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ArtCalls - Grants - Residencies
Anthologie de textes online (fr)
Some of my other Twitter accounts
From June 26th - July 2nd 2017 Frankfurt will turn into a vibrant hub for open exchange, hands-on experiments and reflection combining creative coding workshops, AV performances, laboratories, artist talks, engaging debates and an exhibition.
LifeSpace Science Art Research Gallery is located in the School of Life Sciences, University of Dundee, Scotland, UK.
The Gallery is open during exhibitions on Saturdays from 11am-5pm, and during the week by appointment only (email email@example.com)
The mission of LifeSpace is to engage artists and scientists in exciting new collaborations and to foster long-term cross-disciplinary activity that will provide these communities and the public with greater insight into the broad spectrum of life sciences research. This research-driven gallery space is curated as a collaborative partnership between researchers from Duncan of Jordanstone College of Art and Design and researchers from the School of Life Sciences. It enables an exciting opportunity for interdisciplinary art and science interactions as well as providing a location for curatorial exchange between staff, students, researchers and the general public.
In the 19th century a lot of devices, such as Thamatrope, Phenakistiscope or Zoetrope, that displayed images were invented.
Building on research into curating new media art since 1993 at the University of Sunderland, CRUMB was founded by Beryl Graham and Sarah Cook in 2000 within the School of Arts, Design, Media and Culture, with a Small Grant from the Arts and Humanities Research Board. CRUMB's activities cover a range of practices, but are predominantly based around research, networking, and professional development for curators of new media art.
CRUMB is supported by the University of Sunderland with funding from the Arts and Humanities Research Council, The Leverhulme Trust, Arts Council England.
BOM (Birmingham Open Media) is forging a new model of radical practice at the intersection of art, technology and science with measurable social impact.
By making sustained investment in a community of Fellows and developing strategic projects and partnerships, we test pioneering ideas that investigate the transformative value of the arts across education, health and society.
BOM is proactively addressing barriers to cultural participation, by connecting world-class practitioners with activist research and communities.
We are born from hacker culture. But unlike other hackspaces that are filled with tools and operate on a membership model, our building foregrounds public engagement with a free gallery and events space, and supports a curated community of practitioners to deliver our aims. ...
SPAMM POWER (ϟℙ∀ℳℳ▁ℙϴШ€ℜ_TOUR) / (PHYSICAL & ONLINE EXHIBITIONS)
__03 / 31 / 2017 - 04 / 14 / 2017 / 19 H 19 @ Parsons Paris
___04 / 14 / 2017 / 14 H 14 @ Parsons Paris
COM’ W!TH YOUR ART / OPEN EXH!B!TION / COM’ W!TH YOUR LAPTOP / OPEN SCREEN!ING / SHOW YOUR ART AND DR!NK WATER / BE A PART OF TH!S EXH!B!T!ON !N PROGRESS…
For ϟℙ∀ℳℳ▁ℙϴШ€ℜ, we wanted to identify the paths that artists plot on social networks to the convergence of several digital disciplines, to identify the links between the different groups of practices and research, and then to reconstitute a unit in a set open for this Exhibition to be discovered on the site SPAMM.fr
UFOs of the web, flux electrons, artists and hackers of images and sounds, each figure has its own meaning. Together they form a larger drawing.
Beyond the comfort zones, beyond criticism and confrontations, divergent feelings,
SPAMM lives on the web well before thinking.
SPAMM is an open space that does not contain its boundary.
SPAMM is NO BORDER.
SPAMM is the quantity not the scarcity.
SPAMM is the horizontal space of digital creation.
SPAMM is an irreducible complexity that escapes the domain of words. ...
Electrical Engineer with a specialization in telecommunications at the Free University of Brussels (ULB, 1987), he received a First Prize and a higher diploma in Electroacoustic Composition at the Royal Conservatories of Music in Brussels (1993) and in Mons (1996).
