Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
This two-year online exhibition will present 100 artworks from net art history, restaging and contextualizing one project each week.
Devised in concert with Rhizome's acclaimed digital preservation department, Net Art Anthology also aims to address the shortage of historical perspectives on a field in which even the most prominent artworks are often inaccessible. The series takes on the complex task of identifying, preserving, and presenting exemplary works in a field characterized by broad participation, diverse practices, promiscuous collaboration, and rapidly shifting formal and aesthetic standards, sketching a possible net art canon.
Alan Turing est devenu plus célèbre après la sortie du film Imitation Game montrant comment l'un des pères de l'informatique a contribué à vaincre l'Allemagne nazie en brisant les codes des communications avec les sous-marins. Ce fait d'armes du savant britannique est resté longtemps un secret d'État. D'autres accomplissements du chercheur sont moins connus, y compris dans la communauté scientifique. On peut citer par exemple ses travaux sur une théorie de la morphogénèse en biologie...
Both technology and art define and continue to reshape the world we live in. Re-imagining what we know as real or as a solid ground, pushes not only our opinions and understandings of nature to the limits, but with new inventions and experiments, both the mind and the body, the language, and the world itself seems to be making room for a new sphere and new rules. Governed by the new aesthetics, the virtual, the scientific and the logic that is beyond belief, technology in art challenges our perceptions and that is what creativity and science are all about. If we are to understand that art reflects the period of time we are all in, how are we to grasp the growing number of young contemporary artists that base their practice on the presentation of immaterial and ephemeral things? ...
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...
In this paper, we present Google, a prototype of a large-scale search engine which makes heavy use of the structure present in hypertext. Google is designed to crawl and index the Web efficiently and produce much more satisfying search results than existing systems. The prototype with a full text and hyperlink database of at least 24 million pages is available at http://google.stanford.edu/
To engineer a search engine is a challenging task. Search engines index tens to hundreds of millions of web pages involving a comparable number of distinct terms. They answer tens of millions of queries every day. Despite the importance of large-scale search engines on the web, very little academic research has been done on them. Furthermore, due to rapid advance in technology and web proliferation, creating a web search engine today is very different from three years ago. This paper provides an in-depth description of our large-scale web search engine -- the first such detailed public description we know of to date.
Apart from the problems of scaling traditional search techniques to data of this magnitude, there are new technical challenges involved with using the additional information present in hypertext to produce better search results. This paper addresses this question of how to build a practical large-scale system which can exploit the additional information present in hypertext. Also we look at the problem of how to effectively deal with uncontrolled hypertext collections where anyone can publish anything they want.
In the final chapter of her history of GIF art, Paddy Johnson chronicles the heyday of Google+ and the explosion of brick-and-mortar GIF art exhibitions.
Much has changed in the world of animated GIF makers over the past few years. Social networking sites have become a lot more accommodating to larger GIF file sizes. Limited run online exhibitions have grown in popularity, as have brick and mortar events. As with the Tumblr history outlined in the previous chapter, there's too much activity to document all of it. In this last section, I will outline some of the more seminal sites and exhibitions from between 2011 and 2014, as well as some very recent developments.
From 2006 to 2010, artists posted animated GIF art en masse to collaborative blog platforms.
Welcome to part two of this brief journey through the rich history of one of the newest and most popular art forms, the animated GIF. To read the first part, "The Early Years: 1997–2008," click here.
GROUP BLOGS, SURF CLUBS, AND THE BEGINNING OF SOCIAL NETWORKING
The period from 2006 to 2010 was marked by the rise of self-started social networks. Artists were sharing GIFs on Myspace before many migrated to their own collaboratively run blogs. These sites hosted an enormous number of found and self-made GIFs, and tended to be male-dominated. A few highlights from the golden era of GIF art blogs below.
Technological optimism, even utopianism, was widespread at midcentury; in Britain, Harold Wilson in 1963 promised a new nation "forged from the white heat of the technological revolution." In this heady atmosphere, pioneering artists transformed the cold logic of computing into a new medium for their art and played a central role in connecting technology and culture. White Heat Cold Logic tells the story of these early British digital and computer artists—and fills in a missing chapter in contemporary art history.
In this heroic period of computer art, artists were required to build their own machines, collaborate closely with computer scientists, and learn difficult computer languages. White Heat Cold Logic's chapters, many written by computer art pioneers themselves, describe the influence of cybernetics, with its emphasis on process and interactivity; the connections to the constructivist movement; and the importance of work done in such different venues as commercial animation, fine art schools, and polytechnics. ...
