Digital #MediaArt(s) Numérique(s)
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Tropisme festival - innovation et la création à l'ère numérique - 18 au 23.02.14

Tropisme festival - innovation et la création à l'ère numérique - 18 au 23.02.14 | Digital #MediaArt(s) Numérique(s) | Scoop.it
Le festival 100% devient // TROPISME
Un FESTIVAL sur l'innovation et la création à l'ère numérique
18 - 23 FÉVRIER 2014 // MONTPELLIERBiographieAu programme du TROPISME FESTIVAL :

Concerts // expositions // performances // installations

Rencontres // ateliers // conférences...

Venez vibrer du 18 au 23 février à Montpellier !

http://tropismefestival.fr
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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 @_Transcultures
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arts-numeriques.info - Media Art WatchLab

arts-numeriques.info - Media Art WatchLab | Digital #MediaArt(s) Numérique(s) | Scoop.it


Visit the website/portal to see much more news

arts-numeriques.info

 

ArtCalls - Grants - Residencies

 

Anthologie de textes online (fr)

http://www.scoop.it/t/arts-numeriques-anthologie-de-textes


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Some of my other Twitter accounts

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

 Très intéressant 

AnnsoM's curator insight, September 30, 2015 8:21 AM

arts-numeriques.info  - Media Art WatchLab

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Deep Lab collaborative group of #cyberfeminist researchers, artists, writers, engineers & cultural producers

Deep Lab collaborative group of #cyberfeminist researchers, artists, writers, engineers & cultural producers | Digital #MediaArt(s) Numérique(s) | Scoop.it

Our interests are diverse, and we do not agree on everything. Some of our research includes privacy, surveillance, code, art, social hacking, race, capitalism, anonymity, the infrastructures of the 21st century and useful skills in tangible situations.

 

Members of Deep Lab are engaged in ongoing critical assessments of contemporary digital culture, and work together to exploit the potential for creative inquiry lying dormant in the deep web. Our research is conducted independently as well as collaboratively. The process is manifested by our network and both seperate and shared knowledge/expertise between members. Some of our work is secret, anonymous and private. Other inquiries are public; released as lecture series, publications, contemporary art, public programming and/or performances...

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Vulkan Renderer - support to openFrameworks by Tim Gfrerer

Vulkan Renderer - support to openFrameworks by Tim Gfrerer | Digital #MediaArt(s) Numérique(s) | Scoop.it

Vulkan is a next generation graphics API, and set to succeed OpenGL and GLES. It’s a much more explicit API. It is a fundamental shift in rendering, and it allows a level of control and performance previously only possible on games consoles. With its sister standard SPIR-V it can revolutionise drawing, shading and compute.

It was released on February 16 this year, and there is already fairly solid driver support from most manufacturers.

  • In terms of programming, it’s like switching from JavaScript to C++: potentially faster, more explicit — and there's a chance you end up with undefined behaviour.

  • In terms of motoring, it's like trading in a Toyota for an unlimited supply of Ferrari car parts. You could build something to put the A-Team to shame, but it might take a really long time to hit the road.

  • In terms of child’s play, its like moving from Duplo to Lego. You can build things with much more attention to detail, but you might miss how quickly you could have built a simple wall with cruder bricks.

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A Brief History of Curating New Media Art
Conversations with Curators (2011) // #mediaart

A Brief History of Curating New Media Art<br/>Conversations with Curators (2011) // #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

This book of interviews tracks the work of curators in the field of new media art in order to consider the massive changes and developments over a relatively short period of time. They are also a celebration of the ten years that the online resource for curators of new media art, CRUMB, has been publishing interviews and other research. The curators featured in this book range across the contemporary arts. They have been working away, not in the centre or the periphery, but in the nodes of this networked field of new media art...

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Illuminating the ‘Dark’ Web and Content Monitoring, Eva and Franco Mattes // by Tes Loos > New York Times

Illuminating the ‘Dark’ Web and Content Monitoring, Eva and Franco Mattes // by Tes Loos > New York Times | Digital #MediaArt(s) Numérique(s) | Scoop.it

Plenty of artists have explored the relationship between light and shadow to create indelible images and tell a story.

