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Digital Body - iPad Book. An image and video history about João Martinho Moura artistic path

Digital Body - iPad Book. An image and video history about João Martinho Moura artistic path | Digital #MediaArt(s) Numérique(s) | Scoop.it
João Martinho Moura, an Interactive Media Artist and Researcher born in Portugal. His interests are focused in intelligent interfaces, digital art, digital music and computational aesthetics. João has a special interest in body driven digital artifacts. João Martinho Moura is doing research, at University of Minho’s EngageLAB. João Martinho Moura is an Invited Assistant Professor at the Master Program in Technology and Digital Arts (MTAD), at University of Minho, Portugal, teaching Programing for Digital Arts. ...

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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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arts-numeriques.info - Daily Watch

arts-numeriques.info - Daily Watch | Digital #MediaArt(s) Numérique(s) | Scoop.it

Visit the website/portal to see much more news

 

http://www.arts-numeriques.info

 

- Call for artists

http://www.arts-numeriques.info/portail/calls-1

http://www.arts-numeriques.info/portail/calls-2

http://www.arts-numeriques.info/veille

 

- Newspapers
http://bit.ly/arts-numeriques-info_newspapers

 

- Blog

http://feeds.feedburner.com/www-arts-numeriques-info-blog

 

-Twitter

@arts_numeriques

@processing_org

@digitalart_be


-Facebook

https://www.facebook.com/ArtsNumeriques


- ALL RSS IN ONE

http://feeds.feedburner.com/www-arts-numeriques-info-ALL-NEWS


- Some of my other Twitter accounts

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Catherine Pascal's curator insight, April 15, 2014 4:11 PM

 Très intéressant 

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Hyundai Vision Hall, South Korea / by Universal Everything

18 x films
16k video loop, 36 channel Iosono surround sound

Hyundai Vision Hall, South Korea
Directed by Universal Everything
Sound by Simon Pyke
Post / CGI by Universal Everything / Analog / Gorilla / Realise
Filmed by thecreatorsproject.com

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Nan°art by Alessandro Scali | Creative research & development /// #mediaart #nanoart

Nan°art by Alessandro Scali | Creative research & development /// #mediaart #nanoart | Digital #MediaArt(s) Numérique(s) | Scoop.it

The collaboration between me and a group of PhD students working at the Polytechnic of Turin, coordinated by Prof. Fabrizio Pirri, Chilab team leader, specialized in micro and nanotechnologies - begins in 2006.

In those 9 years the group realize a series of micro and nanometric artworks representing so far, at national and international level, the exceeding of a limit, of a boundary, of a necessity: that of an art visible to the naked eye. Nanoart plays on the aesthetic paradox of exposing ideas, concepts and artworks  that cannot be seen, nevertheless being not inexistent or unreal.

The success of this radical form of artistic expression is testified not just by the various national and international exhibits (among all, the Biennale of Contempory art of Sevilla in 2008 and Principia Exhibition in Piazza del Duomo, Milan, 2011), but also by the the numberless conferences in Italy, Europe and Canada held by the members of the group (Academy of Sciences and Polytechnic of Turin, Viewfest in Turin, 2009, 2010 and 2013 editions of Technarte conference in Bilbao, University of Barcelona in 2010, Institute of Culture, Toronto, in 2009 among the most relevant events). The crowning of this exploit is represented by an article published on Nature Magazine in September 2007 and the publication of Nanoarte official catalogue edited by Skira, realized during the first Nanoart exhibit in Bergamo, 2007.
 

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The Pirate Cinema (Nicolas Maigret): a Generative Self Portrait - By Matteo Cremonesi (via Link Center)

The Pirate Cinema (Nicolas Maigret): a Generative Self Portrait - By Matteo Cremonesi (via Link Center) | Digital #MediaArt(s) Numérique(s) | Scoop.it

n the framework of the project Masters & Servers. Networked Cultures in the Post-Digital Age, the Link Art Center commissioned Matteo Cremonesi, the Link Cabinet curator, an essay about The Pirate Cinema, the project by French artist Nicolas Maigret presented in the Cabinet from March 4 to 28, 2015. Have a nice reading!

