Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
“Underusing the talent, skills, visions and knowledge offered by women is no longer an option – we need to work together, women and men, to design our future”
Women Shift Digital is a programme of work developed by body>data>space with our partners to celebrate women in digital careers, network the networks and influence the influencers
We have designed a programme of work, including a series of debates, conferences, mentoring, workshops that specifically addresses this imperative need for young women and women to be empowered to join the growing digital/technology/media world as active and successful professionals.
We work in the UK, in Europe and internationally.
Our vision is that women and girls, equally to men and boys, need to be able to take advantages of the massive opportunities and knowledge offered by the tech revolution, to join innovative careers in business across sectors, to build confidence, ambition and risk taking aptitudes. The future of coding, design and content creation needs to be equally influenced and created by women to ensure a balanced and equal perspective to be fully integrated as a baseline into the long term design and development of tools (hardware and software) that will fit with ease across genders at the very base of our society.
We need to encourage women and girls to become Tomorrow’s successful producers, communicators, educators, coders, digital artists, designers, curators, writers and creatives
This is the right point in time to recognise and celebrate the greater benefits gender balance is bringing to the digital and tech marketplace in terms of creativity, user design and economic added value.
Ce 2 octobre 2014, en année alternative de sa biennale, Voix de Femmes ouvre un focus sur la création numérique féminine et sur l'accès de tous et de toutes à la culture numérique. Une journée conçue en deux temps. De 14h à 17h30, un atelier adressé au public du projet Art & Expression questionnera les difficultés d'accès au numérique. De 18h à 20h, une table-ronde ouverte au public, ponctuée de performances et de projections, fera découvrir la création numérique féminine : projets innovants d’artistes féminines qui s'approprient avec brio les nouveaux enjeux du domaine de l'Art & des Technologies. Une plongée dans l'inconnu, un moment à saisir!
There has been a recent growth in interest in feminist approaches to practices like hacking, tinkering, geeking and making. What started off as an interest in furthering representations of women in the technical fields of computer science and engineering, often along the lines of liberal feminism, has now grown into social, cultural, and political analyses of gendered modes of social reproduction, expertise, and work, among others. Practices of hacking, tinkering, geeking, and making have been criticized for their overtly masculinist approaches, often anchored in the Euro-American techno-centers of Silicon Valley and Cambridge that have created a culture of entrepreneurial heroism and a certain understanding of technopolitical liberation, or around the German Chaos Computer Club (CCC).
With this special issue of the Journal of Peer Production, we hope to delve more deeply into these critiques to imagine new forms of feminist technical praxis that redefine these practices and/or open up new ones. How can we problematize hacking, tinkering, geeking and making through feminist theories and epistemologies? How do these practices, in fact, change when we begin to consider them through a feminist prism? Can we envision new horizons of practice and possibility through a feminist critique?
In the world of digital activism, distributed denial of service attacks present relatively low barriers to popular participation, have a high potential for attracting large numbers of first-time and repeat participants, and can attract large amounts of media attention. But though such actions popular, are they ethical? In this talk I will be presenting an ethical framework for the analysis of activist DDOS actions. The framework is grounded in a historical analysis of various activist DDOS actions, such as the IGC attacks in Spain in the late 90s, Electronic Disturbance Theater actions in the early 2000s, and the Anonymous-led Operation Payback attacks in 2010. Each historical case study presents a unique confluence of technological, political, legal and operational factors allowing for a full spectrum of ethical analysis. ...
Net art is built and distributed through a complex, intricate, and interrelated system of networks that presents an assemblage of art, technology, politics, and social relations – all merged and related to form a variable entity. In the last decade a discussion on how to conserve net art emerged in museums of contemporary art. Nevertheless, many net art projects from the 1990s have long disappeared – their server payments lapsed, software was not kept up-to-date, or artists felt the concept was no longer appropriate in a changed context. The project mouchette.org is an exception in that the artist has kept the website up and running since it began. In this article I will show that net artworks are inherently assemblages that evolve over time. These works are distributed and ensured by networks of people; their continuation happens through multiple authors and caretakers. All together these actors signify and give meaning to the works. Therefore, instead of thinking of a ‘freeze frame’ the presentation and conservation of net art should focus on variability. This opens up different paths and options, making for conservation strategies akin to assembling traces.
