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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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#Hacking, The Art of Exploitation | by Jon Erickson - No Starch Press (2nd Edition - 2008)

#Hacking, The Art of Exploitation | by Jon Erickson - No Starch Press (2nd Edition - 2008) | Digital #MediaArt(s) Numérique(s) | Scoop.it

Hacking is the art of creative problem solving, whether that means finding an unconventional solution to a difficult problem or exploiting holes in sloppy programming. Many people call themselves hackers, but few have the strong technical foundation needed to really push the envelope.


Rather than merely showing how to run existing exploits, author Jon Erickson explains how arcane hacking techniques actually work. To share the art and science of hacking in a way that is accessible to everyone, Hacking: The Art of Exploitation, 2nd Edition introduces the fundamentals of C programming from a hacker's perspective.


The included LiveCD provides a complete Linux programming and debugging environment—all without modifying your current operating system. Use it to follow along with the book's examples as you fill gaps in your knowledge and explore hacking techniques on your own. Get your hands dirty debugging code, overflowing buffers, hijacking network communications, bypassing protections, exploiting cryptographic weaknesses, and perhaps even inventing new exploits...

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Critical Curatorial Cybermedia course: an interview with Liliane Schneiter (2005) by Beryl Graham

Critical Curatorial Cybermedia course: an interview with Liliane Schneiter (2005) by Beryl Graham | Digital #MediaArt(s) Numérique(s) | Scoop.it

This interview draws on a face-to-face interview, email correspondence, and a presentation of the archive of the web site http://www.cyberaxe.org/ at the seminar Curating Can Be Learned, But Can it be Taught? May 19th 2005 at Northern Gallery of Contemporary Art, Sunderland, UK. Liliane Schneiter, Yves Mettler and Anne-Julie Raccoursier of CCC were interviewed after the seminar, at Northern Gallery of Contemporary Art, Sunderland, UK.


Liliane Schneiter is Professor of Art History & Critical Studies on the Critical Curatorial Cybermedia postgraduate course at the Ecole supérieure des beaux-arts, Haute école d'arts visuels (HES) in Geneva, Switzerland. Yves Mettler is a former student and web manager, and Anne-Julie Raccoursier is a CCC assistant.


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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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#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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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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#Book : Les #Avatars jouables des mondes numériques / Etienne Armand Amato | OMNSH

#Book : Les #Avatars jouables des mondes numériques / Etienne Armand Amato | OMNSH | Digital #MediaArt(s) Numérique(s) | Scoop.it

Les directeurs de cet ouvrage collectif ont demandé à un physiologiste et spécialiste de sciences de la cognition de faire une préface. Je vais simplement évoquer les réflexions que suscite ce livre si stimulant et riche en propositions théoriques et en faits.


Il est en effet aujourd’hui fondamental d’engager rapidement une ré-flexion théorique sur les avatars dans les mondes virtuels. Le risque est de le faire soit du point de vue de l’informaticien, soit du point de vue du psychologue ou du psychiatre. Il y a ici clairement une tentative remarquable de se placer là ou se situe l’essentiel : dans l’interaction. Les auteurs ne sont pas des spécialistes du cerveau, mais ils offrent une base de débat et de réflexion, et même d’expérimentation où je retrouve  plusieurs  questions  fondamentales que se posent les sciences de la cognition et les neurosciences. On pourrait être désorienté par la profusion des concepts empruntés à divers courants techniques, sociologiques, psychologiques ou philosophiques et je l’ai été moi-même, alors qu’il semble que cette démarche soit courante et maîtrisée en sciences de l’information et de la communication, discipline d’où part l’investigation. ...

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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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Re-Create 2015 Call for Papers / Histories of #MediaArt, Science & Tech - deadline 07.12.2014

Re-Create 2015 Call for Papers / Histories of #MediaArt, Science & Tech - deadline 07.12.2014 | Digital #MediaArt(s) Numérique(s) | Scoop.it

Introduction Re-Create 2015, the sixth international Conference on the Histories of Media Art, Science and Technology will mark the 10th Anniversary of the Re conference series. Re-Create 2015 is devoted to exploring what theories, methodologies and techniques can be used to understand past, present and indeed, future paradigms of creative material practice involving technologies within research contexts from a historical and critical point of view.


The title Re-Create is an abbreviation for the term “research-creation”, part of a growing international movement which goes by many names: “practice-led research,” “research-led practice,” and “artistic research,” among others.


