Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
L’exposition Le Rêve des formes, présentée à l’occasion du vingtième anniversaire de l’école du Fresnoy, est conçue comme un paysage imaginaire, un jardin monstrueux où se cultivent des formes périssables et des surfaces en germination, des organismes protubérants et de plates silhouettes.
Les artistes et chercheurs rassemblés dans Le Rêve des formes témoignent de leur rencontre avec de nouvelles possibilités de représentation, issues de découvertes scientifiques et techniques récentes, qui bouleversent notre façon de voir et de montrer. En renouvelant grâce à cela le champ du perceptible – nanotechnologies, imagerie de synthèse, scan 3D, stéréolithographie… –, ces nouvelles visualisations nous laissent présumer de géométries encore inconnues...
Virtual Reality productions are on the rise. But is the medium even available? How can we start thinking about the accessibility and democratization of immersive production, creation and consumption?
About the Speaker: Brian Chirls is Chief Technology Officer at Datavized, an NYC-based immersive design and technology studio. He is creator of the WebVR Starter Kit and a recognized innovator in the independent film world. He was recently the Digital Technology Fellow at PBS POV, a position funded by the Knight Foundation. He has developed innovative models for interaction, data visualization and content authoring in virtual reality. Brian has helped to create a new genre of interactive video pieces and software libraries that demonstrate ways to combine the interactivity and connectivity of the web with the aesthetic power of cinema and his work has been presented at CPH:DOX, IDFA DocLab, SXSW and Tribeca Film Institute.
With two decades of artistic practice exploring an understanding of the natural world through the medium of computational technologies, boredomresearch have become intimately aware of the sensitivity and vulnerability of complex systems, including those which support human life on earth.
boredomresearch have been expanding their interest in bio-inspired systems in a project Robots in Distress which considers our strategies for coping in a world increasingly destabilised by human activity. In collaboration with the Artificial Life Lab (Karl Franzens University, Graz Austria), who are employing bio-inspired robots to provide solutions operating in human polluted environments, in 2016 boredomresearch started building robots made from the same plastic waste that pollutes many marine environments. Their work with biologists and engineers offers a different perspective which challenges a broader concern over a tendency towards increasingly complex solutions to answer the challenges of environmental crisis. This has led the artists to extend cutting edge research in artificial neural networks augmented by artificial hormone production to create autonomous agents with the potential for despondency. As emotional robotics becomes a reality does it also reveal a vulnerability? As we incorporate the robustness of swarm robotics into our technological armory should we also be mindful that the most archetypal swarm of all, the honey bee, is an organism in crisis. In this presentation boredomresearch foster a new vision for technological innovation, one that recognises the fragility of the environment that sustains it.
In Educating Artists for the Future, some of the world’s most innovative thinkers about higher education in the arts offer fresh directions for educating artists and designers for a post-digital future. A group of artists, researchers, and teachers from a dozen countries here redefine art at the interdisciplinary interface where scientific inquiry and new technologies shape aesthetic values. This volume offers groundbreaking guidelines for art educators, demonstrating how the interplay between digital and cultural systems calls for alternative pedagogical strategies that encourage student-centered interactive learning.
“Mel Alexenberg, a very sophisticated artist and scholar of much experience in the complex playing field of art-science-technology, addresses the rarely asked question: How does the ‘media magic’ communicate content?”—Otto Piene, Professor Emeritus and Director, Center for Advanced Visual Studies, Massachusetts Institute of Technology
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.
Have you heard people talking about machine learning but only have a fuzzy idea of what that means? Are you tired of nodding your way through conversations with co-workers? Let’s change that!
This guide is for anyone who is curious about machine learning but has no idea where to start. I imagine there are a lot of people who tried reading the wikipedia article, got frustrated and gave up wishing someone would just give them a high-level explanation. That’s what this is.
The goal is be accessible to anyone — which means that there’s a lot of generalizations. But who cares? If this gets anyone more interested in ML, then mission accomplished.
What is machine learning?
Machine learning is the idea that there are generic algorithms that can tell you something interesting about a set of data without you having to write any custom code specific to the problem. Instead of writing code, you feed data to the generic algorithm and it builds its own logic based on the data.
For example, one kind of algorithm is a classification algorithm. It can put data into different groups. The same classification algorithm used to recognize handwritten numbers could also be used to classify emails into spam and not-spam without changing a line of code. It’s the same algorithm but it’s fed different training data so it comes up with different classification logic...
Désormais présents dans la plupart des établissements, ils doivent concevoir et réaliser des modules de formation, et aider les enseignants à développer leurs compétences.
