Digital #MediaArt(s) Numérique(s)

At the Bartlett School of Architecture, University College London – the UK’s leading and largest Faculty of the Built Environment – we are starting a new 15-month Masters programme Design for Performance & Interaction offering students an opportunity to learning about Design in 4 Dimensions. Students will design the performance and interaction of objects, environments and people using the latest fabrication, sensing, computation, networked and responsive technologies. Emphasis is placed on prototyping, from interactive objects and installations to staged events, and performance architecture.

Le NøøMuseum est une oeuvre d’art numérique immersive et interactive développée par Yann Minh depuis plus de dix ans.

C’est un musée dématérialisé de science-fiction imaginaire consacré à la préhistoire de la cyberculture, et qui étend son réseau de galeries hypermédias connectées, dans différents secteurs du cyberespace. Les premières NøøGaleries ont été installées en 2004, dans l’espace vidéoludique du jeu Unreal-Tournament sous forme de “map” personnalisées, accessibles en réseau multijoueur.

Depuis, le réseau de NøøGaleries s’est développé dans les mondes persistants des open-sims, et de second life, en versions stand alone téléchargeables et installées sur les ordinateur des visiteurs, sur le web, et maintenant en version immersives pour l’Oculus Rift, les Google Cardboard IOS et Android, et autres dispositifs immersifs VR. ...

In the 1980s, Joi Ito traded in library tables at the University of Chicago for turntables at Chicago’s Smart Bar. But his attempt to evade academia wouldn’t stick.

The two-time college dropout became director of the MIT Media Lab in 2011, making the 50-year-old an academic administrator at one of the most renowned universities in the world. Before that, he was an entrepreneur who started a number of his own companies and invested in the likes of Flickr, Twitter and Kickstarter. 

A proud supporter of “responsible disobedience” — the lab is awarding its first $250,000 Disobedience Award this July — Ito is in Chicago Wednesday as a Chicago Ideas speaker. He will appear with IDEO Chicago Executive Portfolio Director Neil Stevenson at an event to discuss Chicago’s role in “embracing culture, art and experimentation.”

Blue Sky talked to Ito — whose interdisciplinary media lab focuses on the creative use of digital technology, sciences, arts and design — about the disobedience mindset....

https://www.media.mit.edu/disobedience

Since 2005, Inke Arns has been the curator and artist director of Hartware MedienKunstVerein, an institution focusing the cross-section between media and technology into forms of experimental and contemporary art. This year, she was the curator for the exhibition titled alien matter during transmediale festival's thirty-year anniversary. I had the pleasure of meeting Inke and taking a leisurely stroll with her around the exhibition.

The interview is written as part of a late-night email exchange with Inke a couple of weeks following our initial meeting. 

Le 25 Novembre 2016, Transcultures collaborait avec Vidéographies pour organiser Vice Versa 3.0, un Forum consacré aux liens qui se nouent entre Arts, Sciences, Cultures numériques et Nouveaux Médias. Cette journée de… Numéro 10 / Arts de la scène et Développement numérique

Deux grandes thématiques ont structuré la journée : Nouvelles images numériques et Relations entre Arts et Recherche scientifique. Afin de poursuivre les réflexions abordées lors du forum, Vidéographies 4.0 diffusera non pas une mais deux émissions respectivement dédiées à ces deux parties.

Cette première partie se concentre donc sur les frictions qui se créent entre Arts de la Scène et Développement numérique. Cette programmation de qualité est composée par un de nos présentateurs préférés, Dick Tomasovic, accompagné par Jonathan Thonon, coordinateur du projet IMPACT – International Meeting in Performing Arts & Creative Technologies. Lancé par le Théâtre de Liège et ses partenaires de l’Euregio Meuse-Rhin, IMPACT a pour ambition d’inscrire les arts de la scène dans le domaine des nouvelles technologies, des arts numériques et médiatiques.

Diffusion sur La Trois
La nuit du samedi 4 Février 2017 à 01:00 (une heure du matin)
ainsi qu’en ligne durant 7 jours sur AUVIO

I discovered recently that Rem Koolhaas was a screenwriter before he became an architect. He describes the moment that his journey into architecture began when on a trip to Moscow he was exposed to soviet architecture and Russian Constructivism (Malevich, Tatline and Lissitzky etc). He observes that their project proposed a radical reconfiguration, a re-ordering of everyday life through the vocabulary of building. Just as a screenwriter prescribes the words and actions of a character in a series of spaces, so architects, with their arrangements of stairs, living room, kitchen and so on, write a script for our lives.

