Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
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.
The Daniel Langlois Foundation is pleased to make available the conferences held as part of its exhibition Communicating Vessels - e-art: New Technologies and Contemporary Art, presented at the Montreal Museum of Fine Arts in the fall of 2007. These conferences, led by Jean Gagnon, Anne-Marie Duguet, Jim Campbell, David Rokeby, Lynn Hershman Leeson, Olivier Asselin, Cornelius Bork and Ernestine Daubner, are now accessible via this Web site.
How can we understand art that is being reinvented in the digital age? Today, art has gone beyond the limitations of traditional practices; it is created at the cutting edge of disciplines that not only interconnect but are continually evolving. How, then, do we position ourselves as visitors? How do we grasp the meaning of these new works of art in exhibition spaces that are themselves being utterly transformed? How do the creators of this art – who are now engineers, philosophers and computer specialists as well as artists – design a way of working that can take place equally well in a laboratory or a studio? Hear some of the artists and researchers who are presently the most involved in these questions.
Digital art, in its countless manifestations, has become a household word in creative production; its cultural relevance is unquestioned. But its conservation does present new challenges to museums and collections alike: After all, we are not talking about static objects that can be “stabilized” in the classical sense; rather, digital art is akin to performance, because new conditions can arise in each process or each performance. What can be done if the technology is already out of date the moment you switch on the computer? How do we deal with works of art that are dependent on proprietary software that’s no longer being updated by its manufacturers, or whose manufacturer no longer exists? How can net-based projects be preserved for the future?
Entre autres, Anne-Cécile Worms interviendra à l’occasion du colloque organisé par Gérard Berry, pataphysicien à la tête de la chaire Algorithmes, machines et langages au Collège de France ; le 27 mai prochain la fondatrice et présidente de Art2M, expert en art et nouveaux médias, présentera les artistes Albertine Meunieret Christophe Brunopour discuter objets connectés et Big Data appliqué à l’histoire de l’art. Le colloque dont le thème s’intitule « Art Sciences, de nouveaux domaines pour l’informatique » abordera notamment des sujets assez variés tels que l’imagerie 3D en paléontologie, la relation entre informatique et ADN ou encore la créativité musicale artificielle. ...
ETC MEDIA se distingue de la scène des revues d'art actuel en proposant l'unique périodique québécois,publié sur papier et numérique, à se consacrer aux pratiques médiatiques et numériques.Son format également très attachant signe un raffinement et une élégance au service de la très granderichesse des oeuvres médiatiques et du numérique.Une nouvelle ligne éditoriale permet un espace ouvert de publication, avec les communautés artistiques,tout comme avec des auteurs intéressés par un renouvellement des langages et des manières de faire.ETC MEDIA est une revue internationale, bilingue en français et en anglais avec traduction. 104 pages, couleur.
ETC MEDIA stands out among contemporary art magazine, paper and digital, as a unique Quebecperiodical devoted to digital and media art practices. The very captivating formatpresents a sophistication and a elegance that serves the great wealth of mediaand digital works. As well, a new editorial direction has opened space for publication,engaging with artistic communities and writers interested in a renewal of the languageand ways of doing this.ETC MEDIA, an international magazine, is bilingual, French and English, and includes translations.104 pages, full colour.
Malraux's imaginary museum has become a reality of our digital age. Everyday, a massive amount of different new visual, textual, and transactional data is added to this vast archive. How do we decide what bits of contemporary digital culture to preserve, study and curate given that its universe is constantly expanding? The parallel questions of selection, archiving and curating are important to address with regards to all media art forms – from early video, computer and telematic art to later networked, web-based, software, and data art. There are several strategies already used in media art archiving practice today. However, it is also important to look for even more new approaches. For instance, data visualization opens up new possibilities for archiving, reinterpreting and exhibiting artworks, acquiring us to look at the past and present from other unfamiliar and novel perspectives...
Living design, living architecture, living urbanisme, living éducation... Au-delà de l’art, tous les champs de l’activité humaine se voient aujourd’hui investis de mécanismes animés par l’intelligence artificielle. Florent Aziosmanoff décrypte ces activités en plein essor qui promettent de révolutionner notre société.
Il montre en particulier que lorsqu’une personne se trouve confrontée à un dispositif ayant un comportement autonome, sa propre attitude est guidée par la relation établie avec ce dispositif. Les enjeux de discours du créateur s’expriment ainsi au travers du comportement du spectateur, qu’il dirige à travers son œuvre. Le living art se trouve être ainsi un art « qui vit » autant qu’il est « à vivre », portant le discours de l’artiste dans l’évidence d’une relation intime et personnelle, vécue au quotidien entre l’œuvre et son spectateur. ...
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. ...
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) ...
