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Art and the Internet of Things by The Russian Research Center on the Internet of Things

Art and the Internet of Things by The Russian Research Center on the Internet of Things | Digital #MediaArt(s) Numérique(s) | Scoop.it

Wireless is increasingly pulling in all kinds of applications, platforms, services and things (rfid) into networks. Many people communicate through mobiles, blackberries, digital organizers, palmtops. Cars become information spaces with navigational systems and consoles like Nintendo DS have wireless capacities and get linux kernels installed.We are witnessing a move towards pervasive computing and disappearing technologies in intelligent clothing (wearables), smart environments (knowing where and who we are), pervasive games, and we will see doors opening for some and closing to others. Mimickry and camouflage will become part of application design.

 

 

Ipods and Iphones will show colors and produce sounds corresponding with your surroundings. Council will help to develop theories, concepts, scenarios and prototypes for this wireless world, beyond the product, beyond the individual user, to social and culturally empowering experiences for larger groups of people. As we increasingly live in a world where everything is connected, designing stand alone things for stand alone people is no longer an option. Things are connected, and through these things, people are always part of some group, increasingly more online and in the real world as well, as Yocai Benkler shows in his Wealth of Networks.

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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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Moon Phases - interactive installation by Brady Bei & Yifan Hu // #mediaart #soundart

An interactive installation created at ITP.The machine shows the moon phases according to the date that users put in.


Learn more at: bradybei.com/Moon-Phases

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Beyond the Interface | 25 April - 21 June 2015 furtherfield.org

Beyond the Interface | 25 April - 21 June 2015 furtherfield.org | Digital #MediaArt(s) Numérique(s) | Scoop.it

“The interface is the sense organ of the computer, whereby it becomes part of human culture” Søren Bro Pold


The interface is the boundary across which information is exchanged, causing a transformation in one or both sides of that boundary. We humans are daily adapting to digital systems and devices, which in turn are tuned to handle our culture. This forms the contemporary cybernetic feedback loop.

This exhibition features art that disrupts or bypasses given interfaces. Interfaces have always been a site of control, hidden in plain view: symbolic, social or technological. They facilitate and shape the dialogue that happens between tribes from different religious, scientific or philosophical backgrounds; between components of computer systems; or between machines and living beings.

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Bill Vorn, Louis-Philippe Demers, Nicolas Bernier, Etienne Grenier, Simon Laroche & Vincent Morisset > Festival EXIT

Bill Vorn, Louis-Philippe Demers, Nicolas Bernier, Etienne Grenier, Simon Laroche & Vincent Morisset > Festival EXIT | Digital #MediaArt(s) Numérique(s) | Scoop.it
© Inferno (2015), LP Demers & B Vorn

Fondé sous la houlette de Didier Fusillier, le festival EXIT est le pionnier de l’art numérique en France, avec une programmation internationale haut de gamme. Le Québec y est régulièrement représenté, et particulièrement en 2015 avec trois œuvres d’envergure.

Frequencies (light quanta) de Nicolas Bernier
La structure de Frequencies (light quanta) rassemble cent panneaux d’acrylique en un monolithe noir. Des signes, lignes et points, gravés sur les panneaux
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Talk to Me | Prayer Companion (2010) - MoMA

Talk to Me | Prayer Companion (2010) - MoMA | Digital #MediaArt(s) Numérique(s) | Scoop.it

Developed for the nine Poor Clare Sisters who live at a monastery in York, UK, the Prayer Companion is a communication device with a very explicit purpose: it alerts the nuns to issues that need their prayers. The nuns, whose everyday lives have changed little since medieval times, have taken vows of enclosure, and their only connection to the outside world is through occasional access to Catholic newspapers, mail, and limited use of the telephone and computer. Designed to be understated and unobtrusive, the Prayer Companion subtly scrolls a ticker tape of issues across its top; its small screen can only be viewed from above and close-up, thus minimizing its distracting potential. The device was designed specifically for the nuns and is the only one of its kind. “Goldie,” as the nuns call it, sits on a table in a hallway that they often pass through, scrolling news as well as the feelings of anonymous strangers whose blog entries are aggregated by the website We Feel Fine. The nuns have told Bill Gaver, of the Interaction Research Studio, that “it has been valuable in keeping [our] prayers pertinent.”

