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Dispositif : recherche artistique 2001-2013 | CNAP - Centre national des arts plastiques

Dispositif : recherche artistique 2001-2013 | CNAP - Centre national des arts plastiques | Digital #MediaArt(s) Numérique(s) | Scoop.it
Centre national des arts plastiques, CNAP, Soutien à la création contemporaine, collections en ligne, calendrier et guide-annuaire de l’art contemporain, ressources artistiques

 

L’aide à la recherche artistique permet à l’artiste de s’affranchir un temps des contingences économiques. Elle favorise l’expérimentation sans contrainte — hormis celles que l’artiste se donne — d’un nouveau champ du réel à explorer. Cette publication revient sur plus de dix ans du dispositif « soutien pour le développement d’une recherche artistique » et de projets soutenus. Les propos recueillis, ainsi que les extraits de rapports de recherche, reflètent l’engagement de chaque bénéficiaire et esquissent ce que pourrait être aujourd’hui la recherche artistique. Ils témoignent de la nécessité pour les artistes d’explorer sans cesse de nouvelles pistes impliquant parfois des déplacements à l’étranger, ou de trouver un soutien à la mise en oeuvre de technologies ou de savoir-faire spécifiques souvent coûteux. Sont également données à lire les impressions de membres des commissions impliqués dans ce dispositif.

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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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Comment l’art numérique cherche à se monétiser par Anais Moutot - #artnumerique

Comment l’art numérique cherche à se monétiser par Anais Moutot - #artnumerique | Digital #MediaArt(s) Numérique(s) | Scoop.it
La start-up Bright veut diffuser dans les hôtels et les commerces des vidéos et animations numériques. Elles étaient jusqu’ici confinées aux galeries d’art.
Abdel Bounane en est persuadé : «  Le code est le nouveau pinceau. » Ce passionné d’art numérique vient de créer Bright, une plate-forme qui veut monétiser les nombreuses créations qui sont actuellement accessibles en ligne gratuitement. Ces vidéos et animations, dont les motifs sont générés par programmation informatique, sont aujourd’hui hébergées sur des plates-formes comme Vimeo, le « YouTube des créatifs », le site de microblogging Tumblr ou encore New Hive, un site offrant des outils pour créer des œuvres numériques.
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JavaMuseum | Forum for Internet Technology in Contemporary Art - by Agricola de Cologne

JavaMuseum | Forum for Internet Technology in Contemporary Art - by Agricola de Cologne | Digital #MediaArt(s) Numérique(s) | Scoop.it

Dear visitors of JavaMuseum,

the makers of JavaMuseum decided in 2010 to prove, whether the museum should be continued as a living organism or better become an historical monument of digital and virtual art.

Even if “netart” will never be “dead” as one possible artistic expression by dealing with technologies used in Internet, also because technology changes and develops further on and in this way also its artistic use, the Internet was never explored substantially as a medium in art, and this has many reasons.

While the real high time of “netart” was already in 2004, there was actually no real artistic further development, although technology had an enormous speed of development since then. This does not mean, that artists would not use the Internet and create Internet based art applications, but the artistic development is far behind the technological speed, and in a certain way, like fashion “netart” is continously repeating itself.

JavaMuseum saw itis goal in being a promotor and encourage artists
by giving them the chance to receive the audience of the World Wide Web. But art needs to be created by the artists themselves, and this obviously came to its limits.

This again does not mean, that tomorrow, next year or in ten years, Internet based art would’t get probably a real re-vival sometimes, but currently there lie no perspectives in maintaining JavaMuseum active.

JavaMuseum was since its foundation in 2000, not only a virtual museum for virtual art, and one of a few of its kind, but it was simultaneously always also a piece of Internet based art itself created by Agricola de Cologne. And this piece of art is now officially completed in its incomplete way, typically for a context without beginning and end.

By deciding for an in-active status, JavaMuseum will become from 1 January 2013 on an historical monument aimed to keep vivid not only JavaMuseum as a virtual museum of virtual art, and honour the art works and artists active in this field, but basically also the idea and ideal of the artistic self-determination and the creation of an activating, alternative type art working outside of the usual market strategies in contemporary art.

In this way, JavaMuseum will be also the museum of lost, but not forgotten ideals.

