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SUDLAB | NEW MEDIA ART present : tactical glitches - 24_01_014 - curated by Rosa Menkman & Nick Briz

SUDLAB | NEW MEDIA ART present : tactical glitches - 24_01_014 - curated by Rosa Menkman & Nick Briz | Digital #MediaArt(s) Numérique(s) | Scoop.it

SUDLAB as part of the program SUDLAB | NEW MEDIA ART presents the group exhibition 'Tactical Glitches' curated by Rosa Menkman (NL) and Nick Briz (USA)


"Technologies come with expectations, but these expectations 
aren’t always met. 
An mp3 might skip and crackle. A computer monitor 
might—for a moment—show shards instead of windows. 
A website might 
hick­up on load and scramble its contents. When this happens, we call this unexpected occurrence a glitch. 
While these moments are rarely anticipated and usually unwelcome, they are at times intentionally 
provoked. The result of this intentional and creative instigation is what we often call GLITCH ART." (Rosa Menkman, Nick Briz)

Artists 

- glitchr (LT)
- Theo Darst (USA)
- Pox Party (USA)
- Glti.ch Karaoke (UK - ROK)
- UCNV (JP)
- Ana Hui Zhang (CN)
- Sherpa (GT)
- Benjamin Gaulon (FR)
- Tatjana Marusic (CH / DE / HR)
- Nancy Mauro-Flude (AUS)

-----> Vernissage : 24_01_014 ore 19
-----> Finissage : 24_02_014 ore 18

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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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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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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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Brume Production (& festival) /// pour le développement des arts et cultures numériques

Brume Production (& festival) /// pour le développement des arts et cultures numériques | Digital #MediaArt(s) Numérique(s) | Scoop.it
Cabinet créatif et fondateur du festival : Brume, les expériences numériques et audiovisuelles.

 

Association crée en 2014, Brume Production œuvre pour le développement des arts et cultures numériques. Brume encourage les processus de création en entremêlant les médiums et savoir-faire collectifs. La transversalité est au cœur de sa démarche.

Catalyseur d’expériences et d’énergies, sa volonté est de réunir des artistes autour d’un désir commun : la création d’univers numériques.Notre recherche du sensible se décline sous trois formes : le soutien à la création, la production d’événements aux formats originaux et la diffusion de formats artistiques émergents.

Nous désirons créer une émulation autour de la création contemporaine en soutenant des créatifs audacieux aux pratiques innovantes.

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11.07.2016 - Lancement de TRAS - La Transversale des Réseaux Arts Sciences // #ArtSci #mediaart

11.07.2016 - Lancement de TRAS - La Transversale des Réseaux Arts Sciences // #ArtSci #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Un  réseau  pour l’art et la science 

L’activité entre arts, sciences et technologies développée par la Scène nationale s’est appuyée sur les qualités du territoire grenoblois, la puissance du trio recherche/éducation/ industrie.
Le partenariat inédit avec le CEA a permis il y a 10 ans la naissance de l’Atelier Arts Sciences.


Aujourd’hui c’est dans le partenariat avec l’université de Grenoble-Alpes que se crée une nouvelle entité : l’Atelier Arts et Technologies de l’Attention.


Parallèlement nous avons œuvré à partir de nos propres compétences en menant une action artistique, culturelle et éducative inventive. C’est en réfléchissant avec des collègues d’autres territoires français aux modalités d’une éducation artistique au contact des projets entre arts et sciences qu’est née l’idée de TRAS, la Transversale des Réseaux Arts Sciences...

Cloître Saint-Louis Avignon
info : fanny.desffarges@theatre-hexagone.eu

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The Hacker’s Guide to the #Metaverse – A Special Workshop @ VRTO - Virtual & Augmented Reality 2016

The Hacker’s Guide to the #Metaverse – A Special Workshop @ VRTO - Virtual & Augmented Reality 2016 | Digital #MediaArt(s) Numérique(s) | Scoop.it

Get a hands on approach to creating your own virtual worlds directly in the web browser. Learn how to make multiplayer 3D websites for virtual reality. During the course of this event beginners and advanced developers will have an online VR app that is hosted using blockchain technology. The best way to predict the future is to build it.

