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Daniel Bandfield is a student in his final year of BA Fine Art at Chelsea, and is a member of the Collective. For Tate Exchange, he will be part of the Physical Computing camp which will showcase projects that use coding and electronics within artworks.
We spoke to Daniel about how he works with digital in his artistic practice, why he made the shift from static sculpture and ceramics t digital and how using this technology affects the way that audiences view and relate to his artwork. 
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A major exhibition exploring the twilight world of human/ma- chine creativity, including installations, video and computer art, artificial intelligence, robotics and apps by leading artists from Goldsmiths and international artists by invitation. A major exhibition exploring the twilight world of human/machine creativity, including installations, video and computer art, Artificial Intelligence, robotics and Apps by leading artists from Goldsmiths and international artists by invitation. The vision for organising the Creative Machine Exhibition is to show exciting works by key international artists, Goldsmiths staff and selected students who use original software and hardware development in the creative production of their work. The range of work on show, which could be broadly termed Computer Art, includes mechanical drawing devices, kinetic sculpture driven by fuzzy logic, images produced using machine learning, simulated cellular growth forms and the self-generating works using automated aesthetics, VR, 3D printing, and social telephony networks. Traditionally, Computer Art has held a maverick position on the edge of mainstream contemporary culture with its origins in Russian Constructivist Art, biological systems, “geeky” software conferences, rave / techno music and indie computer games. These artists have defined their own channels for exhibiting their work and organised conferences and at times been entrepreneurial at building collaborations with industry at both a corporate and startup level (with the early computer artists in the 1970s and 1980s needing to work with computer corporations to get access to computers). Alongside this, interactive media art drew upon McLuhan’s notion of technology as extensions of the human to create participatory, interactive artworks by making use of novel interface technology that has been developed since the 1980s.
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Ce wiki est la base de connaissance du master en arts numériques organisé à arts². Il est alimenté aussi bien par les professeurs et les intervenants que par les élèves. Et, bien entendu, il est ouvert à toute personne désireuse de collaborer à la création de cette base de connaissance artistico/technique. Ce wiki est la concrétisation d'une idée: il est crucial de réfléchir aux nouvelles pratiques artistiques induites par leur médium et au rapport à la technologique. Vous retrouverez donc ici aussi bien du code, des descriptions de dispositifs, des énoncés d'exercices, des résultats de workshops, que des reférences théoriques.
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It was twenty years ago, here at Ars Electronica, that I first met Roy Ascott. By that time, Roy already had a significant history with the festival. His telematic artwork Ten Wings, which was part of Robert Adrian’s Golden Nica award-winning global telecommunications art project The World in 24 Hours (1982), consisted of a planetary throwing of the I Ching. The resulting hexagram was “Chun” (difficulty at the beginning), a reading that also prophecies that “if one perseveres there is the prospect of great success” [I Ching 1950, 16] Indeed, we are all here to honor Roy’s great success as a visionary pioneer of media art. Roy won a Golden Nica in 1993 for his telematic artwork, Aspects of Gaia. Inspired by James Lovelock’s notion of the Earth as a living organism, this artwork incorporated contributions of images and texts from around the world and provided a highly embodied, physical encounter with these ideas. Roy was commissioned to write a proposal for the Ars Electronica Center, which he conceived of as a Datapool, in 1993. In 1996, the Televator (part of that proposal) was permanently installated in the AEC. ...
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Recently the TED conference brought researchers out of the lab to show off their latest gadgets - if you can use the word “gadget” to describe a hypersonic Mach 20 glider and autonomous and collaborative flying robots. Recently the TED conference brought researchers out of the lab to show off their latest gadgets - if you can use the word “gadget” to describe a hypersonic Mach 20 glider and autonomous and collaborative flying robots Via THE OFFICIAL ANDREASCY
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