While the link between research and practice seems to be a new horizon, the media-based arts have long been at the intersection of the humanities, sciences, and engineering and present a critical site in which to take up the changing relationships between knowledge, power, and economy.


Research normally signifies modes of acquiring new knowledge that coherently and systematically advance a field and is grounded and validated by both social frameworks (peers) and existing bodies of knowledge. Similarly, research in conjunction with material practice demands that making be historically, theoretically and methodologically framed and valorized.

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#Book - Speculative Scenarios (2013) — Edited by Annet Dekker (via Baltan Laboratories)

There is a growing understanding of the use of technological tools for dissemination or mediation in the museum, but artistic experiences that are facilitated by new technologies are less familiar. Whereas the artworks’ presentation equipment becomes obsolete and software updates change settings and data feeds that are used in artworks, the language and theory relating to these works is still being formulated. To better produce, present and preserve digital works, an understanding of their history and the material is required to undertake any in-depth inquiry into the subject. In an attempt to fill some gaps the authors in this publication discuss digital aesthetics, the notion of the archive and the function of social memory. These essays and interviews are punctuated by three future scenarios in which the authors speculate on the role and function of digital arts, artists and art organisations. ...

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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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DRHA2014 || Digital Research in the Humanities and Arts Conference

DRHA2014 || Digital Research in the Humanities and Arts Conference | Digital #MediaArt(s) Numérique(s) | Scoop.it

Human beings, as users, have always been obsessed with finding new ways of communicating through various techniques and technologies.
The rapid technological changes that have occurred during the last two decades have allowed us – the users – to communicate through various social media platforms, providing us with more easily, faster and more frequently ways of communicating.


However there are always concerns about other impacts those technologies might have on the communication processes.

The aim of the conference is to facilitate conversations on Design and collaborations between

  • Digital Arts and Humanities,
  • Creative Industries,
  • Digital Libraries and Archives,
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The Doctrine of the Similar (GIF GIF #GIF) - #netart

The Doctrine of the Similar (GIF GIF #GIF) - #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

In two short essays – written in 1933 – Walter Benjamin argues that primitive language emerged in magical correspondence with the world. The faculty we all exhibit in childhood play, to impersonate and imitate people and things loses its determining power as language gradually takes over from our “non-sensuous” connection with reality. In a break from Saussurian linguistics, Benjamin decries the loss of this “mimetic faculty”, as it becomes further replaced by the “archive of non-sensuous correspondences” we know as writing.


To put it in simpler terms… Where once we read the world, the stars or the entrails of a sacrificed animal, now we read the signs enabled and captured by written language. ...


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Assembling traces, or the conservation of net art by Annet Dekker

Assembling traces, or the conservation of net art by Annet Dekker | Digital #MediaArt(s) Numérique(s) | Scoop.it
Net art is built and distributed through a complex, intricate, and interrelated system of networks that presents an assemblage of art, technology, politics, and social relations – all merged and related to form a variable entity. In the last decade a discussion on how to conserve net art emerged in museums of contemporary art. Nevertheless, many net art projects from the 1990s have long disappeared – their server payments lapsed, software was not kept up-to-date, or artists felt the concept was no longer appropriate in a changed context. The project mouchette.org is an exception in that the artist has kept the website up and running since it began. In this article I will show that net artworks are inherently assemblages that evolve over time. These works are distributed and ensured by networks of people; their continuation happens through multiple authors and caretakers. All together these actors signify and give meaning to the works. Therefore, instead of thinking of a ‘freeze frame’ the presentation and conservation of net art should focus on variability. This opens up different paths and options, making for conservation strategies akin to assembling traces.
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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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OPEN #CALL for ARTICLES - FILE #01 | Digital Aesthetics E-BOOK promoted by M0us310n.net

OPEN #CALL for ARTICLES - FILE #01 | Digital Aesthetics E-BOOK promoted by M0us310n.net | Digital #MediaArt(s) Numérique(s) | Scoop.it

FILE is an e-book promoted by M0us310n.net which analyses the intersections between Philosophy, Art, and computing communication processes on the internet. FILE is an open call for dialogue that attempts to bring together different theoretical and practical fields of criticism and reflection on digital art. Developed from an academic context, but emerging from a need to reach beyond it and to establish links with the artistic production, FILE is created with the intention of compile essays in order to link theoretical perspectives, practices, and reflection on the Digital Arts.

FILE Digital Aesthetics E-BOOK should be seen as a meeting point for artists, academics, or implementers of art/development projects. We welcome proposals for both chapters and case studies from academics, photographers, artists and other visual practitioners. We are seeking for contributions that deal with a wide range of issues in connection with the impact of computing communication processes on the internet within the production and reception of Art.