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#Call - Human Interface Award / Phaenomenale 2015 / 5000€ / deadline 13.05.2015

#Call - Human Interface Award / Phaenomenale 2015 / 5000€ / deadline 13.05.2015 | Digital #MediaArt(s) Numérique(s) | Scoop.it

The award will be presented during the Phaenomenale festival (17.-27.9.2015) in Wolfsburg. The winner is obliged to accept the award in person and present the installation being honoured within the scope of a discussion. The person selected will be invited to Wolfsburg, whereby his or her accommodation and travel costs will be covered.

Prize money: EUR 5,000

Deadline: 13th May 2015 (submissions can be made from now onwards)

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Kutiman - Thru You Too - GIVE IT UP | Kutiman mixes YouTube - #netart #soundart

Thru You Too is an album by Kutiman created entirely by combining unrelated YouTube videos together to build songs. Kutiman released two tracks off the album, “Give It Up” and “No One in This World,” ahead of the full album release.


The album is a follow up to Kutiman’s first album done in this style, Thru You.


In 2009, Tel Aviv–based musician Ophir Kutiel released Thru-YOU, a project that made startlingly deft use of YouTube clips to craft original music. Kutiel, who works under the name Kutiman, is finally back with “Give it Up,” which further proves his talent for stitching together obscure samples into really, really good songs.

It’s also proof of his penchant for amateur and instructional videos: “Give it Up” is comprised entirely of various clips from unknown musicians, including a 6-year-old pianist and a high school brass ensemble. These component clips are seamlessly threaded together, such that the song doesn't feel like a forced mashup or cannily compiled gimmick—Kutiel's genius not only blurs the line between curation and creation, but renders it irrelevant. "Give it Up" is off his forthcoming album, Thru You

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Entretien avec Fabien ZOCCO | Par Armandine Chasle et Mélissa Galea - #artnumerique

Entretien avec Fabien ZOCCO | Par Armandine Chasle et Mélissa Galea - #artnumerique | Digital #MediaArt(s) Numérique(s) | Scoop.it

C’est dans le cadre de l’exposition Jeune Création qui s’est déroulée du 29 octobre au 2 novembre au 104 à Paris, que nous avons interrogé Fabien Zocco sur ses oeuvres. Celles-ci mêlent des recherches sur l’indicible du langage et de la technologie. Il est actuellement étudiant au Fresnoy-Studio National des Arts Contemporains de Lille.

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#Call AppArtAward 2015 - ZLM Karlsruhe & partners - 10 000 euros - deadline 10.05.2015

#Call AppArtAward 2015 - ZLM Karlsruhe & partners - 10 000 euros - deadline 10.05.2015 | Digital #MediaArt(s) Numérique(s) | Scoop.it

After four succesful competitions, this year we celebrate the 5th AppArtAward-anniversary this year. The ZKM | Center for Art and Media Karlsruhe, Cyberforum e.V. and their partners are again looking for the best artworks in app format. The AppArtAward honors apps that represent advanced artistic applications. Besides artistic aspects the creative integration as well as the use of options offered by new technologies is important.


Price : 10 000 euros


Period of submission: 09.03 – 10.05.2015.

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The long, twisted history of #glitchart - By Miles Klee - #netart

The long, twisted history of #glitchart - By Miles Klee - #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Glitches are headaches—technology coming apart at the seams.

The term, which may derive from Yiddish words conveying slippage, was fittingly popularized by NASA engineers and astronauts. Into Orbit, a 1962 account of Project Mercury, provides one of its earliest usages, courtesy of John Glenn, the first American to circumnavigate the globe outside its atmosphere.

“Another term we adopted to describe some of our problems was ‘glitch,’” he explained. “Literally, a glitch is a spike or change in voltage in an electrical current,” an occurrence with extreme, unpredictable, and potentially fatal results. ...

Glitches are headaches—technology coming apart at the seams.

The term, which may derive from Yiddish words conveying slippage, was fittingly popularized by NASA engineers and astronauts. Into Orbit, a 1962 account of Project Mercury, provides one of its earliest usages, courtesy of John Glenn, the first American to circumnavigate the globe outside its atmosphere.