 

Creating a point of contact between two or more people, or sending a message, regardless of the form or content, are actions of great significance, as well as a basic human need. The act of communication in its many forms has long been the focus of many artists. One key example was undoubtedly Mail Art. For the artists involved, Mail Art was a fascinating opportunity to create a genuine network of people, individuals who got actively involved in the process of sending letters, postcards and fanzines to each other. ...

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Ways of Something - Episode 2 / by Lorna Mills /// #netart

Episodes 1 and 2 of artist Lorna Mills' Ways of Something compilation shook the art community in 2014, receiving well-deserved praise by both audiences and media outlets alike. For her digital art update of John Berger's seminal 4-part Ways of Seeing BBC documentary series, the Toronto-based artist employed some of the most creative forces currently working on the internet to assemble a stunning video “patchwork” with surgical precision.  Bringing together the best and brightest in web-based creativity, Mills gave carte blanche to a stellar, carefully curated roster of artists, allowing each of them to transfigure their signature aesthetics and mediums into one-minute loops, the results of which comprise her series of 30-minute video mashups.

3D renders, GIFs, film remixes, webcam performances, websites, and more combine for Mills' deconstructed reappropriation of Berger's critique of western artistic traditions and cultural aesthetics. The result is a one-of-a-kind insight into internet era art-making processes, perfectly synchronized with the 1972 series' narration. Through this uncanny video series, Mills expounds on the evolution of the creative disciplines and the ways in which art has been perceived by both artists and audiences since the dawn of the internet.

read more... http://thecreatorsproject.vice.com/blog/we-talked-to-lorna-mills-about-her-art-video-mega-mixtape

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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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Futur en Seine 2015 : le projet « Living Joconde » de l’IIM et Florent Aziosmanoff

Futur en Seine 2015 : le projet « Living Joconde » de l’IIM et Florent Aziosmanoff | Digital #MediaArt(s) Numérique(s) | Scoop.it

« Living Joconde » est un projet de recherche mené par l’IIM (Institut de l’Internet et du Multimédia) en partenariat avec l’école de Design Strate - Conseiller Scientifique et Artistique : Florent Aziosmanoff.


Cette action est labellisée par Cap Digital et financée par la région Ile-de-France. Elle sera présentée lors de Futur en Seine 2015.


Pour sa 5ème édition, ce festival mondial présentera du 11 au 21 juin 2015, au cœur de Paris et dans toute l’Île-de-France, les dernières innovations numériques françaises et internationales aux professionnels ainsi qu’au grand public. ...

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Matthew DiVito aka mr. div // MOTION // GRAPHIC // DESIGN - #netart #gifs

Matthew DiVito aka mr. div // MOTION // GRAPHIC // DESIGN - #netart #gifs | Digital #MediaArt(s) Numérique(s) | Scoop.it

With over 100,000 followers on Tumblr, Boston-based motion graphics designer Matthew DiVito (aka mr. div) is probably one of the most popular artists making animated gifs today. DiVito works with a combination of After Effects and Cinema 4D to create each image which appear to be inspired by 1970-80s era motion graphics with a distinctly modern twist. ...

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Flixel Living Photos software - Cinemagraphs Made Easy // #Gif

Flixel Living Photos software - Cinemagraphs Made Easy // #Gif | Digital #MediaArt(s) Numérique(s) | Scoop.it
Easily create cinemagraphs for ads, the Web, Facebook, Twitter, Instagram, Tumblr, Vine, Google+, and digital displays.
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Dix ans de formations à Mains d'Œuvres, par Agnes Le Foulgoc (2014)

Dix ans de formations à Mains d'Œuvres, par Agnes Le Foulgoc (2014) | Digital #MediaArt(s) Numérique(s) | Scoop.it

Dans le cadre de la sortie du catalogue de formation professionnelle continue 2014-15, nous retraçons dix ans d’expériences dans la formation à la création numérique interactive pour tous ! Petit tour dans nos archives pour vous présenter les rencontres clés. Une histoire non exhaustive à compléter avec vos souvenirs.