Essor des MOOC, boom du multimédia et de l’enseignement à distance, nouvelles méthodes de formation… Avec le renouveau de la pédagogie dans l’enseignement supérieur, le métier d’ingénieur pédagogique connaît un développement rapide. « Dans les pays anglo-saxons, la profession existe depuis longtemps, indique Stéphanie Conrad, en poste à l’Institut de pédagogie avancée (IPA) de l’Ecole supérieure des sciences commerciales d’Angers (Essca). Mais l’irruption des nouvelles technologies dans l’éducation a favorisé son expansion récente en France. »
Aujourd’hui, la plupart des établissements disposent d’équipes, plus ou moins étoffées, d’ingénieurs pédagogiques. Leur mission est d’abord de concevoir et de produire des modules d’enseignement, en puisant notamment dans les possibilités qu’offrent le numérique, Internet ou la vidéo. « La technologie ne doit être présente que si elle facilite l’apprentissage. Dans le cas contraire, il est préférable d’en rester au face à face classique avec le professeur », souligne Stéphane Justeau, directeur de l’IPA à l’Essca...
Otolab was founded in 2001 in Milan by an affinity group of musicians, djs, vjs, videoartists, videomakers, web designers, graphic designers and architects joined to go through a common path in the field of the electronic music and audiovisual research.
The projects are developed through lab sessions, seminars and live performance according to the principles of brainstorming and mutual support, free circulation of knowledge and experimentation.
The production includes collective and individual projects managed with languages ranging from experimental electronics to techno, dub and industrial sonorities, always looking for a symbiotic relationship with image and video. Otolab is a cultural association committed to create live media and installations and to carry out audio and audiovisual projects, seminars and workshops.
In these years, Otolab members have been welcomed to festivals, cultural events, museums, national and international galleries and have contributed to the realization of self-managed cultural initiatives
The Conservation Center’s Topics in Time-Based Media Art Conservation lecture series takes place on Mondays during the 2016 Fall semester and is generously supported by the Andrew W. Mellon Foundation. The list of presentations is given below. A video of each lecture will be archived and available after the event in the Institute's video archive.
Please note that seating is very limited. While these events are open to the public, we require an RSVP through our mailing list followed by a confirmation. If you sign up for our Time-Based Media Art Conservation mailing list, you will receive an invitation to RSVP well in advance of each event listed below. Please sign up here.
La visibilité et le positionnement des arts numériques se confirment. Mais quelles perspectives pour une reconnaissance en tant qu’art contemporain, entre marché de l’art et économie numérique ? Quelle reconnaissance dans les institutions publiques? Quels financements pour la création artistique numérique ? Pour en débattre, nous invitons artistes, acteurs et actrices de la production,du rayonnement des arts numériques, du marché de l’art.Les échanges, enregistrés durant cette journée d’étude,s’inscrivent dans le cadre de la recherche soutenue parle Labex ICCA. [Rapport de recherche] Labex ICCA. 2016.
... book is interesting, great job! (Michael Sikorski, author of Practical Malware Analysis: The Hands-On Guide to Dissecting Malicious Software.)
... my compliments for the very nice tutorial! (Herbert Bos, full professor at the Vrije Universiteit Amsterdam, co-author of Modern Operating Systems (4th Edition).)
... It is amazing and unbelievable. (Luis Rocha, CISSP / ISSAP, Technical Manager, Network & Information Security at Verizon Business.)
Thanks for the great work and your book. (Joris van de Vis, SAP Netweaver & Security specialist.)
(Art)ScienceBLR is a public laboratory at the Srishti Institute of Art, Design and Technology for artists and designers to engage with scientific practices. Residencies, exhibitions, workshops, talks...
We look at the artistic, social and political implications of technologies from computing to biotechnologies. Our work exists at the intersection of art-science and pedagogy, creating spaces of dialogue and interaction between artists, designers and scientists.
Since our inception in 2009 we have focused on using DIY techniques to build low-cost laboratory equipment, so as to offer more accessible forms of engagement with the life-sciences.
We also run a community electronics and BioLab which encourages students and the community to make/hack and prototype.
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. ...
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.
In 1995, MIT’s Nicholas Negroponte predicted that “being digital” would have us entering a realm increasingly unconstrained by the materiality of the world. Two decades later, our everyday lives are indeed ever more suffused by computation and calculation. But unwieldy materiality persists and even reasserts itself.
Programmable matter, self-assembling structures, 3D/4D printing, wearable technologies and bio-inspired design today capture the attention of engineers, scientists and artists. “BEING MATERIAL” will showcase recent developments in materials systems and design, placing this work in dialogue with kindred and contrasting philosophy, art practice and critique.
Panels on the PROGRAMMABLE, WEARABLE, LIVABLE and INVISIBLE—along with a concert, AUDIBLE—will explore new and unexpected meetings of the digital and material worlds.
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....
Le cours « Cultures numériques » est constitué d’une constellation d’éléments théoriques et pratiques rassemblés autour d’un effort commun : travailler à définir des cultures numériques de manière collective et transversale.