Composition, with its etymological root in the act of combination, is for me, an activity which is common to all creative endeavour. In the most general sense I believe that it implies the imposition of structure onto substance. Whether the substance in question is material or immaterial (i.e. thoughts and concepts) or the structure orderly or chaotic is secondary; what remains common is the combinatory act. If one thinks about composition in the way that Koolhaas implies, i.e. as a systematic recombination of themes, metaphors, spaces, colors, dialog, shapes, notes etc. until a result is achieved that one finds meaningful or desirable, then it becomes a very powerful and intellectually liberating concept that can be applied to any discipline.

Thinking about composition as being synonymous with design, painting or writing etc, i.e. that it is a shorthand for creativity, also provides me with the impetus to work in collaboration. I find that dialectic engagement with people from other disciplines who bring an entirely different intellectual tool box to the same problem can generate results where the whole is greater the sum of its parts...

The importance of net.art will never be adequately addressed while the history of art is written by the museums, galleries and the market. Many artists affiliated with this 1990s art movement deliberately used the Internet to circumvent the machinery of the art world or made works that are difficult if not impossible to exhibit and sell. But net.art still offers an essential critique of our relationship to the Internet as well as a compelling demonstration of how art can challenge it from within.

Recognising that the dust has not yet settled, curator and critic Domenico Quaranta composed four short hypotheses about net.art built around the Introduction to net.art (1994–1999) by artists Natalie Bookchin and Alexei Shulgin in 1999.
In a shared online document, four artists and artist groups who helped shape the course of net.art – UBERMORGEN, JODI, Vuk Cosic, and Olia Lialina – respond with their own take on what happened.

L'espace virtuel du Jeu de Paume ouvre ses portes à une série d'expositions dématérialisées, coordonnées par l'artiste curateur Nicolas Maigret. Intitulé Futurs Non-Conformes, ce programme mêle art, ethnographie, critique et spéculation à travers 3 cycles (passé, présent, futur). Une occasion pour interroger son curateur autour des thèmes de l'anticipation, de la propagande de l'innovation et de l’archéologie des médias.

Nicolas Maigret, Futurs Non-Conformes correspond à une forme que l’on peut appeler le « musée virtuel », pouvez-vous nous présenter ce concept ?

Nicolas Maigret : Futurs Non-Conformes est une exposition en ligne, rassemblant une série de liens contextualisés autour de pratiques artistiques et techno-critiques. J’ai proposé que l’on articule ce programme autour de trois cycles, avec différents points de vue et différentes approches, qui chacune viennent décoder, décrypter et révéler les enjeux propres à différentes technologies, tout en développant une forte dimension critique. Nous avons donc écrit les présentations de chacun des projets avec les artistes, pour ensuite offrir un accès direct,via des liens hypertextes, aux expositions en ligne qui peuvent être aussi bien des collections d’objets (photos), que des éditions de magazines ou d’articles, des documentaires, etc...

Rodrigo Carvalho [VISIOPHONE], is a Designer & Interactive New Media artist from Porto/Portugal. His work on live visuals, coding and interactive art involves a range of different outputs, from screen digital work, interactive installations, audiovisual live acts, or interactive visuals for stage performance.

His research is focused in the real-time relations between sound, image and movement in audiovisual interactive spaces....

Patrick Tresset is a London based artist, his art practices follow two main path, on one hand Tresset presents theatrical installations in which robotic agents are actors, these installations are often evocations of humanness. Tresset crafts the computational systems driving the robots so that their behaviour can be perceived as artistic, expressive and obsessive. These systems are influenced by research into human behaviour, more specifically how humans make marks, how humans depict other humans, how humans perceive artworks and how humans relate to robots. On the other hand Tresset also uses robots and computational systems to produce series of drawings, paintings and videos.   

Logik est un objet interactif créé par Eugénie Lacombe et Paul Bouisset (École de Design de Nantes Atlantique), en réponse à l’appel à projets étudiants Arts & Technologies lancé par l’association Electroni[k] et également soutenu par Stereolux.

Avant sa présentation à la Salle de la Cité, du 7 au 16 octobre, pour le festival Maintenant 2016, Eugénie & Paul ont répondu aux questions d’Émilie Kerebel, bénévole de l’association Electroni[k].
 