Le Mirage Festival est un cocktail magique qui se sirote pendant quatre jours et quatre nuits. Subtil équilibre d’expositions, de conférences et de soirées électro, la recette 2017, intitulée "(Im)atérialités", promet des effets surprenants : donner accès à des choses habituellement invisibles, perturber les limites de la perception, envoûter les sens, titiller la réalité… Ses ingrédients principaux sont des couleurs, du son et du mouvement… Konbini vous présente des pépites repérées dans la programmation de cette 5e édition, qui se déroule jusqu'au 12 mars à Lyon.
Rendre visible l’immatériel, c’est le jeu auquel se prêtent les artistes présentés dans le parcours d’exposition (accessible à tous, gratuitement) qui s’installe aux Subsistances, à la Taverne Gutenberg, au Musée des Beaux-Arts et à l’École des Beaux-Arts de Lyon. "Le numérique est hyper présent dans notre quotidien, l’idée cette année était d’explorer sa présence, de dévoiler l'intangible", nous explique Jean-Manu Rosnet, cofondateur du festival...
A European project supported by the European Commission DG Connect as a part of the STARTS platform-Science, Technology and the ARTS-H2020 program, VERTIGO catalyzes new synergies between artistic communities, cultural institutions and innovation stakeholders via a program of 45 artistic residencies over a 3-year period.
In applying for VERTIGO:
> You benefit from the collaboration of a top-rated artist who will develop a radically new and innovative approach to your technology
Opening of the call for projects
March 14-April 7, 2017
Pau Waelder is a researcher, art critic and curator who recently finished his PhD about the art market, its displacement on internet platforms and the interactions between contemporary art and New Media Art. His research acknowledge the explosion of the Post-Internet Art, as example of an artistic sector connected to New Media Art that stimulated the interest of the traditional art market.
Post-Internet Art has been for many a short parenthesis, a phenomenon which is already obsolete, but it setted a precedent of a successful artistic production for the art market, in the general context of New Media Art, even if some artists of the new generation does not recognize himself in the New Media Art field. From a different perspective, this interview also focuses on the new online resources for buying art and the new forms of distributions of digital contents.
Ruairi Glynn practices as an installation artist and directs the Interactive Architecture Lab at the Bartlett School of Architecture, University College London. He has exhibited internationally with recent shows at the Centre Pompidou Paris, the National Art Museum of China Beijing, and the Tate Modern, London. His interactive installations reflect on rapid developments in robotics, material science and computational technologies exploring the emerging aesthetics of behaviour permeating across art, architecture and design.
ELBOW is a portable cassette player reduced to the core. In XXI century, the rise of cheap and convenient digital media has made all physical formats „outdated“. Still, the tactile intimacy of physical formats is dearly missed. That’s the reason behind the resurgence of vinyl, and also motivation behind ELBOW. ELBOW was conceived with burning passion by, and for, cassette tape lovers!
ELBOW’s most prominent feature is the biaxial arm. It rotates in two directions – upward motion enables the insertion of a cassette, while sideways motion allows to manually switch playing direction. Playback is controlled by a single wheel – turning left from the initial position activates the motor and increases volume, turning in the opposite direction fast-forwards the cassette. The device has two connections: a standard 3.5mm audio plug, and a mini-USB port for charging and transferring audio to a computer. Also, an additional pin can be used to attach player to clothes and other objects, turning your cassette into a unique accessory.
Take part in the imminent cassette tape revival - help our research by answering a few simple questions!
Future and Emerging Technologies (FET) push the boundaries of human knowledge. Unconventional ways of thinking and creativity open novel and visionary fields of research that radically shift. Our project brings together artists and FET projects using best practice methods to create high-impact collaborative outcomes including the production of new artworks, major exhibitions, media campaigns, and socially engaged events including festivals, debates and participatory workshops.