Die Publikation "Digitale Transformationen" ist eine aktuelle Bestandsaufnahme zur digitalen Kultur. Die Textbeiträge von Theoretikern, Künstlern und Wissenschaftlern sowie Produzenten, Förderern und Vermittlern stellen Medienkunst als künstlerische Position an der Schnittstelle von Technologie, Wirtschaft, Wissenschaft und Kultur vor und geben einen breit gefächerten Einblick in den Diskurs im deutschsprachigen Raum.
rtsciencefactory est né de la rencontre entre les responsables de la Communauté d’agglomération de Plateau de Saclay (CAPS) et le Centre André Malraux (CAM) de Sarajevo. La CAPS accueille aujourd’hui, et demain plus encore, la plus grande concentration d’organismes de recherche scientifique d’Europe (universités, laboratoires, Centres de recherche, entreprises de pointe). Elle affronte des enjeux massifs de développement du territoire et d’harmonisation entre ses populations de résidents et de travailleurs. La rencontre avec le CAM résulte d’un engagement commun à propos des conflits dans les Balkans, leurs conséquences et leur signification, le présence de nombreux artistes de premier plan dans la proximité immédiate du Centre a suscité l’idée d’échanges entre scientifiques liés au Plateau de Saclay et artistes liés au CAM, échanges ouverts à tous et d’abord à tous les habitants du Plateau.
Artsciencefactory consiste principalement en un site internet interactif, http://artsciencefactory.fr/, et en l’organisation de manifestations (expositions, débats, concerts, projections…) sur le Plateau lui-même, les Artsciencefactory Days. Artsciencefactory est né à la mi-octobre 2010. Le site accueille œuvres, documents de vulgarisation scientifique, et réflexions sur les enjeux et perspectives de l’interaction entre sciences et arts. Les œuvres mises en ligne sont disponibles au « remix », c’est à dire à la reprise/transformation par les internautes, selon un protocole qui ne fait jamais disparaître l’œuvre originale.
How can we appreciate a Sense of Place in the space between the local and the global? Do our GIS technologies enhance or supress the psychology of distance that distinguishes between them and us in times of environmental crisis? Are we making sense of our remote sensors in our telematic umwelt? Virtual simulations create powerful immersive experiences, but are they just distracting us from the complexities of feeling the volatile environment? Do we have the mental dexterity and visual literacy to comprehend these trasnscalar networked ecologies? From the overview to the nanoscape, BunB 2017 will critically explore our (missing) Sense of Place.
A Sense of Place aims to provoke discussion, reflection and action to address the imminent social, economic and cultural impact of climate change. Balance-Unbalance cultivates transdisciplinary relationships and initiatives which seek to provide insights, awareness, innovation, behaviour change and resolutions. To achieve these ambitions Balance-Unbalance explores innovative art and technology practices that provide new models which enhance participation, public engagement, information literacy and ecological action.
Cette collecte de données se produit évidemment sur les réseaux dits sociaux mais également au travers de la plupart des outils du World Wide Web : sites d'achat en ligne, clients de serveurs de mail, sites de presse ou de jeux en ligne. Elle se produit également au travers du « self-quantify » : pèses-personne connectés, applications mobiles de suivi des performances sportives, plate-formes de suivi de la consommation énergétique du logement....
+++++++++++
Pour y voir plus clair, nous y accueillerons, entre autres :
Valérie Cordy, Jean-Claude Dargeant, Samuel Bianchini, La Quincaillerie Moderne,Nicolas Maigret, Nicolas Rosette, Jacques Perconte, Le projet OpenBeeLab, Isabelle Humbert-Radtke, Le Mundaneum, Adrien Colrat, Pierre Hemptinne, Le collectif InOutput, Lucille Calmel, RYBN, Eric Guichard...
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. ...
For over 17 years Furtherfield has been working in practices that bridge arts, technology, and social change. Over these years we have been involved in many great projects, and have collaborated with and supported a variety of talented people. Our artistic endeavors include net art, media art, hacking, art activism, hacktivism and co-curating. We have always believed it is essential that the individuals at the heart of Furtherfield practice in arts and technology and are engaged in critical enquiry. For us art is not just about running a gallery or critiquing art for art’s sake. The meaning of the art is in perpetual flux, and we examine its changing relationship with the human condition. Furtherfield’s role and direction as an arts collective is shaped by the affinities we identify among diverse independent thinkers, individuals and groups who have questions to ask in their work about the culture.
Here I present a selection of Furtherfield projects and exhibitions featured in the public gallery space, we have ran in Finsbury Park in North London for the last two years. I set out some landmarks on the journey we have experienced with others, and end my presentation with news of another space we have recently opened (also in the park) called the Furtherfield Commons. ...
Interactive magazine about new technologies meeting culture worldwide. Information for digital art, heritage, digitization, photography, projects.