 

The metaverse is a persistent, globe-spanning virtual world in which billions of people shop, socialize, and relax. In short it is the future of the Internet. JanusVR combines the power of the web with the potential of virtual reality. Websites become immersive spaces linked by portals, where users can explore, collaborate and create content on a platform that builds upon common standards defining the internet. The future of the metaverse and the infrastructure it operates on will be built on the web.

 

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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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10 digital artists working in Belgium today - by Dorien Schelfhout - The Word Magazine // #mediaart

10 digital artists working in Belgium today - by Dorien Schelfhout - The Word Magazine // #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

To mark the opening of the first edition of digital arts festival Les Garages Numériques – a ten-day affair of exhibitions, conferences and label nights – in Brussels this week, we ask Juliette Bibasse (1984) – curator of the festival alongside graphic designer and producer Fabien Leclerq (1991), also known as Le Motel, Cosmic Pop Records co-founder Arthur Tixhon (1992) and Under My Garage founder Dorian Meeus (1991) – to select ten Belgian-based digital artists that caught her eye. ...

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#Call - reSense.MOV [movement, performance, technology, art] Festival 2016 // SPEKTRUM

#Call - reSense.MOV [movement, performance, technology, art] Festival 2016 // SPEKTRUM | Digital #MediaArt(s) Numérique(s) | Scoop.it

With the emergence of ever new technologies which increasingly digitize human bodies and movements in space, such as biosensors, VR and the internet of things, we investigate how we sense the world around us, how technology extends and aestheticizes our sensing and in which way our sensing and the generated data is represented and used. What’s more, we question how our movement is considerably influenced by emerging technologies and related processes and procedures and how the human body trained in one way or another can contribute to or even shape the development of new technologies.

 

reSense.MOV is a festival that will debate current questions of the intersections of motion, sensing, performance and technologies in art and sciences curated by Byrke Lou and Marcello Lussana in collaboration with SPEKTRUM.

 

Deadline for submissions: 30 June 2016

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Packetbridge (2012-2015) - wireless geographical network intervention by Gordan Savičić & Bengt Sjölén - Critical Engineer

Packetbridge (Packetbrücke) is a wireless geographical network intervention. It explores simulating entire network situations by transferring electromagnetic infrastructure to a different physical space. Wireless network packets are directly captured from a specific location and tunneled through the Internet to a remote location, where they are released back into the air. In doing so, Packetbridge literally injects one geographical space into another, effectively producing a new imaginary topography and, through this remediation, an “impossible reality”.

 

Packetbridge demonstrates that positioning systems based on WLAN are a site for intervention, expressing at the same moment they are vulnerable to location spoofing attacks. This effect is especially interesting, considering that we increasingly rely on an ever-growing number of wireless devices for localization, navigation and time-synchronization.

Full details, gallery, howto and tool downloads criticalengineering.org/projects/packetbridge/

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Collide@CERN International #Award 2016 annoucement // #mediaart #ArtSci

The winner of the COLLIDE International Award – a new collaboration between CERN and FACT - was granted today to South Korean artist, Yunchul Kim.

 

COLLIDE is the major arts and science residency programme, now running for the fifth year between CERN and an international cultural partner. The current partnership of Arts@CERN and FACT opened the call for entries in March 2016, giving the opportunity to artists from around the world to apply for a two-month fully funded residency at CERN, Geneva, and one month at the UK’s leading media arts centre, FACT, in Liverpool, as well as a prize of CHF 15,000.

 

Yunchul Kim is a South Korean artist whose work focuses on research towards new materiality, the artistic potential of fluid dynamics and metamaterials. During his residency at CERN, he will develop his project proposal Cascade, which looks at the possibility of controlling the propagation of light through colloidal suspensions of photonic crystals.

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