joachim Rodriguez's curator insight, July 10, 2015 10:48 AM

an interesting mashup of two distinct disciplines...

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The Anatomy of a Search Engine by Sergey Brin and Lawrence Page

The Anatomy of a Search Engine by Sergey Brin and Lawrence Page | Digital #MediaArt(s) Numérique(s) | Scoop.it

In this paper, we present Google, a prototype of a large-scale search engine which makes heavy use of the structure present in hypertext. Google is designed to crawl and index the Web efficiently and produce much more satisfying search results than existing systems. The prototype with a full text and hyperlink database of at least 24 million pages is available at http://google.stanford.edu/


       To engineer a search engine is a challenging task. Search engines index tens to hundreds of millions of web pages involving a comparable number of distinct terms. They answer tens of millions of queries every day. Despite the importance of large-scale search engines on the web, very little academic research has been done on them. Furthermore, due to rapid advance in technology and web proliferation, creating a web search engine today is very different from three years ago. This paper provides an in-depth description of our large-scale web search engine -- the first such detailed public description we know of to date.


       Apart from the problems of scaling traditional search techniques to data of this magnitude, there are new technical challenges involved with using the additional information present in hypertext to produce better search results. This paper addresses this question of how to build a practical large-scale system which can exploit the additional information present in hypertext. Also we look at the problem of how to effectively deal with uncontrolled hypertext collections where anyone can publish anything they want.

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A Brief History of Animated #GIF Art, Part four - by Paddy Johnson /// #netart #gifart

A Brief History of Animated #GIF Art, Part four - by Paddy Johnson /// #netart #gifart | Digital #MediaArt(s) Numérique(s) | Scoop.it
In the final chapter of her history of GIF art, Paddy Johnson chronicles the heyday of Google+ and the explosion of brick-and-mortar GIF art exhibitions.


Welcome to part four of this brief journey through the rich history of one of the newest and most popular art forms, the animated GIF. The previous installments are “The Early Years: 1997–2008", “Group Blogs, Surf Clubs, and the Beginning of Social Networking," and “A Brief History of Animated GIF Art: Part Three, Tumblr."


Much has changed in the world of animated GIF makers over the past few years. Social networking sites have become a lot more accommodating to larger GIF file sizes. Limited run online exhibitions have grown in popularity, as have brick and mortar events. As with the Tumblr history outlined in the previous chapter, there's too much activity to document all of it. In this last section, I will outline some of the more seminal sites and exhibitions from between 2011 and 2014, as well as some very recent developments.

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A Brief History of Animated #GIF Art, Part two - by Paddy Johnson /// #netart #gifart

A Brief History of Animated #GIF Art, Part two - by Paddy Johnson /// #netart #gifart | Digital #MediaArt(s) Numérique(s) | Scoop.it
From 2006 to 2010, artists posted animated GIF art en masse to collaborative blog platforms.


Welcome to part two of this brief journey through the rich history of one of the newest and most popular art forms, the animated GIF. To read the first part, "The Early Years: 1997–2008," click here.


GROUP BLOGS, SURF CLUBS, AND THE BEGINNING OF SOCIAL NETWORKING


The period from 2006 to 2010 was marked by the rise of self-started social networks. Artists were sharing GIFs on Myspace before many migrated to their own collaboratively run blogs. These sites hosted an enormous number of found and self-made GIFs, and tended to be male-dominated. A few highlights from the golden era of GIF art blogs below.

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Complex Net Art Diagram by linkoln.net /// #netart #history #mediaart #dataviz

Complex Net Art Diagram by linkoln.net /// #netart #history #mediaart #dataviz | Digital #MediaArt(s) Numérique(s) | Scoop.it
'Complex Net Art Diagram: A Remix' of MTAA is a remix of MTAA's simple net art diagram, linkoln.net have created the complex version.
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It's a map, a history, and a parody of one hundred things: net art and net
art's various historicisations, diagrams per se, histories per se, anything at all done in a totalising spirit, etc.
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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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What is Digital Art? (video) - by the British Council // #mediaart

Digital art is a term and a practice that has been prevalent in the museums and contemporary art sectors since the 1960s. As technological advances mean that digital innovations are now pervading many more areas of our lives, the arts industry is starting to take the work of artists working in the digital realm increasingly seriously.

In the wake of the growing debate and critical examination of digital art, the British Council commissioned this short film, produced by Dezeen, to ask: What is Digital Art? And why should we pay attention to it?

