Digital #MediaArt(s) Numérique(s)

We’re excited to announce the seventh annual Theorizing the Web, April 7-8, 2017. We’re at the Museum of the Moving Image again because that place is great and those are good people. 

Today, we’re opening up our call for papers. If you’d like to speak at Theorizing the Web, submit here. Also, please share this with anyone you think would be interested in submitting or attending. 

Registration is now open, register here. As always, we’re pay-what-you-can. 

We’ll announce some invited panels and speakers real soon. In the meantime, please help us spread the call for papers and registration widely! And thank you to everyone for all the love over the years <33

Call for Papers Theorizing the Web 2017 April 7–8 in New York City At the Museum of the Moving Image, in Astoria, Queens The submission deadline is January 22, 2017 (11:59 p.m. EST)

For the past decade, along with fellow former members of the late hacker-net artist collective Free Art & Technology (FAT) Lab, American artist Evan Roth has been “dedicated to enriching the public domain one mutha-fuckin LOL at a time,” as the collective writes in their mission statement. Roth’s net art stunts have includedamassing a GIF army to Occupy the Internet; hacking his internet cache to create digital “self-portraits;” fooling the Google algorithm into making his name the number one search result for “bad ass mother fucker,” and creating a browser plug-in that erases Justin Bieber from the internet.

But in recent years, especially in the wake of the NSA spying scandal, Roth has found himself disillusioned with the “monetization, commercialization, and centralization of the internet,” as he tells Hyperallergic....

A Webwatch by Julien Deswaef, a designer and versatile artist. Active both in visual art as well as in coding, he has the ability to transform "plastic ideas" into digital realities. He regularly collaborates with artists in the world of entertainment, music, plastic and digital arts. Engaged in Open Source and Free Softwares as an ethical principle, Julien relevantly provides the connection between the visual arts, the world of contemporary images and the most advanced aspects in digital research...

http://xuv.be

Millenium Web Meetings is the must-go meeting-point for fans of new technologies and new communication means. Its growing success during the Millenium festival made us decide to organise an edition specifically dedicated to a new genre of storytelling from 1 – 5 December 2016.

Not only is the Millenium Web Meetings an excellent opportunity to try-out this original genre of storytelling, it is also a great chance for making contacts in the field of interactive web-creations. We encourage creative encounters, which is the reason that we invite participants, professionals and amateurs to participate in our events! In short, it is the occasion to push an emerging, incredibly exciting genre forward with the goal of giving a helping hand in its diffusion.

As part of the Millenium Web Meetings, David Dufresne will give a master class on Monday 5th of December. As creator of "Fort McMoney" and his latest project DADA-DATA, David Dufresne has collaborated with the Millenium Web Meetings various times in the past years. The master class is the opportunity for fans of new technologies to learn from the forerunner in this genre. The master class will be followed by the announcement of the winning Cross-Over Lab teams and a drink to celebrate the end of the event.

Soon the full program...

Your guide to navigating eyewitness media, from discovery to verification

In January 2011, protests broke out across Egypt to demand an end to the despotic and repressive regime of Hosni Mubarak. The protests were largely organized online, through social networks like Twitter and Facebook. Mubarak quickly realized this, and launched a counterattack: He severed all access to the internet from within Egypt.

Dyn Research, a internet performance company that analyzes how the internet performs, noted that Egypt’s Arab Spring shutdown started with just a couple phone calls from the government:

The prior day [before the internet shutdown], we had received a tip from an Egyptian telecom engineer that the government was warning some telecoms that they should be prepared to act quickly if the government ordered the shutdown of internet services. Just after midnight local time in Egypt, that order came and nearly all Egyptian access to the global internet was down in a matter of minutes...

Manifestos for the Internet Age is a reader that collects manifestos of computer culture, starting with Ted Nelson (Computer Lib), through the GNU Manifesto and the Hacker Manifesto (1986), up to current influential positions such as The Cult of Done, the Cryptoparty Manifesto, the Critical Engineering Manifesto (Oliver, Savičić, Vasiliev), the 3D Additivist Manifesto (Morehshin Allahyari & Daniel Rourke), the Xenofeminist Manifesto (Laboria Cuboniks), and many other writings from both artists and activists.

This book is currently in beta status. Development is ongoing in the Git repository (participation is welcome). The book is generated using MarkDown, Pandoc and TeX.

The initial release was created over a week-end, during a Greyscale Press “BookLab” workshop held at the Fahrenheit39 Art Book Fair in Ravenna (read more about it here).