Social Soul is an immersive digital experience inspired by the question: how does it feel to be inside someone else's social media stream? Created for Delta Air Lines, the official airline sponsor of TED2014, MKG collaborated with artists' Lauren McCarthy and Kyle McDonald to design an experience that brings to life a user's Twitter stream in a larger-than-life structure where their social media profile is on display in a 360-degree stream of monitors, mirrors and sound. The experience starts with the stream of the person visiting, it next uses a custom algorithm to match participants with other TED attendees and speakers, displaying their social stream. After exiting, users and their connected "Soul Mate" receive a tweet encouraging offline connections and conversation. The entire project uses seven different languages of code to handle everything from scripting to styling. The sound is a mixture of generative audio and music composed in Live.
Social Soul was inspired by Delta’s new initiative “Innovation Class", a partnership with LinkedIn designed to connect today’s high-profile influencers with the business leaders of tomorrow at 35,000 feet.
An ecosystem of worms, sowbugs, plants and bacteria live and eat at this table. They are a part of the digestive system that starts with a person discarding food leftovers and shredded paper into the portal at the top. The bacteria and sowbugs begin breaking down the waste and the worms soon join in to further digest it into a rich compost that sprinkles out of the bottom of the fabric bag that hangs beneath the table. This compost is used as a fertilizer for plants, such as those at the base of the table.
The human plays an important part at the table by eating, feeding the food waste to the worms, feeding the resulting fertilizer to the plants, or by simply sitting and appreciating the living ecosystem she/he is a part of. A cross-section of the activity inside the top 9 inches of the compost is made visible using an infrared security camera connected to an LCD screen built into the table. On the screen, viewers can see the live movements of the worms and sowbugs inside.
Berlin has a rich and long-standing tradition of women engaged in the fields of media arts, media activism and digital culture. Today over half of Berlin’s independent project spaces and initiatives revolving around the themes of tech, media and digital culture are run by women. A broad range of female curators and activists continue to shape net politics – initiating independent programmes, hosting events and leading research at Berlin’s universities.
Despite this large female contingent, and in a city where the workforce is generally evenly distributed, it is at odds that the theoretical discourse on media art and net activism, executive roles and directorships, as well panelists and participants at events and festivals, are still male-dominated. In a forward-thinking city like Berlin, this ongoing gap should be addressed so that the wider fields of media arts and activism are fully inclusive of the multitude of female skills and viewpoints on offer.
Depuis leur rencontre à l’Institut des nouveaux médias de Francfort en 1991, la botaniste, viennoise, sculpteuse et anthropologue Christa Sommerer et le “développeur de synthétiseurs” français Laurent Mignonneau, alors tout frais diplômé des Beaux-Arts d’Angoulême, poursuivent la même quête : l’exploration d’interfaces sensibles entre l’homme et la machine, qu’ils mettent en scène dans des œuvres insolites à la croisée des arts, des sciences et des nouvelles technologies.
Duo d’artistes typique des arts média, où la conception à deux têtes et la programmation embarquée s’élaborent d’une résidence à l’autre, sur une scène internationale interconnectée, de Tokyo à Shanghai en passant par Moscou et bientôt Mexico, Christa Sommerer et Laurent Mignonneau ont acquis leurs lettres de noblesse avec l’installation “Interactive Growing Plants”, montrée pour la première fois en France en 1992.
Elle fut l’une des premières pièces significatives d’un art hybride réalisé à partir d’images de synthèse créées en temps réel par l’action des visiteurs. Toute la symbolique du feedback qu’on appelle intelligence ou vie artificielle s’incarne dans le toucher ou l’approche de plantes vertes bien ancrées dans leurs jardinières, dont la résonance avec l’électricité statique du corps à proximité est interprétée, filtrée et réinsufflée dans des images botaniques projetées au mur. Électro photosynthétique : magique !
Alloplastic Architecture is a project by Behnaz Farahi, involving an adaptive tensegrity structure that responds to human movement. In this video a performance artist, Nicole Ives, dances with the structure that reacts to her presence without any actual physical contact. A Kinect motion sensor device tracks the movement of the dancer, and thereby reconfigures the entire structure through the use of an Arduino control board and Shape Memory Alloy [SMA] springs.
"femininity, with it's associations of sensuality, eroticism, and frivolity, provides a ready alternative to the old preoccupation with such masculine qualities as social responsibility and moral seriousness."...
Design student Tashia Tucker has created a series of conceptual surfaces with embedded bacteria that could be programmed to react to biological stimuli, including a floor that detects dust and dirt.