“Another term we adopted to describe some of our problems was ‘glitch,’” he explained. “Literally, a glitch is a spike or change in voltage in an electrical current,” an occurrence with extreme, unpredictable, and potentially fatal results.

- See more at: http://kernelmag.dailydot.com/issue-sections/features-issue-sections/12265/glitch-art-history/#sthash.6DpPo4se.dpuf

Glitches are headaches—technology coming apart at the seams.

The term, which may derive from Yiddish words conveying slippage, was fittingly popularized by NASA engineers and astronauts. Into Orbit, a 1962 account of Project Mercury, provides one of its earliest usages, courtesy of John Glenn, the first American to circumnavigate the globe outside its atmosphere.

“Another term we adopted to describe some of our problems was ‘glitch,’” he explained. “Literally, a glitch is a spike or change in voltage in an electrical current,” an occurrence with extreme, unpredictable, and potentially fatal results.

- See more at: http://kernelmag.dailydot.com/issue-sections/features-issue-sections/12265/glitch-art-history/#sthash.6DpPo4se.dpuf
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Are Algorithms Conceptual Art’s Next Frontier? by Nicholas O'Brien

Are Algorithms Conceptual Art’s Next Frontier? by Nicholas O'Brien | Digital #MediaArt(s) Numérique(s) | Scoop.it

In an essay titled What Can a Network do?,  Alexander Galloway discussed the need for humans to adopt machine-like capabilities for reading networks. Instead of treating a network as a text—as humanities scholars would want—we should instead read it as a machine would, through a process of parsing. This procedure takes data and sorts it into categories of relevance in order to create a meaningful analysis. The parsing machine par excellence is the algorithm, and it dominates much of our digital lives. In recent years, algorithms have been telling us what music to listen to, who we should date, what stocks we should buy, and even what we should eat. It comes as no surprise, then, that it should also tell us what art we should view. But what happens when the art we are looking at becomes the algorithm itself?

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FIBER #Festival 2015 Trailer - 15+16 May 2015 // #mediaart

After a break of almost three years the Amsterdam based FIBER Festival returns on May 15 & 16 with a packed programme of emerging audiovisual art, immersive performances, electronic music, workshops and a symposium. This edition is focused on the theme The Subterranean: Exploring Networked Tools and Matter, and questions the often invisible influence of digital technology on our daily lives. FIBER Festival takes place at two cultural hotspots A Lab (symposium, meetup, exhibition) and the industrial club venue Radion (performances & club night) in Amsterdam.

For more info visit fiberfestival.nl.

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At the Edge of Art - by Joline Blais & Jon Ippolito

At the Edge of Art - by Joline Blais & Jon Ippolito | Digital #MediaArt(s) Numérique(s) | Scoop.it

At the Edge of Art makes the case for art that is empowered rather than emasculated, seditious rather than sedate. Yet as important as art's new functions may be, the Internet--that global lifeblood through which so much of this new art circulates and is recognized--offers no wall labels or a gallery shingles to tell us whether a work is art.

To remedy this, At the Edge of Art looks at six genres--code art, computer games, online autobiography, political activism, online communities, and artificial life--asking in each case where the edge lies between art and software, politics, or science.

The answers are surprising--as the authors argue that many creators working in today's scientific laboratories and street politics are more deserving of support as artists than artworld insiders with international reputations and studios full of paintings or sculpture.

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Le cinéma corps-machine de «Soma» - Guillaume Faure >> festival Exit - #interactivecinema

Le cinéma corps-machine de «Soma» - Guillaume Faure >> festival Exit - #interactivecinema | Digital #MediaArt(s) Numérique(s) | Scoop.it

Cabine de cinéma interactive et sensorielle pour spectateur solo, «Soma» de Guillaume Faure, au festival Exit du 25 mars au 5 avril, explore le rapport inconscient du corps à l’image. Une expérience cinématographique immersive à la lisière de la psychothérapie.


En rentrant dans la petite cabine cinématographique de l’installation Soma, présentée à VIA Maubeuge et en ce moment à la Maison des Arts de Créteil dans le cadre du festival Exit (du 25 mars au 5 avril), on est d’abord surpris par le minimalisme des lieux : un simple siège équipé de trois petits capteurs sur l’accoudoir droit fait face à l’écran-mur concave tout proche. ...