The film features interviews with 15 Folds founders Margot Bowman and Sean Frank, curator and writer Conrad Bodman, and artists Jon Thomson and Alison Craighead.

Share your favourite #digitalart piece with us. Join the #digitalart discussion on Twitter.

With thanks to all contributors, and Tate, Barbican, Chisenhale Gallery, BFI, Chris Milk, Adam Ben-Dror and Shanshan Zhou, The Space.

Learn more about the digital art piece 'Decorative Newsfeeds' by Thomson & Craighead that’s featured in the video: http://bit.ly/1F5V0jx

Commissioned by British Council. Produced by Dezeen (www.dezeen.com). Music by 800xL

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15 years of VIDA | Fundación Telefónica - #mediaart

15 years of VIDA | Fundación Telefónica - #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

VIDA is turning fifteen today. The path taken in 1999 by Fundación Telefónica to launch the competition is now considered a milestone in the history of technological art. The initiative by a group of pioneering artists – Nell Tenhaaf, Susie Ramsay and Rafael Lozanno-Hemmer –, whose vision was to detect the interest in research that linked art and life, has become a benchmark framework for understanding contemporary artistic practices.


The history of science and technology is drawn from a similar standpoint as that of art: exploration and creativity. In a society captivated by technological advancement, where the parameters by which we understand our surroundings are quickly replaced with newer and more recent versions, it is vital to have daring proposals that record our changing relationship with the environment. In particular, the science of life and its constant redefinition is currently openly proving to be one of the most powerful stimuli for contemporary culture. From this perspective, the role of the artist in these dynamics is seen as essential in showing, revealing and reflecting on the organisation of life and its variability. ...

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A Brief History of Animated #GIF Art, Part Four by Paddy Johnson - #netart

A Brief History of Animated #GIF Art, Part Four by Paddy Johnson - #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it


In the final chapter of her history of GIF art, Paddy Johnson chronicles the heyday of Google+ and the explosion of brick-and-mortar GIF art exhibitions.


Welcome to part four of this brief journey through the rich history of one of the newest and most popular art forms, the animated GIF. The previous installments are “The Early Years: 1997–2008”, “Group Blogs, Surf Clubs, and the Beginning of Social Networking,” and “A Brief History of Animated GIF Art: Part Three, Tumblr.” ...

part 1 : http://news.artnet.com/art-world/a-brief-history-of-animated-gif-art-part-one-69060

part 2 : http://news.artnet.com/art-world/a-brief-history-of-animated-gif-art-part-two-78532

part 3 : http://news.artnet.com/art-world/a-brief-history-of-animated-gif-art-part-three-88928


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Beyond Pong: why digital art matters, by James Bridle

Beyond Pong: why digital art matters, by James Bridle | Digital #MediaArt(s) Numérique(s) | Scoop.it
From the GPS that give us directions to the drones that drop bombs, the digital shapes our culture at every level. So why is digital art still a sideshow? As a groundbreaking new exhibition opens, James Bridle looks at pioneering works from the first arcade games to films made fully in CGI – and argues that it's high time we took it seriously
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Mike Stubbs's curator insight, June 22, 2014 4:18 AM

great writing great artist

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History of Computer - Art VII.1 Computer & Video Games by Thomas Dreher

History of Computer - Art VII.1 Computer & Video Games by Thomas Dreher | Digital #MediaArt(s) Numérique(s) | Scoop.it

Since the beginning of the 16th century the game "Nim" is known in Europe. Two players alternate in their efforts to remove matchsticks from a series of matches. The players decide how many matches they remove. According to the agreement about the goal of the game each player tries either to cause or to prevent the situation to hold the last matchstick.


When in the thirties Patrick Michael Grundy and Roland Parcifal Sprague used Nim as a model case to investigate conditions of impartial games then they discovered independently from each other the Sprague-Grundy-theorem now fundamental to the mathematical game theory. This model status exposed Nim beside chess: Both games offered points of departure for further far-reaching developments from which computer games emerged.


Since 1940 machine versions of Nim players were realised. They are variants of early electronic games processing a classic games´ set of rules (see below). The goal of the Nim machines was a reconstruction of the game logic. In the meantime, in 1948, inventors started with the "Cathode Ray Tube Amusement Device" (see below) a development line constructing machines for the game action of hitting.

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