The surfaces are based on technology that enables the DNA of living cells to be manipulated synthetically to create programmable biological systems that perform a defined function, such as changing colour or oscillating when they come into contact with certain materials.
Women’s History in the Digital World 2015, the second conference of The Albert M. Greenfield Digital Center for the History of Women’s Education, will be held on the campus of Bryn Mawr College on May 21-22. We aim to bring together experts, novices, and all those in between to share insights, lessons, and resources for the many projects emerging at the crossroads of history, the digital humanities, and women’s and gender studies.
Continuing a conversation begun at our inaugural meeting in 2013, the conference will feature the work of librarians and archivists, faculty, students, and other stakeholders in the development of women’s and gender histories within digital scholarship.
OBN stands for Old Boys Network. OBN is regarded as the first international Cyberfeminist alliance and was founded in 1997 in Berlin. Since the early days the network keeps changing due to changing members. OBN is a real and a virtual coalition of Cyberfeminists. Under the umbrella of the term 'Cyberfeminism', OBN contributes to the critical discourse on new media, especially focussing on its gender-specific aspects.
Being a woman in technology has its challenges, but feeling alone shouldn’t be one of them. Whether you’re a girl, a woman, or a grrl, the 20 organizations below can help you get connected with other entrepreneurs, designers, and developers; get help with coding, marketing, and fundraising; or just get inspired. And these are only the tip of the iceberg, with tons of local clubs, meetups, and organizations cheering on lady technologists. ...
Swiss artist Regila Boschler brings together the strange painterly world of Apple Maps' military technology in "The Rendering Eye: Urban America Revisited."
Jason Knight and Jennifer Willet have dedicated themselves to mastering the techniques of tissue engineering. But they are not scientists. They are artists - and their art is raising profound and controversial questions.
Knight and Willet are Canada's leading practitioners of "Bio Art," an emerging form that uses the tools of biology to create works of art. The goal is to draw attention to the field of biotechnology and its impact on society.
On its next edition, VisionTV's Gemini Award-nominated current affairs series 360 Vision takes a close look at the meaning and purpose of Bio Art, and the powerful reactions that it evokes.
I like this vision of the internet as one great artpiece, but to define Netzkunst in the context of art history I firstly would like to distinguish between "art on the internet" and "internet art". When you browse the web you find thousands of online galleries and portfolios of artists showing documentations of pieces which are based on other media and don't need the internet or any network for presentation.
Internet art is characterized by using the internet not only as a presentation platform, but also as a raw material. Reflecting on the medium's specific general conditions , qualities, technical and social issues (not only in an artistic sense) internet art contemplates the communication form itself in a critical way. Furthermore a piece of internet art can only exist within or by use of the internet. That means it does not nessecarily have to be displayed online, but needs the medium to be realized (like for example flashmobs are organized on the internet, but happen in real public space). ...
Organisé par Le Lavoir public, le festival Ladybug vise à lutter contre les stéréotypes sexistes dans le monde du numérique et de l’informatique.
Si les femmes sont sous-représentées et subissent des inégalités de traitement dans le spectacle vivant, la situation n’est pas meilleure dans le monde du numérique, tant l’informatique continue d’être perçu comme un univers exclusivement masculin. Afin de lutter contre cette idée reçue et ces stéréotypes sexistes, le Lavoir public, sous l’impulsion de Julien Ribeiro, organise du 22 au 25 mai Ladybug, le premier festival européen dédié aux artistes féminines qui travaillent sur les technologies numériques. Ces quatre jours seront donc l’occasion de découvrir des œuvres qui utilisent les possibilités du numérique ou interrogent notre rapport à ces nouvelles technologies.
Se succéderont ainsi autour du bassin de l’impasse de Flesselles et sur la scène du Théâtre Les Ateliers des artistes d’horizons divers comme la Néerlandaise Annie Abrahams, pionnière de la performance en réseau, la Française installée en Belgique Lucille Calmel ou encore la Canadienne Sonia Paço-Rocchia. Fidèle à son esprit d’ouverture et de mélange des genres, le Lavoir public recevra également des couples d’artistes homme/femme (dont Adrien Monod et Claire Bardainne), le Women Multimedia Network (WMN) pour une soirée clubbing ou encore des représentants d’institutions culturelles et associatives pour une conférence autour de la question des technologies et du genre. Une programmation qui devrait permettre d’en finir avec les clichés et de se familiariser avec ces nouvelles formes d’expression artistique qui trouvent leurs racines dans une culture populaire en pleine expansion.