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Adon Newman - Concentric - Interactive Sound Installation - #soundart

"Concentric" is an interactive sound and light installation that examines an intrinsic link between our perceptual consciousness and the sonic vibrations surrounding us. This piece engages participants to utilize a group dynamic to create a harmonious union of sonic and mental energy. These harmonizing vibrations are dispersed throughout the gallery space in the form of sound and light.


Concentric consists of three large horns whose bell ends converge around a large glass water bowl. These horns resemble primitive wind instruments and require no skill or practice to play. The participant simply speaks, sings, chants, or creates any noise they wish into the mouthpiece. These sounds in turn illuminate and vibrate the water inside the bowl. These vibrations are heard throughout the gallery space, felt throughout the body, and seen as intricate patterns in the water and dancing silhouettes on the gallery walls.

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Can We Migrate From Skin-Like To Skin Replaceable Wearables? #innovation

Can We Migrate From Skin-Like To Skin Replaceable Wearables? #innovation | Digital #MediaArt(s) Numérique(s) | Scoop.it

MC10, a company based in Cambridge, Massachusetts, is testing attachable computers that look like small rectangular stickers, about the size of a piece of chewing gum. This new attachable computer includes wireless antennas, temperature sensors, heart-rate monitors a tiny battery and it looks like human skin. Not only looks but it acts and feels like skin. Texture, structure elasticity, etc. ...

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Open Learning Steps and Open-sourcing #Festivals - #opensource

Open Learning Steps and Open-sourcing #Festivals - #opensource | Digital #MediaArt(s) Numérique(s) | Scoop.it
How does an organisation open-source their cultural festival? Can we share the process for organising a festival, so that other groups can use it themselves?

How do organisations support activities and events throughout the year? Can we share the process for sustaining ongoing programs, so that other groups can do this too?

These are the questions that five experimental art, design and technology organisations from the Pixelache Network are asking themselves and others, and exploring, through a mobile circuit of workshops and seminars organized across Europe during 2013-2015.  Our common objective to co-produce a digital culture festival together through seven learning steps, taking place in the different partner countries. 


In the process, Piksel (NO), Pikslaverk (IS), Mal au Pixel (FR) and Pixelache (FI) will gradually be working towards 'open-sourcing' their festival skills and tools to provide them to their UK partner Access Space Network, who will test and utilise them in organising their first digital culture festival, the closing event of this two year cycle. We hope this test implementation will refine our materials to be released for others to use and build upon. Meanwhile, Access Space Network will share their approach to providing a contunuing programme of openness - helping its partners to provide opportunities to learn, create and participate throughout the year. We are keen to capture the knowledge embodied in our respective workshops and festival production, and to share this with a broader range of users.


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_Antirom_ - collective formed in 1994 /// explore interactivity

_Antirom_ - collective formed in 1994 /// explore interactivity | Digital #MediaArt(s) Numérique(s) | Scoop.it

The Antirom collective was formed in 1994 by a group of Londoners as a protest against "ill-conceived point-and-click 3D interfaces" grafted onto re-purposed old content - video, text, images, audio and so on - and repackaged as multimedia. The members of Antirom felt they could do better than this multi-mediocrity, or at least no worse.


The idea was to explore interactivity and try to understand what made an interactive experience engaging, a simple question but one that proved difficult to resolve. Inspired by Gerald Van Der Kaap's BlindRom, Antirom's eponymous first CD-ROM was a collection of small interactive pieces that were playful, fun, often silly and usually explored only one interactive idea at a time.


See also: http://imal-brussels.tumblr.com/tagged/antirom

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Dilution » - Par Gregory Chatonsky - Flux - Méthodologie artistique

Dilution » - Par Gregory Chatonsky - Flux - Méthodologie artistique | Digital #MediaArt(s) Numérique(s) | Scoop.it

Depuis quelques années, on observe la réapparition de formes déclaratives qu’on croyait obsolète en art. Les manifestes fleurissent et les mots en « Post ». Sans doute aurait-on tort de n’y voir qu’un retour à des tics modernes dans la mesure même où, pour prendre l’exemple des manifestes, ceux-ci ne sont pas seulement fondés sur une origine politique, mais artistique. Les manifestes en art ont leur propre histoire qui croise celles des manifestes politiques, mais qui ne s’y identifient pas. Cette origine réside dans le romantisme allemand et dans l’imaginaire littéraire de la figure de l’artiste visuel. Au cours du XXe siècle, les manifestes ont souvent été le fait de romanciers, théoriciens ou poètes. ...

