Digital #MediaArt(s) Numérique(s)

Burak Arikan is a New York and Istanbul based artist working with complex networks. He takes the obvious social, economical, and political issues as input and runs through an abstract machinery, which generates network maps and algorithmic interfaces, results in performances, and procreates predictions to render inherent power relationships visible and discussable. Arikan’s software, prints, installations, and performances have been featured in numerous exhibitions internationally. Arikan is the founder of Graph Commons collaborative network mapping platform.

Arikan has presented his work internationally at institutions including Museum of Modern Art New York, Venice Architecture Biennale, São Paulo Biennial, Istanbul Biennial, Berlin Biennial, Sharjah Biennial, Marrakech Biennial, Ashkal Alwan, Ars Electronica, Sonar, DEMF, Neuberger Museum of Art, KW Institute for Contemporary Art, Kunstmuseum Bochum, Asia Art Archive, Borusan Contemporary, DEPO, ARTER, SALT and at independent venues such as Art Interactive Cambridge, Künstlerhaus Bethanien, Hafriyat, Turbulence (online). He has lectured and did workshops at institutions including Massachusetts Institute of Technology, Rhode Island School of Design, New York University Interactive Telecommunications Program, The New School, Istanbul Technical University, Bogazici Universtiy, Sabanci University, and Istanbul Bilgi University.

Arikan completed his master’s degree at the MIT Media Laboratory in the Physical Language Workshop (PLW) led by John Maeda. Prior to MIT, he received an MA degree in Visual Communication Design from Istanbul Bilgi University in 2004, and a BS degree in Civil Engineering from Yildiz Technical University in 2001.

Eric Fischer is data artist and software developer at Mapbox. He was an artist in residence at the Exploratorium in San Francisco, and software engineer on the Android team at Google.

What’s big data? until not long ago, we looked at the abundance uf urban data as an enormous lists of numbers unconnected, difficult to manage or as an academic or research papers. But our way of seeing and understanding big data has changed, while we discover how some people, artists, researchers “geeks” use this urban data in order to create new ways of undesrtanding the society. ...  The pionner on mapping big data will attend to Technarte 2015 to talk about his work in Big Data and Art. ...

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.

The development of digital technologies has brought fundamental changes into our lives, cultures and societies. Social networking media user generated sites and peer-to peer networks have contributed to the development of a new participative culture where users have access to tools to create and share contents with peers.

As web users, we spend significant time online, searching for contents and visiting numerous web pages. These actions leave traces that can be collected, typically within web server logs. These data represent potential sources of valuable information for various private and public purposes.

Commercial companies have well understood how useful the above mentioned data can be if properly analyzed and transformed into exploitable information for their targeted audiences. Meaningful analysis, representation and comparison of actions, habits and navigation history of web users can help them to better understand and exploit the knowledge that these data contain.

However, in most cases, users cannot access the generated information that is kept private although the original data have been created by the users themselves...

Si Wikipedia peut être un cosmos à lui tout seul de par les millions d’articles et connaissances qui y sont stockés. Owen Cornec, jeune étudiant français, a eu l’idée géniale de créer un nouvel astre lumineux de l’encyclopédie en ligne pour en faire un immense réseau interactif d’articles nommé WikiGalaxy. Se retrouver dans un réseau d’étoiles fait de milliers d’informations n’est pas simple et les liens deviennent des chemins intersidéraux – presque performatif – menant d’une découverte à une autre. ....

http://wiki.polyfra.me

Many of our projects are research based, enabling us to experiment with emerging technologies and their creative potential.

Googlehouse est un dispositif online réalisé en 2003 par Marika Dermineur (Incident.net) et Stéphane Degoutin. Son thème est l'invention de l'espace domestique sur internet. Les moteurs de recherches et les moteurs d'images constituent les points de passage d'internet, sélectionnent et donnent accès aux milliers d'archives personnelles. La googlehouse met en perspective ces images.

The Social Collider reveals cross-connections between conversations on Twitter. It acts as a metaphorical instrument which can be used to make visible how memes get created and how they propagate. Ideally, it might catch the Zeitgeist at work.

Karsten Schmidt - concept, design & programming (@toxi)

Sascha Pohflepp - concept, design (@plugimi)

I present a number of core concepts from data science that are relevant to digital art history and the use of quantitative methods to study any cultural artifacts or processes in gen-eral. These concepts are objects, features, data, feature space, and dimension reduction.  These concepts enable computational exploration of both large and small visual cultural data. We can analyze relations between works on a single artist, many artists, all digitized production from a whole historical period, holdings in museum collections, collection metadata, or writings about art. The same concepts allow us to study contemporary vernacular visual media using massive social media content. (In our lab, we analyzed works by van Gogh, Mondrian, and Rothko, 6000 paintings by French Impressionists, 20,000 photographs from MoMA photo-graphy collection, one million manga pages from manga books, one million artworks of con-temporary non-professional artists, and over 13 million Instagram images from 16 global cities.) While data science techniques do not replace other art historical methods, they allow us to see familiar art historical material in new ways, and also to study contemporary digital visual culture...

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.”

Clint Fulkerson is an artist from Maine who began his career with a degree in metal smithing. As a metalsmith he said he learned to become slow and precise which was the opposite to the painting he was doing at the time with broad gestural strokes. This became his new method of working and he now forces himself to “slow down and consider each moment in the present” which allows him to think about the influences of his work that range from science and math to information technology.With information technology, math, science and precision on his mind Fulkerson draws works that are remissent of tesselation (tiling) patterns that fit perfectly together. The drawings evolve based on rules that he has developed which define the placement of each mark. While his personal algorithms are the overriding design each work begins at a random place and then evolve as he works.

The Creators Project commissioned three artists to transform your Facebook profile into a 3D printed object. We created a language-based horoscope system called Astroverb, built upon a fictitious Mystical-Scientific framework called Morpholumenology.

The application extracts your Facebook Wall Text. It then uses linguistic algorithms to analyze how much you talk about yourself, what time of day you do it, and how much you use certain categories of language, in addition to what your friends say to you. The algorithm plots all of this data on a circular chart called the Semantic Plane.

The application generates a predictive nugget of wisdom for you and traces out a customized shape called a Morphogram. Using the Shapeways 3D printing platform, you can print out your Morphogram as a real amulet.

Larbitslab is a Brussels based research laboratory which represents artists and scientists who are working on topics of visualization of digital environments.

The main idea is to show a new way of “infographic” drawings. Because everything we see is biological, mathematical or geological information. It can also be cultural patterns or any other thing. Complexity Graphics works are based on mathematical simplicity and harmony. I would describe them as infographic abstracts. This mathematical style helps me to illustrate everything from biological cell to the space and meditative worlds. That’s why I admire by math, because it’s everywhere and nowhere.