The phenomenon of globalisation and the spread of digital infrastructures – which are both the means and the cause of globalisation itself – have been creating an interrelation among the fields of culture, once considered very distant. Today, the sciences, the arts, the humanities, while retaining irreducible differences, tend to meet, contaminate and mutually enrich through the use of new media and new technologies.
DIGITALMEETSCULTURE is intended as a portal for gathering information about the digital culture in the world, taking into account the different approaches that science, cultural heritage and arts have to the digital age. This portal aims to act as a reference point and as a valuable mean of information and communication for different users in a global dimension. It is conceived as a meeting place between technologies and arts & humanities.
"What we identify by conceptual inertia as 'properties' of different mediums are actually the properties of media software."
MICHAEL CONNOR: I want to start with the question of methodology. How does one study software? In other words, what is the object of study—do you focus more on the interface, or the underlying code, or some combination of the two?
LEV MANOVICH: The goal of my book is to understand media software—its genealogy (where does it come from), its anatomy (the key features shared by all media viewing and editing software), and its effects in the world (pragmatics). Specifically, I am concerned with two kinds of effects:
1) How media design software shapes the media being created, making some design choices seem natural and easy to execute, while hiding other design possibilities;
2) How media viewing / managing / remixing software shapes our experience of media and the actions we perform on it.
I devote significant space to the analysis of After Effects, Photoshop and Google Earth—these are my primary case studies.
...
Lev Manovich is a leading theorist of cultural objects produced with digital technology, perhaps best known for The Language of New Media (MIT Press, 2001). I interviewed him about his most recent book, Software Takes Command (Bloomsbury Academic, July 2014).
n the framework of the project Masters & Servers. Networked Cultures in the Post-Digital Age, the Link Art Center commissioned Matteo Cremonesi, the Link Cabinet curator, an essay about The Pirate Cinema, the project by French artist Nicolas Maigret presented in the Cabinet from March 4 to 28, 2015. Have a nice reading!
Creating a point of contact between two or more people, or sending a message, regardless of the form or content, are actions of great significance, as well as a basic human need. The act of communication in its many forms has long been the focus of many artists. One key example was undoubtedly Mail Art. For the artists involved, Mail Art was a fascinating opportunity to create a genuine network of people, individuals who got actively involved in the process of sending letters, postcards and fanzines to each other. ...
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
CRUMB aims to help those who 'exhibit' new media art, including curators, technicians and artists.
CRUMB is supported by the University of Sunderland with funding from the Arts and Humanities Research Council, The Leverhulme Trust, Arts Council England.
Human beings, as users, have always been obsessed with finding new ways of communicating through various techniques and technologies. The rapid technological changes that have occurred during the last two decades have allowed us – the users – to communicate through various social media platforms, providing us with more easily, faster and more frequently ways of communicating.
However there are always concerns about other impacts those technologies might have on the communication processes.
The aim of the conference is to facilitate conversations on Design and collaborations between
collaborative knowledge space for media art, culture and media technology and an infrastructure for media art production...
netzspannung.org is a platform for interactive art and media art education. Netzspannung.org has been online since 2001, and defines itself as a tool for researching, reflecting upon, and imparting electronic culture. The platform for the › theory and practice of media art offers over 2,500 work descriptions, texts, images and videos for the purpose of interdisciplinary education in › art, › designand › informatics. Every month, between 100,000 and 150,000 international visitors take advantage of the cost-free access to over 200 hours of › lectures and › experimental teaching and learning modulesfor schools and universities.
L’Observatoire des Mondes Numériques en Sciences Humaines (OMNSH) est une association française de loi 1901.
L’observatoire a pour objet d’étude la technologie numérique, c’est-à-dire des environnements et outils technologiques reposant sur l’informatique et offrant une interactivité avec leurs utilisateurs et ce, tous supports techniques confondus, présents et à venir.
Cette association a pour but de constituer une plate-forme d’information, de réflexion et d’échange entre la recherche universitaire, les professionnels, la presse et le public, tous quatre liés par cette technologie.
L’OMNSH s’inscrit dans la perspective de partage et d’accès libre à la littérature scientifique sur Internet telle qu’elle est encouragée par la déclaration de Berlin (octobre 2003).
voir la rubrique voir Sciences de l’Art : a pour vocation d’accueillir des analyses relevant des sciences de l’art (18ème section Arts) appliquées au mondes numériques : recherche création, analyse de dispositifs artistiques ou d’appropriation créative, études portant sur les musées et les produits culturels interactifs, recherches en création, articles de critique...
To get content containing either thought or leadership enter:
To get content containing both thought and leadership enter:
To get content containing the expression thought leadership enter:
You can enter several keywords and you can refine them whenever you want. Our suggestion engine uses more signals but entering a few keywords here will rapidly give you great content to curate.
Your new post is loading...