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Mooc Digital Media | Ecole Supérieure Arts Graphiques Paris (EPSAA) - Coordination Dominique Moulon

Mooc Digital Media | Ecole Supérieure Arts Graphiques Paris (EPSAA) - Coordination Dominique Moulon | Digital #MediaArt(s) Numérique(s) | Scoop.it

L’Ecole Professionnelle Supérieure d’Arts Graphiques de la ville de Paris (EPSAA), en accord avec sa tutelle, a décidé en 2015 de se doter d’une formation en ligne ouverte à tous, ou Massive Open Online Course (MOOC), en sollicitant les compétences et en exploitant les ressources dédiées à l’enseignement des médias digitaux dont bénéficient déjà ses étudiants pour les étendre à un plus large public. Ainsi le MOOC de l’EPSAA Ville de Paris est destiné à un public en recherche de formation initiale comme à un large réseau de professionnels et bien entendu ouvert à tous.


Les cultures et pratiques numériques sont aujourd’hui l’affaire de tous. Elles sont transversales à bien des domaines, allant des arts visuels aux arts appliqués, jusqu’au spectacle vivant. Aussi, les contenus du moocDigitalMedia.paris sont accessibles à tous. A tous ceux désireux d’améliorer leur savoir-faire en s’appropriant des connaissances inhérentes aux pratiques innovantes qui sont à la croisée des réseaux, des jeux vidéo, du design d’interaction, des nouvelles images, de la data visualisation, du mapping vidéo ou de la générativité en son.


Nous accueillons à l’EPSAA, depuis déjà dix ans, des intervenants extérieurs à l’école, à raison d’une vingtaine par an dans le domaine des médias digitaux. Nous allons donc exploiter ce réseau de compétences afin d’y solliciter les plus pertinents. Chaque mois, le spécialiste d’un domaine d’émergence, d’une pratique innovante, interviendra sur le Mooc Digital Media de l’EPSAA Ville de Paris.


C’est Dominique Moulon, responsable du pôle Digital Media de l’EPSAA, qui coordonne cette plateforme.

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EVE Extended Virtual Environment - Jeffrey Shaw, ZKM. 1993 - #mediaart #pionneer

EVE is a research and development project initiated at the ZKM Karlsruhe in cooperation with the Forschungszentrum Karlsruhe. It encompasses the conceptual and technical development of a new form of interactive immersive visualisation environment and virtual-reality apparatus.


In the centre of a large inflatable dome, two video projectors are mounted on a motorised pan/tilt device (e.g. robot arm) which can move the projected image anywhere over the inside surface of the dome. The two video projectors present a stereo pair of images - the viewers wearing polarising spectacles can see the projected imagery in three dimensions.


One of the visitors to EVE wears a helmet (or a ‹miner's lamp›) with an attached spatial tracking device that identifies the position and angle of his head. This controls the positioning of video projectors so that the projected image always follows the direction of the viewer's gaze. In this way the viewer can move the picture frame over the entire dome surface and interactively explore the computer-generated virtual scenographies which are presented there. A joystick also allows the viewer to control his forwards and backwards movement in the surrounding virtual space.


In 1993 (MultiMediale 3, ZKM Karlsruhe, Germany), ‹The Virtual Museum› (1991) was adapted for presentation within EVE. In 1995 (MultiMediale 4, ZKM Karlsruhe, Germany) a new work titled ‹The Telepresent Onlookers› linked the movement of the interior video projectors to a stereo pair of video cameras mounted on another pan/tilt device situated outside the dome. As a result the exterior scene could be reconstituted within the dome, allowing the viewers inside to be vicariously telepresent in the space outside.
Jeffrey Shaw

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#Call Social #MediaArt Award / Phaenomenale 2015 / 5000 euros / deadline 13.05.2015

#Call Social #MediaArt Award / Phaenomenale 2015 / 5000 euros / deadline 13.05.2015 | Digital #MediaArt(s) Numérique(s) | Scoop.it

The Social Media Art Award will be assigned to an artist whose artwork is based on activities in social networks or reflects and comments on its way of communication and its production of meaning. The selected work will be presented during the festival.