Eva and Franco Mattes — married Brooklyn artists and “hacktivists” — use those ideas metaphorically, peeling back the surface of what they call the “sanitized” internet to reveal its murkier side: the world of content monitoring and the elusive individuals who are tasked with tracking and removing offensive material online.

Their latest exhibition, “Abuse Standards Violations,” on view at London’s Carroll/Fletcher gallery until Aug. 27, is a journey into what Ben Vickers, a London curator at the Serpentine Galleries and fan of their work, called “the dark, morbid heart of the internet.”

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L’art fait par les machines, pour les machines | BIAN Biennale internationale d’art numérique // artpress

L’art fait par les machines, pour les machines | BIAN Biennale internationale d’art numérique // artpress | Digital #MediaArt(s) Numérique(s) | Scoop.it

Pour sa troisième édition, la Biennale internationale d’art numérique de Montréal – ou BIAN – a investi l’Arsenal. Initiée par Alain Thibault, qui en est aussi le directeur artistique, elle fédère une nouvelle fois de nombreux événements. Cette année, à travers sa thématique « Automata », cette troisième édition nous incite à reconsidérer un art « fait par les machines » et/ou « pour les machines ».

 

C’est avec ses événements satellites que la BIAN a débuté en avril dernier alors que d’autres la clôtureront en août prochain. Citons l’exposition ADC/DAC de la galerie Diagonal dans le quartier montréalais du Mile-End. Comme l’indique son titre, il y est question de conversion de l’analogique au numérique et vice versa, donc de ce monde de « l’entre-deux » qui nous est aujourd’hui si familier. Phillip David Stearns y présente notamment une série de tapisseries, Vestigial Data, produites sur des métiers à tisser de type Jacquard à commande numérique. 

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27.06.2016 / HeK - Conservation Piece(s) - Conference on the preservation of performative media / #mediaart

27.06.2016 / HeK - Conservation Piece(s) - Conference on the preservation of performative media / #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Digital art, in its countless manifestations, has become a household word in creative production; its cultural relevance is unquestioned. But its conservation does present new challenges to museums and collections alike: After all, we are not talking about static objects that can be “stabilized” in the classical sense; rather, digital art is akin to performance, because new conditions can arise in each process or each performance. What can be done if the technology is already out of date the moment you switch on the computer? How do we deal with works of art that are dependent on proprietary software that’s no longer being updated by its manufacturers, or whose manufacturer no longer exists? How can net-based projects be preserved for the future? 

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DIS’s Berlin Biennale Isn’t a “LOLhouse” or a Fashion Spread—It’s Charting Art’s Future by Alexander Forbes

DIS’s Berlin Biennale Isn’t a “LOLhouse” or a Fashion Spread—It’s Charting Art’s Future by Alexander Forbes | Digital #MediaArt(s) Numérique(s) | Scoop.it

In the nearly one month since the 9th Berlin Biennale opened, I’ve seen a lot of articles about a slick show curated by a fashion collective from New York called DIS. I read one particularly scathing review in which Jason Farago suggests that the only responsible biennale to curate at this time of humanitarian crisis would be one that sincerely reflects on the refugees whose lives have been upended. But I haven’t read much, if anything, about what I saw this week, admittedly late in the game. DIS’s 9th Berlin Biennale, “The Present in Drag,” actually does offer pathways to break down the power systems that have contributed to the refugee crisis and the resurrection of pseudo-fascist politics. It also demonstrates a new future for art that jibes with our présent...

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Shrink, performance by Lawrence Malstaf (1995) // #mediaart

Two large, transparent plastic sheets and a device that gradually sucks the air out from between them leave the body (in this case the artist himself) vacuum-packed and vertically suspended. The transparent tube inserted between the two surfaces allows the person inside the installation to regulate the flow of air. As a result of the increasing pressure between the plastic sheets, the surface of the packed body gradually freezes into multiple micro-folds. For the duration of the performance the person inside moves slowly and changes positions, which vary from an almost embryonic position to one resembling a crucified body.