FILE #01 is an ISBN registered publication with free online distribution, licensed under aCreative Commons Attribution
NonCommercial-NoDerivatives 4.0 International License.


FB event : https://www.facebook.com/events/793577664066799

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ETHEROSPERMIA: Conceptual Art, Science and Allegory in the sky-seeding project

ETHEROSPERMIA: Conceptual Art, Science and Allegory in the sky-seeding project | Digital #MediaArt(s) Numérique(s) | Scoop.it

 This paper presents the practice of the artist/researcher Ioannis Michaloudis. It showcaseshis use of a space technology nanomaterial, silica aerogel, and its potential in the culturalutilization of space. Since 2001, his projects have centered around the esthetic, sculpturaland conceptual use of silica aerogel. For Michaloudis, this material is highly allegorical of what he terms‘our breaking sky’. For the authors, the step towards space is a real‘bridgemoment’, analogous to the evolutionary progression of organisms from water to earth. Inthis current era of space exploration, it is clear that humans need to develop new organsand survival skills–or, cultivate new skies in response tothe breaking of our atmosphere'sdome. It is also clear that science and art need to collaborate more productively. To thisend, it is argued that allegory provides the link between imaginability, experiment andrepresentation in both scientific and artistic practices.Etherospermia(εθεροσπερμία) isan invented word frometherandpanspermia. TheEtherospermiaproject pursues,allegorically, the creation of new atmospheres on other planets, in order to draw attentionto the degradation and destruction of the earth's protective veil. Imagine an astronautwho, during a space walk, scatters fragments of Michaloudis' silica aerogel as seedmaterial to alter the atmospheres of other planets, making them habitable. The paperdiscusses nine artworks as a way of presenting the conceptual core of theetherospermiaallegory. ...

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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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#Transmedia Manifest - The futur of #Storytelling

#Transmedia Manifest - The futur of #Storytelling | Digital #MediaArt(s) Numérique(s) | Scoop.it

The art of storytelling has always been subject to change. Through the process of digitalization and the accompanying media convergence, we’re now on the verge of a quantum leap. We are no longer viewers, listeners, readers, users, or players.Today, we are “experiencers”, whose roles and behaviors change based on how we use and approach media.

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Collecting New #MediaArt: Just Like Anything Else, Only Different by Steve Dietz

Collecting New #MediaArt: Just Like Anything Else, Only Different by Steve Dietz | Digital #MediaArt(s) Numérique(s) | Scoop.it

In this comment, Jeremy Strick is both correct and being rhetorical. Lots of contemporary art raises these same questions. New media art, particularly in its network-based incarnations, does so perhaps more consistently, but none of the questions raised is radically new. In fact, one of the results of institutions' early investigations of collecting new media, the Variable Media Initiative, is significant precisely because of its cross-medium applicability. Nevertheless, there is a kind of crisis of collection - and hence cultural memory - because of the paucity of work in museum collections and the nature of new media art, which makes it difficult to recover adequately past a certain point.

It is fair to say that even among the few museums that have relatively active curatorial efforts in new media, none has a collection that even approaches the scope of its holdings in other media that its exhibits. At the same time, since at least 19977 when Kit Galloway and Sherrie Rabinowitz first presented their Satellite Arts Project, and certainly since the invention of the World Wide Web in the early 90s, there has been an explosion of artistic new media activity, as is well documented on a website such as Rhizome or the archives of the Ars Electronica Festival, which presented for its 25th year in 2004.

Why? What accounts for this discrepancy between artistic activity and institutional collecting?

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Théories de l’expérimentation et culture de masse : le concept de dissonance permet-il de repenser l’expérimentation en matière d’art ? Revue Oscillations

Théories de l’expérimentation et culture de masse : le concept de dissonance permet-il de repenser l’expérimentation en matière d’art ? Revue Oscillations | Digital #MediaArt(s) Numérique(s) | Scoop.it

Dans le vocabulaire de la théorie musicale, la dissonance s’oppose à la consonance et à l’harmonie, c’est-à-dire à l’accord des tonalités entre elles. Lorsque l’on remonte à l’usage médiéval, on s’aperçoit en revanche que le radical « sonnance » (sic) s’emploie de manière indépendante. Au xive siècle, le mot désigne le timbre d’un instrument ou la résonance d’un objet, et renvoie donc à l’émission d’un son. Celui-ci est toujours simple et univoque ; il a une source unique. Il est perçu comme un tout, clos sur lui-même, indivisible. ...