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Every Noise at Once - interactive map of Every Single Musical Genre by Glenn Mcdonald

Every Noise at Once - interactive map of Every Single Musical Genre by Glenn Mcdonald | Digital #MediaArt(s) Numérique(s) | Scoop.it

This is an ongoing attempt at an algorithmically-generated, readability-adjusted scatter-plot of the musical genre-space, based on data tracked and analyzed for 1374 genres by The Echo Nest. The calibration is fuzzy, but in general down is more organic, up is more mechanical and electric; left is denser and more atmospheric, right is spikier and bouncier.

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Volum, #soundart installation by Abel, Carlo & Max Korinsky/// Berliner Dom 2014 /// documentary

The thrilling and quite intimidating architecture of the cathedral church is the central space of the soundinstallation „Volum“ at the Berliner Dom. The work is based on a elaborated discussion about the visual and acoustic appearance of the dome space of 75 m height. The monumental dimensions of the architecture stand in contrast to the detailed decorations, the installation deals with a big spectrum of different sounds in contrast to the architectural size. In this way the perception of the audience can be more complex and enables new, individual impressions for every visitor. ...

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Barèmes de diffusion en arts médiatiques - Conseil québécois des arts médiatiques #mediaart

Barèmes de diffusion en arts médiatiques - Conseil québécois des arts médiatiques #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Fruits de consultations menées pendant plus d’un an auprès d’un comité formé de centre d’artistes, diffuseurs et artistes, les Barèmes de diffusion en arts médiatiques ont pour but de guider les artistes, commissaires et organismes dans l’établissement de droits et cachets ; un besoin exprimé par la communauté lors du forum du CQAM en 2012.


La version anglaise sera disponible sous peu.


Le Conseil québécois des arts médiatiques (CQAM) est le regroupement national des arts médiatiques au Québec. Le CQAM regroupe, représente et défend les créateurs professionnels indépendants, les travailleurs culturels et les organismes des arts médiatiques

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La science devient musique - Nicolas d'Alessandro - #soundart

La science devient musique - Nicolas d'Alessandro - #soundart | Digital #MediaArt(s) Numérique(s) | Scoop.it

HandSketch is a new musical instrument developed by Nicolas d'Alessandro ( PhD, University of Mons ), combining pen-based and tangible interaction for controlling a large variety of sounds.

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Meludia's curator insight, March 31, 12:08 PM

La voix chantée purement artificielle 

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Pablo Valbuena – #mediaart #mapping #architecture

Pablo Valbuena – #mediaart #mapping #architecture | Digital #MediaArt(s) Numérique(s) | Scoop.it

Two new works by Pablo Valbuena , artist who has always stood out for its minimalist and clean, often presented through architectural projections. Valbuena has recently released two new works that we present in this article. "Time Tillings" consists of four projections of site-specific interventions at the Kunstencentrum STUK (Leuven, 2013). The other work titled "chrono-graphy" is a project at Max Estrella Gallery (Madrid) and track with the black paint on the walls, floors and ceilings of the gallery throughout the excursus of the exposures that have been held over the years. ...

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Olia Lialina: Vernacular Web 2 (2007)

Olia Lialina: Vernacular Web 2 (2007) | Digital #MediaArt(s) Numérique(s) | Scoop.it

Two years ago I wrote an article titled “A Vernacular  Web”, in which I tried to collect, classify and describe the most important elements of the early Web – visual as well as acoustic – and the habits of first Web users, their ideas of harmony and order.

I’m talking about everything that became a subject of mockery by the end of the last century when professional designers arrived, everything that fell out of use and turns up every now and again as the elements of “retro” look in site design or in the works of artists exploring the theme of “digital folklore”: the “Under Construction” signs, outer space backgrounds, MIDI-files, collections of animated web graphics and so on.
 
If you are missing the way pages looked before, you should install The Timemachine Firefox Add-on by Tobias Leingruber.

And today, in the end of June 2007, when we hear of amateur culture more often than ever before, the cultural influence of “Welcome to My Home Page” web pages looks especially interesting. People who created them and their ideas of what the Web is, how it can be used and how the pages should look, these people’s likes and mistakes gave the today’s Web its current shape. ...

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Reader, I Muted Him: The Narrative Possibilities of Networked Life By Steve Himmer

Reader, I Muted Him: The Narrative Possibilities of Networked Life By Steve Himmer | Digital #MediaArt(s) Numérique(s) | Scoop.it

At the Edinburgh Festival in 2001, Hungarian pianist Andras Schiff grew so frustrated by the interruptions of cellphones and coughing that he left the stage, suggesting the audience use the break to finish making noise. A reviewer for called it, “Fantasia in C Minor with mobile phone, beeping watches and coughing and sneezing accompaniment,” which sounds like an enjoyable evening of John Cage but not, apparently, what Schiff intended.