Six leading international artists are hosted within FET projects through fully funded embedded residencies. Through in-depth collaborations with researchers and reflecting on the projects, the artists explore, engage and communicate these new areas of research to reach the widest possible audiences, opening up societal discussions, raising awareness and enhancing take-up of radically new technologies.
In our video section you can also find introductory videos by our coordinator, Erich Prem, and our artist partner, Anna Dumitriu, to give you an overview of our project.
Using 40 Raspberry Pis attached to 40 Adafruit e-ink displays, New York conceptual artist Zach Gage turned Google Search’s autocomplete function into poetry. Each “Glacier” is a unique poem generated…
The installation’s screens refresh daily as the Pis check Google for changes and update accordingly. For some search phrases, however, it’s likely that they will not be altered for years or even décades. ...
Data and Dragons is a series of sculptures that intercepts and logs anonymous live data captured from surrounding WiFi signals. An assembly of custom printed circuit boards and Ethernet cabling, each work is dark and austere, manifesting “the cloud”, social networks, data, leaks, and that which forms social capital into a single object. Passively interactive, the behavior of these pieces is driven by custom hardware and packet sniffers, which capture all the live data passing through the area. The information is then visualized via surface mounted LEDs, through a series of blinking patterns.
Addie Wagenknecht is an American artist based in Austria whose work explores the tension between expression and technology. Blending conceptually-driven painting, sculpture, and installation with the ethos of hacker culture, Wagenknecht constructs spaces between art object and lived experience. Here, the darker side of systems that constitute lived reality emerge, revealing alternative yet parallel realities. In the context of post-Snowden information culture, Wagenknecht’s work contemplates power, networked consciousness, and the incessant beauty of everyday life despite the anxiety of being surveilled.
Biofaction is a research and science communication company based in Vienna, Austria. Biofaction has significant expertise in science communication, film production, technology assessment and the study of ethical, legal and social issues in a number of emerging sciences and technology (genetic engineering, synthetic biology, converging technology).
They provide expertise and services in the following areas:
– technology assessment of new and emerging (bio)technologies
– art and science collaboration
– film and video production on science and technology
– science communication and managing the science-society interface
In March 2017, iMAL and Packed.be start a two-year research collaboration to develop methods, tools and services for the preservation of digital-born content, as well as their public access through a prototype of new type of media library for digital artefacts based on emulation.
The project will focus on the use of emulation, an efficient approach that consists in simulating old hardware platform in a software way. This technique provides a promising basis for the development of a strategy for the preservation of digital creations and their future public access. Today, in Belgium and Brussels, expertise in the preservation of digital-born works and the use of emulators is not sufficient to meet the challenges on the future of born-digital content. It is this gap that the Resurrection Lab proposes to fill.
The project initiated by iMAL is a collaboration with Packed.be, the Center of Expertise in Digital Heritage based in Brussels and the bwFLA team of the University of Freiburg, one of the leading R&D center in the development of emulation environment.
The project is supported by Innoviris, the Institute for Research and Innovation of the Brussels-capital Region.
For 20 years This is Not Art has celebrated Newcastle as a first-rate creative city. As one of Australia's leading contemporary and emerging arts festivals, TiNA provides a national platform for experimental and emerging arts practices. The festival supports artists to take risks, experiment, and extend the boundaries of their art forms and practices. Now is your chance to get involved!
The next TiNA Cultural Festival. 28 September - 1 October, 2017. Newcastle Australia
In the 1980s, Joi Ito traded in library tables at the University of Chicago for turntables at Chicago’s Smart Bar. But his attempt to evade academia wouldn’t stick.
The two-time college dropout became director of the MIT Media Lab in 2011, making the 50-year-old an academic administrator at one of the most renowned universities in the world. Before that, he was an entrepreneur who started a number of his own companies and invested in the likes of Flickr, Twitter and Kickstarter.