 

http://lawrencemalstaf.com

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June 26th-27th >> VRTO Virtual & Augmented Reality World Conference & EXPO 2016 // #VirtualReality #VR

June 26th-27th >> VRTO Virtual & Augmented Reality World Conference & EXPO 2016 // #VirtualReality #VR | Digital #MediaArt(s) Numérique(s) | Scoop.it
Our aim is to empower people to share their world, culture, knowledge and dreams with the assistance of emergent immersive technologies.

Comprising a team of experienced professionals in immersive technology and computing, entertainment, event production and conference building, VRTO is a virtual and augmented reality Meetup Group that has run several Canadian firsts including the largest VR showcase in Ontario (VAR Show July 2015) and the FIVARS festival – the first virtual and augmented reality stories festival of its kind in Canada (September 2015).
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Printing #Architecture by Digital Grotesque (Michael Hansmeyer - Benjamin Dillenburger) // #3Dprint #mediaart

Digital Grotesque is the first fully immersive, solid, human-scale, enclosed structure that is entirely 3D printed out of sand. This structure, measuring 16 square meters, is materialized with details at the threshold of human perception. Every aspect of this architecture is composed by custom-designed algorithms.

Please visit digital-grotesque.com for a further description.

Architects:
Michael Hansmeyer
Benjamin Dillenburger

Partners and Sponsors:
• Chair for CAAD, Prof. Hovestadt, ETH Zurich
• Department of Architecture, ETH Zurich
• voxeljet AG
• FRAC Centre
• Strobel Quarzsand GmbH
• Pro Helvetia

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EarthLab – Artists as Catalysts /// Polytechnic Museum // Ars Electronica Export /// #mediaart

EarthLab – Artists as Catalysts /// Polytechnic Museum // Ars Electronica Export /// #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

The Polytechnic Museum in Moscow and Ars Electronica Linz invite visitors to partake of a stimulating encounter with important issues having to do with our planet. Visitors become researchers in EARTH LAB, a fascinating mix of exhibits, participative infographics and a discursive ancillary program. The artworks are designed to stimulate creative processes and encourage people to look at the Earth from a very different perspective for a change. But the site of this rethinking process isn’t a museum or some other established institution; it’s the basement of the mothballed Red October chocolate factory in the heart of Moscow.

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Déjà Entendu | An Opera Automaton by Lukas Truniger | #BIAN2016 // #mediaart #artnumerique

Déjà Entendu | An Opera Automaton by Lukas Truniger | #BIAN2016 // #mediaart #artnumerique | Digital #MediaArt(s) Numérique(s) | Scoop.it

L’installation se base sur des textes et mélodies d’opéra inspirés par le mythe de Faust – l’épopée de la curiosité humaine et de ses limites. 102 écrans et haut-parleurs sont disposés afin de créer des schémas répétitifs, projetant le virtuel dans l’espace. Les phrases et mélodies des chanteurs sont reproduites à l’aide de logiciels d’apprentissage automatique. Une nouvelle version de Faust est créée, en mouvements fragmentés de sons et de lumières. C’est un jeu avec les frontières de la perception. L’instant où le langage perd son sens, devient abstrait et révèle ainsi la véritable poétique (dans toute son absurdité) du numérique.

 

The installation is based on texts and melodies collected from operas narrating the Faust myth – the epic of human curiosity and its limits. 102 screens and speakers are arranged in repetitive patterns creating an emergent space. The phrases and melodies of the vocalist are reproduced using machine learning software. A new version of Faust is created in fragmented movements of light and sound. It is a game with the boundaries of perception. The point where language loses its meaning and becomes abstract. This reveals the proper poetics – in all its absurdity – of the digital.

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Cyberconflict & #Hacktivism in a Contemporary Context - by Athina Karatzogianni

Cyberconflict & #Hacktivism in a Contemporary Context - by Athina Karatzogianni | Digital #MediaArt(s) Numérique(s) | Scoop.it

Currently the terms 'hacktivism', 'digital activism' and 'cyber activism' are frequently used by the various global media outlets, especially in connection with the social media-enabled protests taking place in the Middle East, Europe and elsewhere around the world. Understanding the nuances of these terms, their relationship to cyberconflict, and the difficulties for governments and the international community in responding to any type of cyberconflict incident are well worth exploring at this point in time.