A decade later in Presov, Slovakia, a solo viola performance by Lukas Kmit was interrupted by the ubiquitous Nokia ringtone. Kmit paused, casting a frustrated eye on the audience — toward the guilty party, presumably, who isn’t visible in this viral video of the event. But rather than stop his performance or abandon the stage, he played the ringtone back on his instrument, adding an improvisational touch and incorporating the moment into his concert in a spontaneous acknowledgement — despite the frustration and rudeness — of the human nature of live performance. ...

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"Level of Confidence" - interactive installation/softwares by Rafael Lozano-Hemmer #mediaart #Ayotzinapa

"Level of Confidence" - interactive installation/softwares by Rafael Lozano-Hemmer #mediaart #Ayotzinapa | Digital #MediaArt(s) Numérique(s) | Scoop.it

"Level of Confidence" is an art project to commemorate the mass kidnapping and murder of 43 students from the Ayotzinapa normalista school in Iguala, Guerrero, Mexico. It was released on March 26, 2015, exactly six months after the massacre took place. The project consists of a face-recognition camera that has been trained to tirelessly look for the faces of the disappeared students. As you stand in front of the camera, the system uses algorithms to find which student's facial features look most like yours and gives a "level of confidence" on how accurate the match is, in percent.

The biometric surveillance algorithms used, -Eigen, Fisher and LBPH-, are typically used by military and police forces to look for suspicious individuals whereas in this project they are used to search for victims instead. The piece will always fail to make a positive match, as we know that the students were likely murdered and burnt in a massacre where government, police forces and drug cartels were involved, but the commemorative side of the project is the relentless search for the students and the overlap of their image with the public's own facial features. ...

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L’Agence TOPO se met en vitrine - #mediaart

L’Agence TOPO se met  en vitrine - #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Le centre d’artistes montréalais inaugurera en avril un nouvel espace de diffusion, qui prendra la forme d’une vitrine interactive installée au rez-de-chaussée du complexe Pi2 De Gaspé, dans le Mile-End.


D’abord connue pour ses créations Web à la fin des années 1990, l’Agence TOPO a entrepris, depuis quelques années, de sortir de l’écran, tout en restant fidèle à ses origines, c’est-à-dire la création multidisciplinaire, « au carrefour des arts visuels, de la littérature et des nouveaux médias », comme le souligne Michel Lefebvre, directeur général et cofondateur de ce centre d’artistes montréalais. ...

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Miyö Van Stenis about the *Beautiful Interfaces - Pavilion of The Wrong Biennale - #netart

Miyö Van Stenis about the *Beautiful Interfaces - Pavilion of The Wrong Biennale - #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Beautiful Interfaces in a pavilion that focuses on social media interfaces, but is created to exist in the deep web - which is not a normal place for art and definitely not for social media. The Deep in the Void Miyö Van Stenis


www.thedeepinthevoid.com

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Stelarc - Artiste : Mecanique du corps - Le corps obsolète - Arte Tracks (2009)

Stelarc - diminutif de Stelios Arcadiou - est le Merlin l’enchanteur du XXIème siècle. Six jambes, trois bras ou trois oreilles, à 63 ans, ce pionnier du body art fait du lego avec son propre corps.


Implanté en 2007, son cartilage artificiel en forme d'oreille doit être colonisé par ses propres cellules, avant d'accueillir un micro sans-fil relié au Web et de tourner à plein régime. Il a fallu 13 ans à Stelarc pour concrétiser son rêve et convaincre une équipe de chirurgiens de réaliser l'opération.

Stelarc : "C’est de l’architecture anatomique alternative. Je suis fasciné par l'évolution de l'anatomie du corps. Il ne s'agit pas de rendre le corps meilleur. Il n'y pas de désir eugénique. Mais plutôt d'expérimenter et d'explorer une anatomie alternative. Il s'agit de décider soit on accepte le statu quo biologique et évolutif, soit on s'interroge, même si le corps est merveilleusement complexe, même si cela a pris des millions d'années d'évolution, est-ce que le corps ne continue pas à dysfonctionner?"