Le but de ce rassemblement est de comprendre et de pratiquer les outils et environnements numériques actuels sous plusieurs approches (historique, philosophique et politique). Les technologies sont des cristallisations de forces diverses politiques, esthétiques, économiques, etc qui ne sont pas elles mêmes techniques. Ce ne sont donc pas tant les caractéristiques techniques d’Internet, par exemple, qui sont décisives pour la culture numérique (notre Zeitgeist) mais plutôt leurs effets. Non pas leur manière de fonctionner strictement parlant, mais les opérations qui soutiennent ces fonctionnements. Pour accéder à ces opérations, deux chemins s’entrecoupent et ne deviennent qu’un seul : on apprend (...)
Educational and experimental platform Transmit proudly presents second year of Transmit Festival! Festival will consist from a/v performances, live acts, talks, exhibition and panel discussions.
This year's theme is “Technology is now” We don’t wish for a different kind of technology. We want a different perception of technology. Technology is often thought of just as a series of different versions of the same product or principle made mainly for economic profit. This reduction bores us as much as centuries lasting techno-optimism. Technology itself has much greater potential...
Pier Luigi Capucci is an Italian educator, theorist and writer in the fields of media (both in communication and art realms) and of the relationships among culture, sciences and technologies, as well as an active contributor to the international debate about culture-sciences-technologies-arts.
Since the early ‘80 Capucci has been concerned with the communication’s studies, the new media and the new art forms, and with the relations among arts, sciences and technologies. He has been professor at the Universities of Rome “La Sapienza”, Bologna, Florence, at SUPSI - University of Applied Sciences and Arts of Southern Switzerland, at the University of Urbino and at NABA in Milan. Currently he is a teacher at the Fine Art Academy of Urbino and in other institutions. Since 2008 he has been working as a supervisor in the (M)T-Node PhD Research Program of the Planetary Collegium (University of Plymouth), and in May 2013 he has been appointed as (M)T-Node's DoS (Director of Studies).
His theoretical activity is concerned with the technologies of representation and communication, with the technoscience-based art forms, and with media archaeology studies. In the field of applied research he works on the opportunities of social relationships raised by online communications and new media.
Studio de création contemporaine unique en France, Le Fresnoy nous propose de découvrir tous les ans, au sein même de l’école, un « Panorama » – scénographié ici par Christophe Boulanger – d’une cinquantaine d’œuvres cinématographiques et d’installations multimédias, conçues au cours de l’année précédente par ses étudiants résidents et professeurs intervenants. Jusqu’au 31 décembre l’école, fondée et dirigée par Alain Fleischer à Tourcoing, reste ouverte pour une monstration qui rend compte des questionnements d’artistes issus des quatre coins du monde autant que de la diversité des propositions formelles qui les sous-tendent. Quatre projets nous ont particulièrement inspirés, qu’ils relèvent d’une production interdisciplinaire et/ou d’une économie de moyens, concentrée autour de la restitution d’une parole ou d’une idée originale, faisant disparaître la technologie au profit d’une main divine… (ou d’un esprit malin)...
The 'Big Hex Machine' is a giant, yet simple, 16-bit computer specifically designed to explain how a computer works. Its instruction set requires a very small compiler, but it is powerful enough to implement useful programs.
The giant machine, based in the Merchant Venturers School of Engineering, measures over eight square meters. It is built out of over 100 specially designed four-bit circuit boards, which enables students to be taught about fundamental principles of computer architecture from just a few basic components.
It was designed, and built, by students and staff at the University of Bristol's Computer Science Department.
Class´Code propose un programme de formation gratuit à destination de toutes personnes désireuses d’initier les jeunes de 8 à 14 ans à la pensée informatique. Le programme comprendra de 1 à 5 modules de formation en ligne d’une dizaine d’heures chacun, couplé à des temps de rencontre présentielle pour partager, expérimenter et échanger entre apprenants.
This course is an introduction to writing code within the context of the visual arts. It asks two primary questions:
What is the potential of software within the visual arts? As a designer or artist, why would I want (or need) to write software?
Software influences all aspects of contemporary visual culture. Many established artists have integrated software into their process. Prominent architects and designers not only use software, they commission custom software to help them realize their unique ideas. The creators of every innovative video game and Hollywood animated film write custom software to enhance their work.
As a comprehensive first introduction to the potential of software development within a broad range of the arts, this course aspires to teach you to engage the computer more directly with code. Programming opens the possibility to create not only tools, but systems, environments, and new modes of expression. It is here that the computer ceases to be a tool and becomes a medium.
A resource for teachers and students, who are exploring the creation of electronic literature; for digital poets and writers, who are interested in how their colleagues approach their work; and for readers, who want to understand how electronic literature is created, the content | code | process project (formerly Authoring Software) is an ongoing collection of statements about how writers and artists create electronic literature...
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.
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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