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NetArtizens Project 2015 - online exhibition hosted by 0P3NR3P0.NET // #mediaart #netart

NetArtizens Project 2015 - online exhibition hosted by 0P3NR3P0.NET // #mediaart #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

The GLI.TC/H 0P3NR3P0 is an open/public repository of glitch art worx. It's a modular art&&archive project serving multiple goals


About the NetArtizens Project


In the age of social media, our conversations, gossip, discourses, research, decision making, organisational and artistic work are “intertwingled" (to use Ted Nelson’s playful term) with exponentially exploding repositories of media and information. Nowadays, our everyday communications are embedded with the metadata of search querys, hyperlinks, hashtags and usernames. To the extent that we practice these new techniques of "social taxonomy,” how can we use them to examine and dissect our individual and collective net behaviour(s)?

Clearly there is a new language emerging in the global information culture: a written language borrowed from the machine, that is, compressed utterances embedded with taxonomies, links, and metadata. This language is literally exploding with meaning and it has permeated our social relations and artistic production. What is crucial to understand about an emerging language infiltrated by social taxonomies is how we use these mechanisms to aggregate our ideas, concepts, desires, exchanges, collective narratives, and shared histories. ...

http://www.furtherfield.org/netartizens

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SFPC | School for Poetic Computation - #mediaart

SFPC | School for Poetic Computation - #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

School for Poetic Computation is an artist run school in New York that was founded in 2013. A small group of students and faculty work closely to explore the intersections of code, design, hardware and theory — focusing especially on artistic intervention. It’s a hybrid of a school, residency and research group.

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Isabelle Lefebvre's curator insight, April 16, 7:30 AM

A approfondir par rapport à Musique et Tech.

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Link Editions - publishing initiative of the LINK Center for the Arts of the Information Age

Link Editions - publishing initiative of the LINK Center for the Arts of the Information Age | Digital #MediaArt(s) Numérique(s) | Scoop.it

LINK Editions is a publishing initiative of the LINK Center for the Arts of the Information Age. LINK Editions uses the print on demand approach to create an accessible, dynamic series of essays and pamphlets, but also tutorials, study notes and conference proceedings connected to its educational activities.


A keen advocate of the idea that information wants to be free, LINK Editions releases its contents free of charge in .pdf format, and on paper at a price accessible to all. Link Editions is a not-for-profit initiative and all its contents are circulated under an Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0) license.

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Festival ]INTERSTICE[ 10 - Rencontre des inclassables // 28.04 >> 16.05.2015 // #mediaart #soundart

Festival ]INTERSTICE[ 10 - Rencontre des inclassables // 28.04 >> 16.05.2015 // #mediaart #soundart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Né en Normandie il y a 10 ans, ]interstice[ rencontre des inclassables dédiée aux arts sonores et visuels associe des formes artistiques ouvertes aux multiples lectures, initie des réflexions sur la création contemporaine et les technologies et investit des espaces de la ville qui, écrivait Pierre Sansot dans Poétique de la ville «se compose et se recompose, à chaque instant, par le pas de ses habitants».

Une église qui renaît au son d’une cloche, une cascade hypnotique, une chorale de machines à coudre, des fils qui découpent l’espace, un mécano de bois qui joue de sa matière sonore, des explosions de particules, des tremblements de terre, la foudre qui jaillit, des vibrations interstellaires sous nos pieds, une infinité d’eau, une découverte sonore de la ville…


Le festival n’est pas seulement un ensemble d’œuvres, performances ou spectacles mais aussi un lieu de travail et de rencontres pour les artistes. Leur fidélité et leur attention sont autant d’encouragements à poursuivre dans cette voie. À l’occasion de ce dixième anniversaire, nous invitons des artistes ayant marqué et soutenu notre démarche comme Nicolas Tourte (2008), Cécile Beau et Nicolas Montgermont (2009, 2012), Arno Fabre (2011, 2013) et Herman Kolgen (2012). Le public est aussi convié à de nouvelles rencontres avec l’artiste coréenne Heewon Lee, le québecois Martin Messier, Aernoudt Jacobs du collectif belge Overtoon, Julien Poidevin, Franck Vigroux, Nicolas Talbot…