A proud supporter of “responsible disobedience” — the lab is awarding its first $250,000 Disobedience Award this July — Ito is in Chicago Wednesday as a Chicago Ideas speaker. He will appear with IDEO Chicago Executive Portfolio Director Neil Stevenson at an event to discuss Chicago’s role in “embracing culture, art and experimentation.”
Blue Sky talked to Ito — whose interdisciplinary media lab focuses on the creative use of digital technology, sciences, arts and design — about the disobedience mindset....
Part of the momentum comes from breakthroughs in artificial neural networks, which loosely mimic the multi-layer structure of the human brain. But that’s where the similarity ends. While the brain can hum along on energy only enough to power a light bulb, AlphaGo’s neural network runs on a whopping 1,920 CPUs and 280 GPUs, with a total power consumption of roughly one million watts—50,000 times more than its biological counterpart.
Extrapolate those numbers, and it’s easy to see that artificial neural networks have a serious problem—even if scientists design powerfully intelligent machines, they may demand too much energy to be practical for everyday use.
Découvrez l'exposition "Mutations-Créations / Imprimer le monde" du 15 mars au 19 juin 2017 au Centre Pompidou à Paris
Les technologies numériques ont bouleversé la conception et la fabrication des objets, transformant la pratique des architectes, des designers, des artistes. Quel est le statut de l’auteur à l’ère de la production d’objets « non standards », à la fois uniques et produits industriellement ? Quel est le statut de cet objet « imprimé » en 3D, tout à la fois objet du quotidien, objet technologique, œuvre d’art, objet de design, prototype d’architecture ?
Comment expliquer sa généralisation à l’ère du numérique à tous les domaines de production ? Qualifiée de « technologie disruptive », l’impression 3D se diffuse depuis une quinzaine d’années à une large échelle à travers les plates-formes de logiciels « open source » et se développe dans l’industrie, de l’aéronautique aux biotechnologies.
... Commissaire : Mnam/Cci, Marie-Ange Brayer, Olivier Zeitoun
Annie Abrahams est identifiée comme une artiste précurseur liée à l’Internet et c’est sans doute sur la base de protocoles que son travail pourrait être défini. Rassembler des performers, d’âges, personnalités et milieux diversifiés, les mettre en frottement les uns avec les autres et étudier, analyser ce qui en ressort. Il s’avère cependant que ce ne sont pas les conditions d’existence de la performance même qui l’intéressent, ce seraient plutôt les espaces de liberté qui émergent et l’appropriation qu’en font les performers.
Annie Abrahams le dit simplement, elle n’est pas performeuse, elle étudie les conditions d’évolution et d’existence des corps en performance sur Internet. La performance fait usage de protocoles, car elle implique de façon indispensable de situer dans le temps les différentes actions et étapes de son déroulement...
Moniker is an Amsterdam based interactive design studio by Luna Maurer & Roel Wouters. They founded Moniker in 2012 together with Jonathan Puckey.
With Moniker, which means nickname or pseudonym, we work on commissioned design projects while also investing in projects of an autonomous and experimental nature.
The studio works across various media for a diverse range of clients ranging from those in the cultural field to commercial companies. With our projects, we explore the social effects of technology - how we use technology and how it influences our daily lives. Often, we ask the public to take part in the development of our projects. The resulting projects expand and grow like plants, displaying their inner organisational process.
Moniker specialises in interactive, print, video, physical installation and performance work.
Tehran Annual Digital Art Exhibition, TADAEX, was founded in 2011 with the aim of opening new horizons for Iran’s interdisciplinary and digital art. Its intention has been to create a serious and independent atmosphere for enthusiasts and researchers alike. The non-commercial nature of this art, in addition to the high cost of the equipment, have always made it difficult for the Iranian artists to participate and gain experience in the digital arena.
Thus, the potential for exhibiting and presenting artworks in this field could not be properly realized, and therefore, by presenting works by international artists and creating a platform for engaging with and exchanging of their knowledge, TADAEX has endeavored to pave the way for Iranian digital artists to develop and nurture their art.