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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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Simon Faithfull's Limbo: Mobile App as Anti-Heroic Art - by Joan K. Smith (2011) #mediaart #appasart

Simon Faithfull's Limbo: Mobile App as Anti-Heroic Art - by Joan K. Smith (2011) #mediaart #appasart | Digital #MediaArt(s) Numérique(s) | Scoop.it

In art and myth, the journey is usually a heroic quest, dripping with metaphor. But what if a journey involves, instead of a highly-sought destination and revelation, simply bouncing between ports in the most banal way possible, like on the cross-channel ferry between Dover and Calais?


For artist Simon Faithfull, the anti-heroic banality of this crossing made it a perfect launching ground for his Limbo project (commissioned by the Film and Video Umbrella), which transmits and geo-locates, in real time, digital drawings made by Faithfull via a custom-made iPhone app. For a full six days (May 14th through 19th), Faithfull stayed on the ferry for an unorthodox artist residency orchestrated by artconnexion, a French art organization, going back and forth in this "window between states" while he created -- and instantly broadcast -- drawings on his iPhone. ...

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William Burroughs on... Led Zeppelin!

William Burroughs on... Led Zeppelin! | Digital #MediaArt(s) Numérique(s) | Scoop.it
Rock Magic: Jimmy Page, Led Zeppelin, And a search for the elusive Stairway to Heaven by William Burroughs, Crawdaddy Magazine, June 1975. When I was first asked to write an article on the Led Zepp...


When I was first asked to write an article on the Led Zeppelin group, to be based on attending a concert and talking with Jimmy Page, I was not sure I could do it, not being sufficiently knowledgeable about music to attempt anything in the way of musical criticism or even evaluation. I decided simply to attend the concert and talk with Jimmy Page and let the article develop. If you consider any set of data without a preconceived viewpoint, then a viewpoint will emerge from the data.


My first impression was of the audience. As we streamed through one security line after another–a river of youth looking curiously like a single organism: one well-behaved clean-looking middle-class kid. The security guards seemed to be cool and well-trained, ushering gate-crashers out with a minimum of fuss. We were channeled smoothly into our seats in the thirteenth row. Over a relaxed dinner before the concert, a Crawdaddy companion had said he had a feeling that something bad could happen at this concert. I pointed out that it always can when you get that many people together–like bullfights where you buy a straw hat at the door to protect you from bottles and other missiles. I was displacing possible danger to a Mexican border town where the matador barely escaped with his life and several spectators were killed. It’s known as “clearing the path.”

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Yves Michaud : “La véritable audace, dans l’art aujourd’hui, c’est de passer à d’autres formes”

Yves Michaud : “La véritable audace, dans l’art aujourd’hui, c’est de passer à d’autres formes” | Digital #MediaArt(s) Numérique(s) | Scoop.it
Entre ce qui a déjà été fait et ce qui est interdit, les artistes n'osent plus grand-chose, estime Yves Michaud, penseur singulier passé de la philosophie à l'art. Désormais, dit-il, les plus audacieux sont ceux qui croisent les disciplines.

Voilà un penseur iconoclaste et offensif, qui ne craint pas de secouer tous les landerneaux. En 2003, dans L'Art à l'état gazeux, il enterrait la notion d'œuvre d'art mais voyait de la beauté partout, dans la rue, au supermarché ou chez soi. Depuis, ce philosophe issu d'un milieu modeste se considère volontiers comme un « pestiféré » dans l'Hexagone, quand il est célébré et sollicité à l'étranger - il a enseigné à Berkeley comme à São Paulo. Reçu premier à l'agrégation de philosophie en 1968, Yves Michaud a toujours fui les chapelles en passant pour un libéral-libertaire. Il a pourtant dirigé l'Ecole nationale des beaux-arts (de 1989 à 1997), puis lancé l'Université de tous les savoirs et ses conférences très courues. Sceptique mais curieux de tout, jonglant avec les disciplines, il s'est distingué par ses réflexions inattendues sur la culture, la violence ou la politique. Solide d'esprit comme de corps (il est sportif), à la fois terrien et technophile, c'est un partisan du gai savoir. Un esprit libre, en somme. ...

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What's Art Got to Do With Science? - e-flux conversations project /// #mediaart

What's Art Got to Do With Science? - e-flux conversations project /// #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it
The collaboration between science and art is all but uncommon. Although the most obvious encounter, say, between mathematics and space has been the influence of mathematical explorations on art (Renaissance perspective and geometric abstraction and even computer art, to name the most obvious examples), we are relatively oblivious to other forms of cross influence. The ferment of great mathematical developments happens in a creative zone, not unlike that of art, frequently plagued with confusion
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The All-Women #Hacker Collective Making Art About the Post-#Snowden Age

The All-Women #Hacker Collective Making Art About the Post-#Snowden Age | Digital #MediaArt(s) Numérique(s) | Scoop.it


“There is something about the internet that isn’t working anymore,” is the line that opens filmmaker Jonathan Minard’s short documentary on Deep Lab—a group of women hackers, artists, and theorists who gathered at Carnegie Mellon University in December to answer the question of what, exactly, that disquieting “something” is. The film premieres on Motherboard today.


What Deep Lab represents is just as hard to pin down as the “something” invoked in the opening minutes of Minard’s short film. Is it a book, a lecture series, or Minard’s documentary—all of which were put together in under a month? Is it an ethos? Is it feminist? Is Deep Lab a charrette, a dugnad, or a “congress,” as its participants called it?

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