L’Institut Genre, sexualité et féminisme (IGSF) de l’Université McGill est heureux d’inviter à la candidature de propositions de présentations pour un colloque d’un jour intitulé « ZÉR0 FUTUR ». L’événement est associé au festival féministe d’arts médiatiques + de culture numérique Les HTMlles 11 « ZÉR0 FUTUR », produit par le Studio XX et se tenant du 7 au 15 novembre à Montréal, Canada. Les HTMlles est une plateforme internationale dédiée à la présentation d’œuvres d’arts médiatiques indépendantes créées par des artistes s’auto-identifiant comme femmes, trans ou dissidents et dissidentes du genre, dans un environnement transdisciplinaire, axé sur l’anti-oppression.
Le vendredi 7 novembre 2014 Un colloque d’un jour associé à
Les HTMlles 11 | ZÉR0 FUTUR Festival féministe d’arts médiatiques + de culture numérique
Conjointement organisé par l’Institut Genre, sexualité et féminisme (IGSF) à l’Université McGill, Media@McGill, Les HTMlles 11 et le Studio XX.
The McGill Institute for Gender, Sexuality, and Feminist Studies (IGSF) is pleased to invite presentation proposals for a one-day conference entitled “ZER0 FUTURE”. The conference is associated with The HTMlles 11 “ZER0 FUTURE” feminist festival of media arts + digital culture, produced by Studio XX held November 7-15 in Montreal, Canada. The HTMlles is an international platform dedicated to the presentation of women’s, trans and gender non-conforming artists’ independent media artworks in a transdisciplinary environment that strives for anti-oppression.
Friday, November 7, 2014 A day-long conference associated with
The HTMlles 11 | ZER0 FUTURE Feminist festival of media arts + digital culture
Adaptive fa[CA]de’ explores the computational possibilities and performative aspects of Cellular Automata. Using an artificial Neural Network it constitutes a ‘living skin’ that responds to the light levels of its environment. Building upon the unique patterns of Cellular Automata, ‘Adaptive fa[CA]de’ provides optimal light intensity to the interior, whilst resulting to an emergent, kinetic behaviour.
Adpative fa[CA]de was exhibited from the 8th of September till the 2nd of October 2009 at Digital Hinterlands Exhibition at Arup’s Phase 2 Gallery on 8, Fitzroy st, as part of London Digital Week. The project was also included in the book 'Passages Through Hinterlands' co-authored by Ruairi Glynn and Sarah Saifei which included featured projects from young architects and recent graduates.
Since the beginning of the 1970s, Rebecca Horn has been creating an oeuvre which constitutes an ever-growing flow of performances, films, sculptures, spatial installations, drawings and photographs. The essence of their imagery comes out of the tremendous precision of the physical and technical functionality she uses to stage her works each time within a particular space. ...
“Eunoia” is a performance that uses my brainwaves -- collected via EEG sensor-- to manipulate the motions of water. It derives from the Greek word “eu” (well) + “nous” (mind) meaning "beautiful thinking”. Electroencephalography (EEG) is a brainwave detecting sensor. It measures frequencies of my brain activity (Alpha, Beta, Delta, Gamma, Theta) relating to my state of consciousness while wearing it. The data collected from EEG is translated in realtime to modulate vibrations of sound with using software programs. EEG sends the information of my brain activity to Processing, which is linked with Max/MSP to receive data and generate sound from Reaktor.
By exploring digital landscapes and excess of wireless communication in urban space, we started to search for poetic expression by applying radio waves. The intention was to create totally invisible and intangible work that will exist in the air. Hence we got an idea to display poems by Eduard Escoffet, who kindly agreed to collaborate with us. Each minute we are sending from dedicated WiFi router 4 32-character lines of a poem by changing the names of device. It means while choosing a network one will discover some lines of poetry instead of typical networks' names. Moreover, the work introduces an unusual way for not only applying WiFi waves for artistic purpose but also for a novel form for performing poetry. We have created a sculptural piece that displays reachable WiFi networks' names, and thus, also the poetry performed through the radio waves.
C'est juste une borne wifi qui génére toutes les minutes un nouveau részau wifi avec un SSD (son nom) tiré d'un poème...
Et si le programme générait des SSD combinatoires de son "propre" cru?
et si on faisait une piratebox en ville (chez moi ça n'a aucun sens) qui génénère du texte sur son état de piratebox laissée à l'abandon mais alimentée en énergie... et si...
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