High quality free photos in one place. We hunt for best free images from many online sources and pull them all together in one spot. Most of our photos are CC0 license (do whatever you want). Additionally we offer all Creative Commons and Public Domain photos from sources like Flickr and make it possible to embed them directly from our website.

Miyö Van Stenis is an artist and curator currently based in Paris. Through performance and coding she explores Internet interfaces, operating systems, softwares and computational devices. Her interest is in the error and the limit in the human and machine interactions. A number of her projects focus on the socio-political crisis in Venezuela. Her curatorial practice engages critical approaches to post-internet aesthetics and new media/technologies and includes livestream channel DeOrigenBelico (since 2010), Beautiful Interfaces: The Deep in the Void as part of The Wrong Biennale (2014), and Beautiful Interfaces: The Privacy Paradox (co-curated with Helena Acosta, currently on view in Reverse art gallery as part of Creative Tech Week New York, 2016). She is a founding member of the activist group: Dismantling the Simulation. ...

Created by Moniker (Roel Wouters & Luna Maurer) and made in conjuction with We Are Data travelling installation, Clickclickclick.click reveals the browser events used to monitor our online behaviour.

The website invites the visitor to play along, direct behaviour to unlock “achievements”. Ranging from how many times you click on a button to how fast you move on the page and even how fast is your clicking speed, with the narrator voice who draws conclusions about your character based on your mouse behaviour, the website demonstrates the amount of behavioural data that can be/and is collected today through online services and advertising...

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.

DADA-DATA celebrates 100 years of the Dada movement. It’s a viral, vibrant, living homage, connected to our times like DADA was at war with its own. Stroll through our Depot, an ever-changing anti-museum of major DADA works. And take part in the weekly Hacktions.

Dada-Data is a digital project with a storm of interactive Dada events called “Dada Hacktions.” On the other hand, it will be an online anti-museum, the DADA-Depot.

Dada-Data est un hommage vivant, viral, fait de détournements, d’autodestruction, de dérision, et ancré dans notre époque, comme Dada était en guerre contre la sienne. Ce webdocumentaire propose une narration moderne, faite de collages, d’hyper-texte, de manifestes, de ReadyMades connectés.  

Designrr is a software application developed by PageOneTraffic Ltd. a content marketing software company. Since inception in October 2011 our focus has been to identify problems with online marketing and build software that solves them. 

Daft Gallery believes in the strength and the potential of anonymous artists. We are therefore deeply committed to the growth and development of this kind of artists, and through a market oriented approach and promotion internationally. Daft Gallery supports and represents anonymous artists whom, in their work, remain true to their convictions and their ideals. We are the intermediary between artist and client and place equal value on the interests of both parties.

As gallery we offer the artists a professional and stable basis which serves as a solid foundation for the development of their careers. We support not only the development of the artist, but also the development of the art market, since ultimately this benefits the artist as well as the client. It is after of great interest to the client, when the artist he or she has invested in, is capable of growing professionally. This process is also particularly well served when the number of collectors of Post-Internet Art increases.

Our international goal is to increasingly present and promote anonymous artists. For another art galleries that are searching new ways of art, we offer our service. In close collaboration with the client the most fitting selection is put together for each particular space....

When the World Wide Web first took off in the mid 1990s, the dream wasn’t just big, it was distributed: Everyone would have their own home page, everyone would post their thoughts – they weren’t called “blogs” until 1999 – and everyone would own their own data, for there was no one around offering to own it for us. The web consisted of nodes joined by links, with no center.

Oh, how times have changed.

Now a handful of companies own vast swaths of web activity – Facebook for social networking, Google for searching, eBay for auctions – and quite literally own the data their users have provided and generated. This gives these companies unprecedented power over us, and gives them such a competitive advantage that it’s pretty silly to think you’re going to start up a business that’s going to beat them at their own game.

How would the internet look like if all data were temporary and ephemeral?

An Internet unfolds a vision of such a future internet, with a radically new type of data: smoke.
An Internet converts the 280 internet undersea cable names into (binary) smoke signals.

The names are puffed into the glass network, causing it to fill up, to spill over by which it puffs the data out again. Together the smoke signals create a unique moment without any form of documentation.

Through a series of 15 hypotheses, this Critical Atlas of Internet aims to develop 15 conceptual spatialization exercises. The purpose of the atlas is to use spatial analysis as a key to understanding social, political and economic issues on Internet. The atlas seek to discern the shape of the Internet in order to understand the concrete issues and stakes involved.

A theoretical and visual research led and developed by Louise Drulhe within the context of her graduation project at EnsAD Paris.