Oudeis accueille Fabien Zocco tout le mois de juillet dans le cadre de son appel à projet Potlatch numérique.

Cette rencontre entre Oudeis et Fabien Zocco était inéluctable tant les enjeux et problématiques soulevés dans le travail de l'artiste sont proches de notre questionnement sur les nouvelles technologies, ce qu'elles suscitent, ce qu'elles changent en nous et dans la société. Il est question d'Intelligence Artificielle, de bots, de programmes et des données qui constituent notre corps virtuel. Il y a de la poésie, mais aussi de l'absurde propre à un regard dystopique, critique et révélateur de situations étranges, rendues possibles par les technologies. C'est aussi un travail de rebonds, de tissage de liens invisibles entre des données, des contenus et des hommes qui laissent de plus en plus de place à la machine.

"Survol" est un projet qui questionne le fantasme de la technologie comme appareil unificateur et reliant. L'obscurantisme banni par la science rejaillit paradoxalement par elle, diffusé largement par ses voies de communication. Le devenir humain est, somme toute, fragmenté, divisé et tourmenté par des nationalismes radicalisés.

Dans "Survol", Fabien Zocco s'appuie sur la station spatiale internationale, l'ISS, comme symbole des projections utopiques générées par la conquête spatiale. Paradoxalement, Fabien Zocco rappelle l'origine militariste de cette conquête spatiale et de la concurrence entre des États dominants qui justifie bien le terme de "conquête". De nouveaux pays se sont ajoutés depuis plusieurs années à la liste affirmant ainsi la puissance de la nation (la Chine, l'Inde, le Brézil, l'Indonésie, l'Afrique du Sud) et répondant aussi bien à des besoins de développement technologiques que patriotiques.

Dans "Survol", l'ISS opèrera comme "tête de lecture" des hymnes nationaux des pays qu'elle survolera. La vitesse de vol de la station est telle, que c'est tout aussi rapidement qu'elle passera d'un hymne à l'autre, permettant d'entonner un chant étrange multilingual et pluri-sensoriel (son, images, textes).

"Survol" est au stade de projet et le temps de la résidence permettra de passer ce stade avec la complicité de Thierry Guibert. Ce dernier est un artiste qui travaille depuis quinze ans

Mehdi Medjaoui fait partie d’une espèce peu commune : l’entrepreneur normal. Sa startup, OAuth.io, tourne bien sans scaler ni couler. APIDays, la conférence sur les API qu’il a créée en 2012, rencontre un succès soutenu en restant à taille humaine. Il aime le sport, la politique et les bouquins de philo. Mais ne nous y trompons pas, s’il s’y connaît sacrément en matière d’API sans pour autant revendiquer l’AOP “expert”, Mehdi possède une qualité rare : sa vision de l’entrepreneuriat, des API et de la tech est d’abord politique. Flanqué de son baluchon et de son meilleur dictaphone, KMF a passé quelques heures en sa compagnie pour comprendre pourquoi diable les API sont tout sauf une affaire de techno.

Building on research into curating new media art since 1993 at the University of Sunderland, CRUMB was founded by Beryl Graham and Sarah Cook in 2000 within the School of Arts, Design, Media and Culture, with a Small Grant from the Arts and Humanities Research Board. CRUMB's activities cover a range of practices, but are predominantly based around research, networking, and professional development for curators of new media art. 

CRUMB members run a lively discussion list on curating new media art with over 1000 international subscribers, publish interviews with curators, and lecture and publish widely, contributing to academic books as well as artists' exhibition catalogues. Articles written by CRUMB team members on the subject of curating new media art are to be found in books published by Routledge, Arts Council of England, University of California Press and The Banff Centre Press and in periodicals such as Leonardo, Art Monthly and Mute Magazine. Cook and Graham's book Rethinking Curating: Art After New Media was published by MIT Press in 2010 and is the leading text in the field.

CRUMB is supported by the University of Sunderland with funding from the Arts and Humanities Research Council, The Leverhulme Trust, Arts Council England.

Pau Waelder is a researcher, art critic and curator who recently finished his PhD about the art market, its displacement on internet platforms and the interactions between contemporary art and New Media Art. His research acknowledge the explosion of the Post-Internet Art, as example of an artistic sector connected to New Media Art that stimulated the interest of the traditional art market.