 

Hacktivism is a term that combines the words hacker and activism. It refers to the art of manipulating code and using computers for political purposes. These include mobilizing supporters, creating software that helps bypass censorship or bridge digital inequality, and supporting specific campaigns, organizations, and protests around the world using electronic disobedience or social mobilization. Hacktivism in its purest form is an information-age ideology which, depending on the political spectrum, can support: peer production as an alternative mode to capitalism, copyleft or open source software, direct or participatory democracy, and transparent government...

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(Art)ScienceBLR - Public Laboratory at the Srishti Institute of Art, Design and Technology // India

(Art)ScienceBLR - Public Laboratory at the Srishti Institute of Art, Design and Technology // India | Digital #MediaArt(s) Numérique(s) | Scoop.it

(Art)ScienceBLR is a public laboratory at the Srishti Institute of Art, Design and Technology for artists and designers to engage with scientific practices. Residencies, exhibitions, workshops, talks...

 

We look at the artistic, social and political implications of technologies from computing to biotechnologies. Our work exists at the intersection of art-science and pedagogy, creating spaces of dialogue and interaction between artists, designers and scientists.

 

Since our inception in 2009 we have focused on using DIY techniques to build low-cost laboratory equipment, so as to offer more accessible forms of engagement with the life-sciences.

 

We also run a community electronics and BioLab which encourages students and the community to make/hack and prototype.

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01.07 > 10.08.2016 - Project "Deep Inside" - 5th Moscow International Biennale for Young Art

01.07 > 10.08.2016 - Project "Deep Inside" - 5th Moscow International Biennale for Young Art | Digital #MediaArt(s) Numérique(s) | Scoop.it
Every day, millions of people have out-of-body experiences, enabled by avatars on social media, or in multiplayer gaming worlds. Meanwhile, Google Earth and air travel make us accustomed to the god’s eye perspective of satellites, in orbit, beyond gravity. Set against the challenge of dealing with climate change, the vagaries of a global economy, social instability, and the moral fallout from the information revolution, the poetry of escape grows ever more seductive. Lust for an absolute outside powers fantasies of emigration to unspoiled beaches, and exotic schemes to colonise Mars.
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until 03.07.17 > Garages Numériques, festival des cultures digitales, #Bruxelles | par Julie Huon #mediaart

until 03.07.17 > Garages Numériques, festival des cultures digitales, #Bruxelles | par Julie Huon #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Bruxelles prouve depuis longtemps que les arts numériques et la musique électronique sont pour tous les yeux et toutes les oreilles. Il y a 13 ans, le Cimatics, festival international de VJ’ing, semait déjà 150 artistes pendant 10 jours dans toute la capitale. L’an dernier, le Festival des Arts Numériques a démarré à iMAL – fabuleux Centre des Cultures et Technologies digitales à Bruxelles – et revient du 22 septembre au 30 novembre 2016. D’ici là, ce sont Les Garages Numériques qui s’installent dans les sous-sols du cinéma Galeries...

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MIT/OCW - MIT MediaLab OpenCourseWare | Free Online Course Materials

MIT/OCW - MIT MediaLab OpenCourseWare | Free Online Course Materials | Digital #MediaArt(s) Numérique(s) | Scoop.it
MIT OpenCourseWare is a web-based publication of virtually all MIT course content. OCW is open and available to the world and is a permanent MIT activity.

 

“The idea is simple: to publish all of our course materials online and make them widely available to everyone.”
Dick K.P. Yue, Professor, MIT School of Engineering

Unlocking Knowledge

MIT OpenCourseWare (OCW) is a web-based publication of virtually all MIT course content. OCW is open and available to the world and is a permanent MIT activity.

Empowering Minds

Through OCW, educators improve courses and curricula, making their schools more effective; students find additional resources to help them succeed; and independent learners enrich their lives and use the content to tackle some of our world’s most difficult challenges, including sustainable development, climate change, and cancer eradication.