Digital art is a term and a practice that has been prevalent in the museums and contemporary art sectors since the 1960s. As technological advances mean that digital innovations are now pervading many more areas of our lives, the arts industry is starting to take the work of artists working in the digital realm increasingly seriously.
In the wake of the growing debate and critical examination of digital art, the British Council commissioned this short film, produced by Dezeen, to ask: What is Digital Art? And why should we pay attention to it?
The film features interviews with 15 Folds founders Margot Bowman and Sean Frank, curator and writer Conrad Bodman, and artists Jon Thomson and Alison Craighead.
Share your favourite #digitalart piece with us. Join the #digitalart discussion on Twitter.
With thanks to all contributors, and Tate, Barbican, Chisenhale Gallery, BFI, Chris Milk, Adam Ben-Dror and Shanshan Zhou, The Space.
Learn more about the digital art piece 'Decorative Newsfeeds' by Thomson & Craighead that’s featured in the video: http://bit.ly/1F5V0jx
Commissioned by British Council. Produced by Dezeen (www.dezeen.com). Music by 800xL
VIDA is turning fifteen today. The path taken in 1999 by Fundación Telefónica to launch the competition is now considered a milestone in the history of technological art. The initiative by a group of pioneering artists – Nell Tenhaaf, Susie Ramsay and Rafael Lozanno-Hemmer –, whose vision was to detect the interest in research that linked art and life, has become a benchmark framework for understanding contemporary artistic practices.
The history of science and technology is drawn from a similar standpoint as that of art: exploration and creativity. In a society captivated by technological advancement, where the parameters by which we understand our surroundings are quickly replaced with newer and more recent versions, it is vital to have daring proposals that record our changing relationship with the environment. In particular, the science of life and its constant redefinition is currently openly proving to be one of the most powerful stimuli for contemporary culture. From this perspective, the role of the artist in these dynamics is seen as essential in showing, revealing and reflecting on the organisation of life and its variability. ...
In the final chapter of her history of GIF art, Paddy Johnson chronicles the heyday of Google+ and the explosion of brick-and-mortar GIF art exhibitions.
From the GPS that give us directions to the drones that drop bombs, the digital shapes our culture at every level. So why is digital art still a sideshow? As a groundbreaking new exhibition opens, James Bridle looks at pioneering works from the first arcade games to films made fully in CGI – and argues that it's high time we took it seriously
How one humble file type ruled the internet for decades.
November 5, 1999, was Burn All GIFs Day. Had you visited its homepage that Friday, you would have seen the movement's game plan laid out as plainly as its name: "On Burn All GIFs Day, all GIF users will gather at Unisys and burn all their GIF files." This, alongside a selection of pointedly anti-GIF imagery—all proudly PNG files.
Despite the obvious joke of setting files on fire, acknowledged with a winking plea to "extinguish all GIFs before leaving the vicinity," the anger was real and the mission was earnest: to free the web from the scourge of the GIF once and for all.
Already more than a decade old and with roots reaching back half a decade before the World Wide Web itself, the GIF was showing its age. It offered support for a paltry 256 colors. Its animation capabilities were easily rivaled by a flipbook. It was markedly inferior to virtually every file format that had followed it.
On top of that, there were the threats of litigation from parent companies and patent-holders which had been looming over GIF users for five long years before the fiery call to action. By Burn All GIFs Day, the GIF was wobbling on the precipice of destruction. Those who knew enough to care deeply about file formats and the future of the web were marching on the gates, armed with PNGs of torches and pitchforks.
And yet, somehow, here we are. Seventeen years later, the GIF not only isn't dead. It rules the web.
If videogames can be said to possess an “official history,” it is predicated primarily on the advancement of technology, the shifting of markets, and the consolidation of multinational corporations. This is a history which prioritizes technological advancement, from computer gaming’s rise as the product of quiet dissent among the engineers of military computers at MIT (Spacewar!, created by MIT engineers in 1962, is often regarded as the first iconic computer game),1 to the clinking of arcade machines and the ensuing success of the home console, which allowed publishers to cut out the middleman and sell their products directly to consumers. The changes that followed—developments like Jerry Lawson’s brilliant removable cartridges, which allowed games to be sold separately and individually from the consoles that ran them (prior to this, games were hard-coded into consoles and cabinets), and the less-brilliant Bit Wars, marked by petty marketing and consumer battles over the relative processing power of competing consoles—are understood through the lens of tech-progressivism.