Oscillations — revue de sciences humaines et d'art

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The Image Object Post-Internet - by "Artie Vierkant" 2010

This PDF is to serve as an extended statement of artistic purpose and critique of our contemporary relation to objects and images in Post-Internet culture. More than anything, it poses a survey of contemplations and open questions on contemporary art and culture after the Internet. “Post-Internet Art” is a term coined by artist Marisa Olson and developed further by writer Gene McHugh in the critical blog “Post Internet” ⊖ during its activity between December 2009 and September 2010. Under McHugh's definition it concerns “art responding to [a condition] described as 'Post Internet'–when the Internet is less a novelty and more a banality.
`
Perhaps ... closer to what Guthrie Lonergan described as 'Internet Aware'–or when the photo of the art object is more widely dispersed [&] viewed than the object itself.” There are also several references to the idea of “post-net culture” in the writings of Lev Manovich as early as 2001. ⊗ Specifically within the context of this PDF, Post-Internet is defined as a result of the contemporary moment: inherently informed by ubiquitous authorship, the development of attention as currency, the collapse of physical space in networked culture, and the infinite reproducibility and mutability of digital materials.

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Net Art 2.0 | What does it mean it mean to be a new media artist today? - #mediaart

Net Art 2.0 | What does it mean it mean to be a new media artist today? - #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

This is perhaps the most important question we want to ask ourselves when starting a discussion on Net art.


In the beginning, say, around 1995, there was something called Net art. No one knew what it was or what it would become. Wild experimentation was happening within a core group of internationally connected artists and writers, most of whom had never met each other, but who were able to simultaneously and continuously collaborate on various networking projects over the Internet.


One of the key compositional methods that initially emerged on the Net was multimedia and code remix art. In 1996, writing for the German-language online art journal Telepolis, remixthebook author Mark Amerika published one of his Amerika Online columns entitled “Surf-Sample-Manipulate...


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A Letter To Young Internet Artists ̿ ̿'̵͇̿̿=(•̪●)=/̵͇̿/'̿ - By Emilie Gervais #netart

A Letter To Young Internet Artists  ̿ ̿'̵͇̿̿=(•̪●)=/̵͇̿/'̿ -  By Emilie Gervais #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

What happened since Rosalind Krauss introduced the term “post­media,” full of semiotic contradictions? After Felix Guattari used the expression “post­-media era” and producer and consumer melted within the media, dissecting themselves? What happened after Miss Krauss wrote A Voyage in the North Sea. Art in the Age of the Post­-Medium Condition, chatting about post­-medium, killing with her thoughts put into words any medium-related stuff Clement Greenberg had ever given birth to? After Peter Weibel curated his Post­-Media Condition art show, reinforcing the concept that all art is post­-media because it is embraced by the media?


There is no Art beyond the Media: aesthetic experience comes from a media experience. Art Stack. There was the terminal and beyond, an endless line of warehouses. The media itself is pretty lame, unless you’re into a retro version of some new neoclassical art. Per instance, Martine is Mouchette. I want to be the fly on her background ­image. ...

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Le Son est-il le système nerveux du cosmos ? par Lucile de La Reberdiere

Le Son est-il le système nerveux du cosmos ? par Lucile de La Reberdiere | Digital #MediaArt(s) Numérique(s) | Scoop.it
Il existe un moyen de rendre les sons visibles. On appelle « cymatique » cette science énigmatique, qui puise ses racines dans l'histoire de l'univers. Quelle est la nature de l'onde sonore? Que sait-on vraiment de son pouvoir sur nous?


Allemagne, 18ème siècle. Ernst Chladni est un mathématicien doué et discret. L'homme est aussi musicien et sa passion pour le violon va le conduire à une découverte extraordinaire. Saupoudrant de sable un disque de cuivre, il en frotta le bord avec son archet. La plaque se mit à vibrer et le sable à se déplacer, dessinant d'authentiques formes géométriques. « Qu'on juge de mon étonnement voyant ce que personne n'avait encore vu », dira plus tard son ami et philosophe Lichtenberg, auteur de travaux sur l'électricité statique.

Dans les années soixante, le physicien Hans Jenny sera le premier à révéler ce phénomène oublié. Grâce à l'évolution de l'électronique, il prolonge les recherches et fait varier les supports. Il invente le tonoscope, petit appareil tubulaire assorti d'une membrane sur laquelle on aura versé de la poudre, qui permet de créer des formes étonnantes avec le son de sa voix....

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