Prize money: EUR 5,000

Deadline: 13th May 2015 (submissions can be made from now onwards)

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New Works by Nam June Paik Are Discovered at the Smithsonian American Art Museum By Wendy Moonan

New Works by Nam June Paik Are Discovered at the Smithsonian American Art Museum By Wendy Moonan | Digital #MediaArt(s) Numérique(s) | Scoop.it
While inventorying the massive archival materials left by the artist, a researcher come across forgotten works of art


Since the Smithsonian American Art Museum acquired the Nam June Paik archive in 2009, the museum's researchers have delighted in cataloging the whimsical and diverse materials accumulated by the playful father of video art: reams of papers plus a cornucopia of objects: TV sets, birdcages, toys and robots.


Two of the more amazing finds—a silent new opera written in computer code from 1967 and a previously unknown Paik TV Clock—will make their first public appearance in "Watch This! Revelations in Media Art," an exhibition that opens on April 24.


Michael Mansfield, curator of film and media arts at the museum, says that former-Smithsonian post-doctoral fellow Gregory Zinman (currently a professor at Georgia Tech), found the truly history-making original computer opera that was created in 1967 at the Bell Telephone Laboratories, then the research unit for AT&T’s Bell System in Murray Hill, New Jersey.  “Bells went off when Greg saw a sheet of Fortran code and realized it was done at Bell Labs,” Mansfield says. “There were a very limited number of artworks that came out of Bell Labs.” ...

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Arnaud Brument Expert's curator insight, March 26, 5:47 AM

Vente #Artvideo 2 #Drouot par Maître Wapler

Lundi 30 Mars 2015

œuvres de Nam June Paik

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DI-EGY Festival 0.1 - 27th March to the 10th April 2013 // #mediaart

DI-EGY Festival 0.1 - 27th March to the 10th April 2013 // #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Technology has profoundly changed the way we connect, work and play in Egypt. Technology can even start a revolution?
Social networks, videos, mobile networks, tablets, digital games, computers…most of our lives in Egypt have become consumed in a digital world.


What is specific about the way that we connect to digital media? What has been our progress in digital art production in Egypt? What do we need to learn from international digital arts experience? How we can connect with international artists to open platforms? And most importantly, why do we present this festival now?


We face many questions today, after our revolution. Now is an ideal moment to establish our first Digital arts festival in Egypt: "DI-EGY FEST". From the 27th March to the 10th April 2013, Di-Egy Fest will present different activities for Egyptian and international artists and audience in Cairo.

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The role of the artist impacted by new media (2008) by Nathan Stevens

The role of the artist impacted by new media (2008) by Nathan Stevens | Digital #MediaArt(s) Numérique(s) | Scoop.it

The artist wears multiple hats, each shaped by the practices, processes, and aesthetics of the work they are engaged with. The role of artist changes when their practice changes.  Their practice changes because of a “problem” as Deleuze might describe it; a multiplicity of highly different factors prompting the creation of a response”.   This problem, not in a negative sense, in this context is a great change in the tools materials and venues of the artist as afforded by new media on the early 1990’s. How does the role of artist change with an increased presence of new media, and in turn an increased opportunity for the actualization of the virtual?  ...

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Être artiste à l'époque d'internet, est-ce forcément plagier ?

Être artiste à l'époque d'internet, est-ce forcément plagier ? | Digital #MediaArt(s) Numérique(s) | Scoop.it

La semaine dernière, l’annonce de la condamnation pour plagiat de Robin Thicke et Pharrell Williams, jugés coupables d’avoir copié Got to give it up de Marvin Gaye dans leur tube de 2013 Blurred Lines, mettait le monde de la musique en émoi. Dans le domaine des arts visuels également, les procès pour plagiat se sont succédés : parmi eux, Valentin Carron, accusé d’avoir copié une statue d’un artiste suisse décédé sans en mentionner le nom, ou encore Luc Tuymans, condamné pour avoir basé un tableau sur le portrait d’une photojournaliste. Alors que le partage des images via les réseaux sociaux est devenu une pratique quotidienne, ces procès révèlent le trouble qu’introduit internet dans la définition de l’auteur et de l’œuvre originale. ...

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