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I am thinking in a room different from the one you are hearing in now by Samson Young (2011) - ‪#‎soundart‬ ‪#‎mediaart‬

Veteran composer Alvin Lucier - the first to compose music for "brainwaves" - explored the musical potential of EEG technology in Music for Solo Performer (1965).…
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Crashtxt -by jimpunk- wants to shatter the Internet - #netart // by Mariam Naziripour

Crashtxt -by jimpunk- wants to shatter the Internet - #netart // by Mariam Naziripour | Digital #MediaArt(s) Numérique(s) | Scoop.it
The net.art movement makes art an interactive, almost tangible experience. Sounds like something else we know.


“Art,” as an uppercase institution comprised of oil paint portraits in gilded frames and cracked marble statues of muscular young men, is notoriously unwelcoming of audience participation. “No Touching” is the Met’s most important rule; guards pointedly remind visitors of this as they amble through the galleries. Snap a flash-less picture of the Van Gogh’s and the Picassos; Instagram, tweet, or tumble; move on.


Even contemporary art, so attached to the medium of immersive installation, has the audacity to demand “hands off.” Within an installation, it is easy to feel as though you are missing the point, if there even was a point to begin with. Chris Burden’s "A Tale of Two Cities," for example, replicates a battle field with a militia of static action figures and toy vehicles. A partition separates you from the stationary scene, but binoculars are provided in case you want to feel closer to the massive setup. ...

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TRANSFER | Networked Contemporary Art Gallery - dir. Kelani Nichole

TRANSFER | Networked Contemporary Art Gallery - dir. Kelani Nichole | Digital #MediaArt(s) Numérique(s) | Scoop.it

Today artists live, work and exhibit on the Internet.  They reach a networked global community, often embedding artworks in the everchanging context of streaming images, open data sources, and instant feedback mechanisms that constitute online public space. Their resulting body of work is sometimes best suited for the browser, but also develops beyond the screen into the physical space of the gallery.


TRANSFER operates as a gallery with a spirit of openness – a white cube testing new practices, malleable to accommodate these networked studios, both in curation and development in the contemporary art market. The gallery exists to explore new modes of support for distributed studio practices, and to discover formats for exhibition, collection and appreciation of the art that comes to you through the computer.


Kelani Nichole is an independent curator with a focus in networked culture, and a design strategist working at the intersection of art + technology

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ELEKTRA presents the #BIAS - the International Sound Arts Biennial, start 13.05 Nyloïd by COD.ACT @ MAC de Montréal

Nyloïd is an impressive sound sculpture, a huge tripod consisting of 3 nylon limbs of 6 meters in length animated by a sophisticated mechanical and sound devices. Sensual, animal and threatening, this mobile draws its dramatic power from the reactivity of its plastic and sound material to diverse mechanical constraints. Similar to a living object, its tension, effort and suffering, which result from its contortions and its vocal manifestation, can be sensed.


This work constitutes a new stage in our researches. We did new investigations, each within his domain, on plastic and sound organicity to combine them into this fascinating object: a return to life operated by means of mechanics and sound processing.


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The Crystal Line, The future of combat, heard through its past - project by Julian Oliver - #mediaart

The Crystal Line, The future of combat, heard through its past - project by Julian Oliver - #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

The advent of radio communications revolutionised war, removing the need for human and animal messengers and gave commanders near-instantaneous, long-range control of troops.


The new crystal radios possessed an almost magical quality, channelling electromagnetic phenomena in the air directly into electricity, without any need for power of their own. Today, all wireless communication descends from the crystal radio - from mobile phones to GPS and wireless networking.


The Crystal Line positions the crystal set at both the root and tip of this vast lineage. First, a small computer scours the World Wide Web for the latest developments in warfare and battlefield communications technology which is then passed to a text-to-speech engine and spoken in the manner of an English radio broadcaster. This spoken text is then transmitted as an AM broadcast, which when captured by the set inherits audio properties and textures unique to the medium; heard just as men in the trenches would have heard them a century ago.

This project was commissioned by The Cutting Room and Phoenix, celebrating the centenary of World War One. ...