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Artificial Intelligence’s White Guy Problem - by KateCrawford / New York Times #AI

Artificial Intelligence’s White Guy Problem - by KateCrawford / New York Times #AI | Digital #MediaArt(s) Numérique(s) | Scoop.it
Our world is increasingly shaped by biased algorithms that have been built with little oversight.

 

ACCORDING to some prominent voices in the tech world, artificial intelligence presents a looming existential threat to humanity: Warnings by luminaries like Elon Musk and Nick Bostrom about “the singularity” — when machines become smarter than humans — have attracted millions of dollars and spawned a multitude of conferences.

 

But this hand-wringing is a distraction from the very real problems with artificial intelligence today, which may already be exacerbating inequality in the workplace, at home and in our legal and judicial systems. Sexism, racism and other forms of discrimination are being built into the machine-learning algorithms that underlie the technology behind many “intelligent” systems that shape how we are categorized and advertised to...

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'First Law' robot (by Alexander Reben), chooses which human victims it wants to inflict pain on

'First Law' robot (by Alexander Reben), chooses which human victims it wants to inflict pain on | Digital #MediaArt(s) Numérique(s) | Scoop.it

The threat of killer robots may sound a little far-fetched but this latest 'harmful robot' suggests we may have taken a step closer to this dystopian reality.

 

Roboticist artist Alexander Reben from the University of Berkeley, California, has created a bot called "The First Law" that is capable of pricking a finger, but is programmed to choose not to every time if it means avoiding being switched off. Ultimately, it can decide whether or not to inflict pain to serve its own interest.

 

The robot is named after the first law in a set of rules devised by sci-fi author Isaac Asimov, which - quoted as being from the Handbook of Robotics, 2058 AD – states "a robot may not injure a human being or, through inaction, allow a human being to come to harm".

 

lire la news en français : https://rslnmag.fr/innovation/robot-infliger-douleur-autonome

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Le LAB d'Eastern Bloc | Centre de production & d'exposition en nouveaux médias

Le LAB d'Eastern Bloc | Centre de production & d'exposition en nouveaux médias | Digital #MediaArt(s) Numérique(s) | Scoop.it
Le lab d'Eastern Bloc est un espace pour la recherche et la production de l’art résidant à l’intersection de la technologie et de la science. Le lab est une plateforme pour l’expérimentation, l’éducation et la pensée critique en ce qui concerne les pratiques hybrides, interactives, mises en réseau et menées par un processus. Au travers d'un discours mené par les artistes, le lab fournit un espace inclusif pour l’exploration de la culture numérique contemporaine en ce qui a trait aux préoccupations sociétales. Le lab d’Eastern Bloc est conçu principalement, mais pas exclusivement, pour les artistes émergents locaux et internationaux. Notre but est de permettre l’évolution d’un espace de création d’art numérique à travers la déconstruction du langage numérique et la compréhension des systèmes et mécanismes fondamentaux de l’électronique. Le lab d'Eastern Bloc est membre du réseau canadien LabàLab.
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Collide@CERN: interview with Cassandre Poirier-Simon ⋆ Gruppo Giada // #ArtSci #mediaart

Collide@CERN: interview with Cassandre Poirier-Simon ⋆ Gruppo Giada // #ArtSci #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

As is known, it was during the 1980s when the young Londoner Timothy “Tim” John Berners-Lee was looking for a way to organize the huge amount of information produced by the very CERN (European Organisation For Nuclear Research) he started to dedicate himself to program Enquire that would have later on allowed the hypertextual management of contents, fulfilling the intuitions of Vannevar Bush in 1945 (MEMEX) and of Theodor “Ted” Nelson in 1962 (Xanadu).

 

Furthermore, nine years later, it was still in the hallways of the CERN the Berners-Lee met the Belgian Robert Cailliau with whom he succeeded in perfecting Enquire, by creating the program which will pass to history with the name of World Wide Web, with its “common language” for the interchange of hypertexts between different computers (HTTP) and its markup language for hypertexts (HTML)...