Post-Internet Art has been for many a short parenthesis, a phenomenon which is already obsolete, but it setted a precedent of a successful artistic production for the art market, in the general context of New Media Art, even if some artists of the new generation does not recognize himself in the New Media Art field. From a different perspective, this interview also focuses on the new online resources for buying art and the new forms of distributions of digital contents.

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.

Lexus Art Series by Whitewall, art & innovation talks: "Virtual Reality: How will it influence Art and Design?" a discussion between Daniel Arsham and Cool Hunting's David Grave.

Jonas Fritsch - Artist statement

I am an interaction design researcher. My research revolves around design experiments in interaction design. I engage in experimental design processes, resulting in the production of a variety of interaction designs with a strong focus on affective experiential qualities.

To start this Conversation, as an artist of interactive and immersive art, what role does affect and/or emotion play in the production of your works of art or design?

The processes and the designs both become vehicles for knowledge production as a kind of research through design (Frayling 1993) or research-creation, feeding back into the general field of interaction design, affect theory and the coupling between the two in the exploration and design of what I term affectively engaging interfaces. Within interaction design and Human-Computer Interaction HCI more generally, a number of people have been exploring affective aspects of the interaction, most notably under the heading of Affective Computing...

Sound ∆ ƒields (S∆ƒ) est une œuvre technologique sonore interactive.

Équipés d’un casque et d’un terminal, les spectateurs voyagent dans une cartographie sonore qui résonne avec les œuvres du musée.

http://sounddelta.leclairobscur.net

Nils Aziosmanoff est président du Cube, Centre de création numérique à Issy-les-Moulineaux. Depuis sa création en 2001, le Cube s’est donné pour mission à la fois de s’engager auprès des artistes défricheurs de nouvelles formes d’expression (le Prix Cube en a été le témoin encore cette année) et de donner des pistes d'appropriation de la pratique numérique créative à destination d'un public toujours plus large.

Dans le cadre de notre dossier « Tous Créateurs ? », nous avons recueilli son point de vue sur l’évolution des pratiques amateurs. Interview...

The main difference is interactivity, which is not a feature of machinima, unless you create an interactive machinima experience through an installation or performance. In order to produce a machinima one must use video game technology and play a video game, but the outcome is a linear movie, film, or video. That final product - i.e. the video - can be used as raw material to create something else that could become interactive or not. Most of the times, machinima is non-interactive. So interactivity is a key factor. But there is more...

Once, during a machinima workshop, a student of mine told me something interesting. He said that the main difference between machinima and video games is that with a machinima you can always decide what would happen next, unlike video games where it is “always the same”. I asked what he meant and he said: "After you play the game several times, you know exactly what is going to happen, over and over, and you have almost no control. You just go through the motions, pressing the buttons at the right time". It sounded counterintuitive at first, but I think he was onto something profound. Basically, what he meant is: games are repetitive, machinima is creative...

recto/verso: Being one of the pioneers of net art, what is your definition of it? How do you distinguish someone who makes art online from someone doing things online? I think that Capture follows this path of reflection exactly…

Gregory Chatonsky: It would be difficult to summarize all the history of netart. It has given rise to many debates and multiple strategies. What I have noticed is that very quickly, some players in the netart wanted to invent its History and, at the same time, historicize themselves. The almost immediate passage between Contemporary and History seems to be a symptom of our time: we know that all is going to be lost very quickly, that immediate obsolescence is also going to affect our devices and that we need to develop discourses to follow in another temporality. Thus the notion of pioneering, of frequent use, is rooted in the imagination of the American West, of the Wild West in Silicon Valley. When the classic net.art declare that the netart died, there is, beyond a false forward thinking, a way of appropriating a domain: because if it is dead, we are simultaneously the first and last. The act of certifying death is also a declaration of birth. I think it’s time to make a critical juncture and analyze from a distance this historicizing procedure as an artistic capture strategy. Unfortunately some art historians have taken this to its first degree. As for the distinction between an art that would address the network as a medium and a different art, which would consider it in a strictly instrumental way, I see it there an avatar of Greenbergian modernity where the sovereignty of the artwork is identified with the process of empowering the medium. What interests me here is how the “net art” reactivated past discussions and became a bearer for nearly 20 years of a certain modernist posture that saw the development of coding, glitch, GIF, etc. Web for web, art for art, money for money, these self-references circulate on each other...

Un homme, une femme, des robots (et nous) Propos générés par Donatien Garnier