The interactive documentary Jheronimus Bosch, the Garden of Earthly Delights provides an in-depth tour though The Garden of Earthly Delights. In a web interface the visitor will be taken on an audio-visual journey, including sound, music, video and images to enrich the storytelling.
The interactive documentary Hieronymus Bosch, The Garden of Delights is part of the transmedia tryptich: 'Hieronymus Bosch'. The transmedia tryptich consists of the documentary film 'Hieronymus Bosch, touched by the devil', the interactive documentary 'Hieronymus Bosch: Garden of Earthly Delights' and the Virtual Reality documentary 'Hieronymus Bosch, the Eyes of the Owl'. Website: http://jheronimus-bosch.nl
Let's face it, after about 2009 GIF production accelerated at such a rate that any attempt to identify key artists would not only be futile, but create a post so long no one would read it. As such, for this section I've decided to focus solely on Tumblr, whose role is significant enough in the development and dissemination of GIF art to earn a post of its own.
What does the history of GIF art look like? This is a tricky question to answer because while there has been no shortage of animated GIF exhibitions, there is a dearth of documentation. Bond Street, a Brooklyn-based gallery that hosted Laurel Ptak's exhibition “Graphics Interchange Format" in August 2008, no longer exists and neither does its website.
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“Save for Web," a GIF exhibition that opened in August 2009 at Xpace Cultural Centre in Toronto has its own 1.0 website at Angel Fire, but no install shots or GIF slideshows. The same is true of the non-profit digital arts organization Rhizome, which heavily promoted its 2006 exhibition, “The Animated GIF Show," on MySpace, and hosted the show in San Francisco.
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This poses a problem because it means it's much more difficult to piece together a history of how GIFs have been used in an art context. That history isn't going to be told in one article, but given the pervasive lack of documentation, an overview is essential before key moments are completely forgotten.
Daniel Rourke: At Furtherfield on November 22nd 2014 you launched a Beta version of a networked project, 6PM Your Local Time, in collaboration with Fabio Paris, Abandon Normal Devices and Gummy Industries. #6PMYLT uses twitter hashtags as a nexus for distributed art happenings. Could you tell us more about the impetus behind the project?
Domenico Quaranta: In September 2012, the Link Art Center launched the Link Point in Brescia: a small project space where, for almost two years, we presented installation projects by local and international artists. The Link Point was, since the beginning, a “dual site”: a space where to invite our local audience, but also a set for photographic documentation meant to be distributed online to a global audience. Fabio Paris' long experience with his commercial gallery - that used the same space for more than 10 years, persuaded us that this was what we had to offer to the artists invited. So, the space was reduced to a small cube, white from floor to ceiling, with neon lights and a big logo (a kind of analogue watermark) on the back door. ...
“Art is not a thing — it is a way,” Elbert Hubbard observed in 1908 in what became one of history’s finest definitions of art. Hubbard was writing at the dawn of an unusual new art form, wherein artists were appropriating a new thing — a trailblazing technology — to find a new way of making art. The product and legacy of that is what graphic design scholar Barrie Tullett explores in Typewriter Art: A Modern Anthology (public library) — a fascinating chronicle of “the development of the typewriter as a medium for creating work far beyond anything envisioned by the machine’s makers,” embedded in which is a beautiful allegory for how all technology is eventually co-opted as an unforeseen canvas for art and political statement. ...
Wiki for Collaborative Studies of Art, Media and the Humanities.
The term media art is useful and used for artistic projects bringing up the technological, aesthetical, social, cultural, legal and political issues that come along with the emergence of new media. Since 1990s the new media have included internet, web, mobiles, wireless, GPS, and others. Media culture in this regard uses and is used by new media.
Qu'est ce que "l'art numérique" aussi appelé de différentes façons selon les auteurs ? De quels héritages historiques et technique les pratiques artistiques qui s'en revendiquent ont-elles bénéficiées ?
Pour répondre à ces questions, considérons que dans l'histoire de l'art, les pratiques peuvent être définies par la technique employée : peinture, sculpture, photographie, cinéma, ... Pour autant, définir l'art numérique à partir de l'ordinateur ou du code binaire (les 0101001 qui constituent l'élément de base de l'informatique) est à la fois trop large et trop restrictif. Trop large car le numérique s'immisce aujourd'hui partout, y compris dans des pratiques artistiques "traditionnelles" en entrant par exemple à un moment dans le processus de production/création (le montage au cinéma et bientôt la diffusion des films en salle) ...
From operating systems to development tools and programming languages to browsers and thousands of utilities and applications, Open Source has led the way. Now, discover the movement's history.
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