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Facebook Really Is Building The #Metaverse by Mark Wilson // #virtualreality #VR

Facebook Really Is Building The #Metaverse by Mark Wilson // #virtualreality #VR | Digital #MediaArt(s) Numérique(s) | Scoop.it

A few months ago, jaws dropped as Facebook shelled out $2 billion to purchase Oculus VR, a virtual-reality headset company started on Kickstarter. Nobody knew why the social network had acquired this cyberpunk technology company. That was, until last night at the Techcrunch Disrupt conference, where Oculus CEO Brendan Iribe revealed what many of us thought might be too sci-fi to simply assume: Facebook would like to build the first billion-person game...

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Art mobile : le juste équilibre du MAM (Mouvement Art Mobile) - par Marie-Laure Desjardins > ArtsHebdoMédias

Art mobile : le juste équilibre du MAM  (Mouvement Art Mobile) - par Marie-Laure Desjardins > ArtsHebdoMédias | Digital #MediaArt(s) Numérique(s) | Scoop.it

Le MAM (Mouvement Art Mobile) est un collectif canadien fondé en 2012 par MissPixels, Erik Beck et Sven, trois plasticiens qui ont en commun d’utiliser les outils de communication mobiles – smartphone, tablette numérique, drone, mais aussi réseaux sociaux – dans leurs démarches respectives. Leurs œuvres intègrent aussi bien le champ de la création sonore que celui de la vidéo, de la littérature, de la photographie ou encore du dessin.

 

Le collectif présente actuellement à Montréal l’exposition Mains libres, qui réunit plus particulièrement leurs travaux photographiques et ceux d’une dizaine d’autres artistes*. Toutes les œuvres, à découvrir en grand format et en plein air le long de l’avenue Mont-Royal jusqu’au 17 août, ont été réalisées à l’aide d’appareils connectés. Si le titre de l’exposition est un clin d’œil adressé par le MAM au recueil éponyme de Paul Eluard, paru en 1937 et illustré par Man Ray, il entend également évoquer la notion de liberté créative et les inlassables tentatives de transgression des codes établis par des artistes de tous horizons.

 

Dans cet entretien, MissPixels, Erik Beck et Sven reviennent, individuellement ou d’une seule voix, sur leur pratique et, plus largement, sur la place de l’art mobile dans la création contemporaine.

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MediaArtsEducation.org - Defining, Developing, & Distributing Media Arts Standards (sic) // #mediaart

MediaArtsEducation.org - Defining, Developing, & Distributing Media Arts Standards (sic) // #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Defining, Developing, & Distributing Media Arts Standards We advocate & promote standards-driven Media Arts education across the United States of America. We seek to accomplish this by providing standards-based resources, community, and tools for media arts educators and advocates.

 

In August of 2011, the National Coalition for Core Arts Standards convened a Media Arts Investigation Committee consisting of a diverse group of media arts leaders from the field including a broad spectrum of representatives from gaming, design, theatre, media, media literacy, public education K-12, higher education, film, cinema, animation, digital imagery, photography and State Directors of Arts Education. The committee’s work helped define the task of writing media arts standards. ...

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Audiopill by Jan Poope - creates a rave inside your body /// #mediaart

Audiopill: for enjoying music from the inside. Art and technology.
Project audiopill.net.
Part of exhibition Prolapse of Love, 14. - 24.1. 2016, Prague, prolapseoflove.com

 

On the occasion of his exhibition Prolapse of Love, artist Jan Poope will introduce a world-unique device Audiopill, designed for enjoying music from within your own body. You swallow the pill and it then starts to rumble at a preset BPM. Techno party you can’t avoid.The second part of "musical component" in this conceptual art by Jan Poope is based on an Italian medical device Sirio. Ultrasound scratching on human bodies is a brand new music genre. Extremely personal and uncopyable. No one can hear anything, not even the performer-musician, the only one who enjoys the music is the listener.Audiopill is a functional prototype yet and simultaneously with its official introduction/exhibition opening on January 14, 2016, a crowdfunding campaign will start on indiegogo.com. If successful, anyone in the world will be able to make their dreams about exciting musical self-destruction come true.

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