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Disrupted cities by François Zajéga @ Festival de vidéomusique de Montréal 2015

Wandering in a city's evocation oscillating between etching and architecture.
Wandering in a city's evocation oscillating between scorias and raw mass.
The project is shown on 3 screens, each one displaying a different sequence of the whole video.
It is articulated in 3 phases: shore / meander / dormer.
loïc reboursière [ sound & editing ]
françois zajéga [ images & editing ]

project page: frankiezafe.org/index.php?id=221

festival : https://www.facebook.com/events/359255590927350

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The Early Disruptors: 7 Masterpieces of '90s #NetArt Everyone Should Know About - By Dylan Kerr

The Early Disruptors: 7 Masterpieces of '90s #NetArt Everyone Should Know About - By Dylan Kerr | Digital #MediaArt(s) Numérique(s) | Scoop.it

Much of the art made today has some kind of digital component, but the movement known as net art—the Internet-based artwork created in the 1990s, the first decade or so of the World Wide Web— still looks radical. Taking to heart early net artist Heath Bunting's credo “do something different,” net artists took advantage of suddenly ubiquitous personal computers and the first user-friendly web browsers to evoke a de-physicalized existence with infinite possibilities. ...

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Bureau d'études - Cartography of political, industrial, research, social, power networks - #dataviz

Bureau d'études - Cartography of political, industrial, research, social, power networks - #dataviz | Digital #MediaArt(s) Numérique(s) | Scoop.it

The Paris-based artists Léonore Bonaccini and Xavier Fourt form the artist-duo Bureau d´études. For the last several years, the French Group has been producing cartographies of contemporary political, social and economic systems. The visual analysis of transnational capitalism is based on extensive research and usually is presented in the form of large-sized murals.


‘Governing by Networks’, a chart produced in 2003, visualizes the mutual involvements and dependencies within the global media conglomerates. Revealing what normally remains invisible and contextualising apparently separate elements within a bigger whole, these visualizations of interests and cooperations re-symbolize the unseen and hidden.”

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Jeffrey Shaw, l'Art du cinéma interactif - [Interview 2013] - Digitalarti Mag - #interactivecinema

Jeffrey Shaw, l'Art du cinéma interactif - [Interview 2013] - Digitalarti Mag - #interactivecinema | Digital #MediaArt(s) Numérique(s) | Scoop.it

Reconnu comme l’un des artistes pionniers dans le développement d’environnements numériques cinématographiques virtuels, interactifs ou faisant appel aux principes de la réalité augmentée, l’artiste australien Jeffrey Shaw a été l’un des premiers à réaliser des installations hybrides, à l’image de sa pièce The Legible City, où l’utilisation d’un véritable vélo permettait d’explorer un paysage urbain défilant en temps réel sur écran.


Depuis quelques années, il travaille sur des dispositifs de plus en plus cinématiques et technologiques, au sein d’unités de recherche comme le iCinema Research Centre de l’Université du New South Wales ou encore la School of Creative Media de l’université de Hong Kong, mais a su garder prévalent le principe fondamental de la mise du public au centre des dispositifs numériques qu’il conçoit. Entretien...

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Reportage : Internet la pollution cachée - réalisé par Coline Tison & Laurent Lichtenstein

Reportage : Internet la pollution cachée - réalisé par Coline Tison & Laurent Lichtenstein | Digital #MediaArt(s) Numérique(s) | Scoop.it

« Aujourd’hui, 247 milliards de mails transitent chaque jour par la toile. Quelle énergie le permet ? Propre en apparence, le monde virtuel est en réalité aussi polluant qu’énergivore. Si Internet était un pays, il serait le cinquième consommateur mondial d’électricité. Mais ses besoins, immenses, se heurtent à la diminution des ressources énergétiques. Voyage dans les ‘datacenters’, usines de stockage qui fonctionnent jour et nuit, centres névralgiques de la prochaine guerre de l’économie numérique. Certains grands groupes, comme Google ou Apple, ont réagi en construisant de nouveaux centres, utilisant des énergies renouvelables. La Toile pourrait-elle être, à l’inverse, à l’origine d’une troisième révolution industrielle ? »


Coline Tison / Réalisateur
Laurent Lichtenstein / Réalisateur
Julien Bachellerie / Auteur
Coline Tison / Auteur

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#Glitch Studies Manifesto - Rosa Menkman

Dutch art theorist, curator and visual artist specialising in glitch art and resolution theory.


Menkman graduated from the University of Amsterdam with a Master of Arts (New Media, 2006) and a Research Master of Arts (Media Studies, 2009).


During her studies, she became acquainted with the work of Jodi, a Belgian-Dutch artist duo whose art projects exploit the weaknesses of digital technology. Menkman wrote a Master's thesis about Jodi's work UNTITLED GAME, an artistic mod of the computer game Quake.[1]Menkman is currently a Ph.D candiate at the Centre for Cultural Studies, Goldsmiths College, London under the supervision of Matthew Fuller and Geert Lovink. ...

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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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