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StoryCode Brussels - A community dedicated to #transmedia creation & innovative #storytelling

StoryCode Brussels - A community dedicated to #transmedia creation  & innovative #storytelling | Digital #MediaArt(s) Numérique(s) | Scoop.it

Aina Abiodun and Mike Knowlton co-founded StoryCode as a way to provide much-needed support to a burgeoning community of immersive media creators and to introduce the public to this new form of storytelling. StoryCode is an open-source chapter based movement.


We invite enthusiasts and professionals alike “to storycode” — simply meaning, to tell a story in a new way, using the bounty of new tools at our disposal.

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▶ Teaser Festival TRACE(S) 2015 - 5 au 31 mai 2015 /// #mediaart #artnumerique

Présentation de la programmation du Festival TRACE(S) dédié aux arts numériques du 5 au 31 mai 2015


Parcours d'expositions dédié aux arts numériques et arts des nouveaux médias.

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Ken Perlin - Interdisciplinary Media Technology Research (Media Systems #14)

This is the fourteenth video in the Media Systems Series held at the University of California Santa Cruz, hosted by the Center for Games and Playable Media. Visit https://mediasystems.soe.ucsc.edu for more videos, downloadable slides, and other Media Systems updates.


Next Perlin demonstrates the same kinds of connections between code and media views for three-dimensional objects. The first version of an object can be created with a gesture — a mouse gesture, or an embodied gesture detected by a Kinect-style sensor — and this object can then be viewed both as an object and as code, with bridges back and forth. These bridges include code changes making live updates to the visual representation of objects, with widgets showing up on the visual representation of the object one is editing in code, and with changes made using these widgets producing live updates in the code. This extends not only to objects but to animation, with the ability to change shapes and blending operations while animations are happening, giving the impression that the model is being updated every animation cycle. This not only invites experimentation and refinement using both code and visual modes, but builds deeper understanding of the connection between the two. It makes code a powerful path for media creation — enabling iteration, scaffolding, and incremental movement to deeper engagements with the code level.

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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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Jouabilité, bipolarité et cinéma interactif - Bernard Perron (2002)

Jouabilité, bipolarité et cinéma interactif - Bernard Perron (2002) | Digital #MediaArt(s) Numérique(s) | Scoop.it

 En introduisant les relations qui unissent le cinéma et le jeu vidéo, Alain Le Diberder affirmait: «la mode des jeux vidéo n’a pas seulement dopé l’industrie du cinéma. Elle a imposé un nouveau rapport du spectateur au récit: l’interactivité» (1996:122). Certes, on ne récusera pas cette assertion. Il faut cependant souligner qu’elle se termine par une imprécision. En effet, venant des jeux vidéo, Le Diberder aurait dû noter que le nouveau rapport relève plus spécifiquement de la «jouabilité», traduction française du terme anglais gameplay.
 
 Trois raisons appellent cette distinction.D’une part, parce que comme l’avait montré Frank Beau,les films qui sont nés de ce rapport sont «avant tout subordonnés aux critères du “bon jeu”» (1996: 14). La jouabilité dépend évidemment du degré de liberté du joueur et de la capacité de contrôle de ce dernier, qui sont les deux principaux critères servant à définir et à analyser l’interactivité. Mais elle renvoie à d’autres aspects, c’est-à-dire à tout ce qui est de l’ordre du ludique, de la manipulation, de la répétition, de la compétence, de la difficulté, de l’ambiance, etc. Signifiant dans un sens plus large le plaisir du jeu ou le plaisir de jouer, elle détermine l’origine de l’expérience interactive. Même si,en comparaison avec les jeux en 3-D sur PC ou sur console, lesfilms interactifs ou films-jeux sur cédérom, DVD ou Internet n’ont pas la jouabilité la plus captivante, et qu’ils sont même considérés comme des échecs parce qu’il est contradictoire de vouloir raconter une histoire en donnant le contrôle au spectateur – comme l’ont démontré Cameron (1995), Adams(1995), Hutchison (2000) et Aarseth (2001), ils demeurent mon objet d’étude et me serviront donc de paradigme premier.


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Le festival Trace(s) 2015, une 3e édition incontournable du 5 au 31 mai 2015

Le festival Trace(s) 2015, une 3e édition incontournable du 5 au 31 mai 2015 | Digital #MediaArt(s) Numérique(s) | Scoop.it
Le festival Trace(s) 2015, une 3e édition incontournable du 5 au 31 mai 2015
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Exposition Nuage de points du 14 au 19 avril | Shadok // #mediaart

Exposition Nuage de points du 14 au 19 avril | Shadok // #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

L’exposition « nuages de points » rassemble des œuvres réalisées par des étudiants de l’option Art de la HEAR inscrits à la Fabrique et dans certains ateliers du groupe Objet (Bois, Métal).


Les réalisations, adossées à des pratiques très ouvertes de la sculpture, se nourrissent de manière joueuse et critique au contact de la chaîne de production numérique. Chaque auteur élabore des allers-retours surprenants entre des processus informatiques et son univers personnel.


Cette exposition accompagne un programme de recherche de l’option Art de la HEAR sur l’hybridation technique qui traverse la sculpture et la notion d’objet. Il s’agit de mettre « en frottement » critique et dynamique différentes catégories de savoir-faire, offerts à la création en volume. Ces croisements permettent de penser la plasticité des formes en s’appuyant tantôt sur des inflexions que permet la main, tantôt sur une genèse numérique.


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Electric Objects - A Computer Made for Art // beauty of the Internet into your home

Electric Objects - A Computer Made for Art // beauty of the Internet into your home | Digital #MediaArt(s) Numérique(s) | Scoop.it

There’s more art on the Internet than in every gallery and museum on Earth.


But many of these beautiful objects are trapped. They’re trapped inside of devices like our phones, our tablets, our TVs, our laptops — devices designed for distraction, living between texts, tweets, football games and emails from work.


So we’re making a new way to bring art from the Internet into your home.

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Le Printemps numérique 2015 vu par ... #artnumerique #mediaart

Le Printemps numérique 2015 vu par ... #artnumerique #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Ils ont tous le développement de l’industrie des arts numériques à cœur; voici les regards de Marie Brassard, Monique Simard, Alain Mongeau, Nadine Gelly et Martin Messier sur le Printemps numérique, la saison aux 150 rendez-vous!


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"Chase Me" by Gilles-Alexandre Deschaud - 3D Printed Film Using 2,500 3D Printed Pieces #3Dprint

"Chase Me" by Gilles-Alexandre Deschaud - 3D Printed Film Using 2,500 3D Printed Pieces #3Dprint | Digital #MediaArt(s) Numérique(s) | Scoop.it

Now, despite the high cost of creating thousands of 3D printed figurines, a French filmmaker has independently created a short film that uses over 2,500 3D printed parts that were printed using a Form 1+ 3D printer and used over 80 liters of liquid resin.


“When I first saw the Form 1 3D printer on Kickstarter, I knew that was what I needed to make a 3D printed film. I wanted to bring 3D printing technology to the art of stop-motion animation to create a new kind of film,” says Gilles-Alexandre. ...

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#SaveTheInternet - The fight for the open internet is happening right now in Brussels - #netneutrality

#SaveTheInternet - The fight for the open internet is happening right now in Brussels - #netneutrality | Digital #MediaArt(s) Numérique(s) | Scoop.it

The European Commission and Council want to adopt a regulation that would allow internet service providers (ISPs) to discriminate among customers and charge extra for different types of online services. Only those who pay more will have easy access to an audience online – killing the openness that drives the internet's social and economic success.


The internet as we know it today gives everyone the same freedoms and chance to succeed, but without net neutrality internet providers become gatekeepers that offer a premium fast lane internet for those can pay, and the slow lane for the rest of us.


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