Digital #MediaArt(s) Numérique(s)
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Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
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06.04.2017 - Posthuman curating: curating authenticity or the question of content online

06.04.2017 - Posthuman curating: curating authenticity or the question of content online | Digital #MediaArt(s) Numérique(s) | Scoop.it

The claim that curating is posthuman recognises the changing modes of curating in the world of mass participation in and mass creation of popular culture. It is no longer just about meaning making by art professionals who commission, archive and interpret objects in museums' collections but it defines a popular activity performed daily by agents of different orders. Not just curators but users of social media, not just people but algorithms and software are actively involved in managing, organising and evaluating content. Curating has become a practice that supports creation of narratives and online personas, generation of data and content that is displayed and managed across different social media platforms. ...

 

Speaker : Anne-Marie Schleiner, Michaël Borras A.K.A Systaime, Gaia Tedone - Curated by Magda Tyżlik-Carver 

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Artistry Vs. Novelty: Digital Art Museum Director Wolf Lieser on Virtual Reality as Art

Artistry Vs. Novelty: Digital Art Museum Director Wolf Lieser on Virtual Reality as Art | Digital #MediaArt(s) Numérique(s) | Scoop.it
The director of the Digital Art Museum in Berlin breaks down the promise and limitations of virtual reality in this interview with Artspace’s Will Fenstermaker.

 

In the Whitney Museum’s first biennial of its new Chelsea home, the most controversial work is one of new media: Jordan Wolfson’s Real Violence (2017) is experienced through virtual reality headsets. Via Oculus Rift, the viewer is forced out of the museum and onto a New York street, where the artist waits with a baseball bat. Before viewers have time to accustom themselves, Wolfson swings, repeatedly wailing the bat and stomping his foot into the face of an animatronic doll—rendered lifelike through post-processing—which spouts too-human blood. Back in the museum, metal handrails help deter viewers from looking away. All of this is overlaid, through headphones, with the recitation of a Hebrew prayer. ...

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Media Art & Art Market: an interview with Pau Waelder | Digicult | Digital Art, Design & Culture

Media Art & Art Market: an interview with Pau Waelder | Digicult | Digital Art, Design & Culture | Digital #MediaArt(s) Numérique(s) | Scoop.it
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.

 

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Pier Luigi Capucci - Italian educator, theorist and writer - culture-sciences-technologies-arts

Pier Luigi Capucci - Italian educator, theorist and writer - culture-sciences-technologies-arts | Digital #MediaArt(s) Numérique(s) | Scoop.it

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.

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What's (Really) Specific about New Media Art? Curating in the Information Age - By Domenico Quaranta (2012)

What's (Really) Specific about New Media Art? Curating in the Information Age - By Domenico Quaranta (2012) | Digital #MediaArt(s) Numérique(s) | Scoop.it

This text has been written for the proceedings of the international conference "New Perspectives, New Technologies", organized by the Doctoral School Ca' Foscari - IUAV in Arts History and held in Venice and Pordenone, Italy in October 2011

 

In the late nineties and during the first decade of this century the term “new media art” became the established label for that broad range of artistic practices that includes works that are created, or in some way deal with, new media technologies. Providing a more detailed definition here would inevitably mean addressing topics beyond the scope of this paper, that I discussed extensively in my book Media, New Media, Postmedia (Quaranta 2010). By way of introduction to the issues discussed in this paper, we can summarize the main argument put forward in the book: that this label, and the practices it applies to, developed mostly in an enclosed social context, sometimes called the “new media art niche”, but that would be better described as an art world in its own right, with its own institutions, professionals, discussion platforms, audience, and economic model, and its own idea of what art is and should be; and that only in recent years has the practice managed to break out of this world, and get presented on the wider platform of contemporary art. ...

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DIGICULT - DIgital Art, Design & Culture Magazine - directed by Marco Mancuso | Authors network /// #mediaart

DIGICULT - DIgital Art, Design & Culture Magazine - directed by Marco Mancuso | Authors network /// #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

The Digicult's international Network of authors is made by more than 50 professionals and included more than 200 critics and curators in the last 10 years.

 

Estabilished in 2005 Digicult is an online platform that examines the impact of digital technologies and applied sciences on art, design, culture and contemporary society. Digicult is an independent project, with no funds from any institutions or companies, it is neither public nor private, that reaches more than 100,000 online users on a monthly basis. Based on an international Network of critics, curators, artists, designers, professors, researchers, journalists, media center, galleries and festival, Digicult is an editorial project that daily publish news, informations, articles, interviews, reports, essays. Digicult is founded and directed by art critic and curator Marco Mancuso.

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A Brief History of Curating New Media Art
Conversations with Curators (2011) // #mediaart

A Brief History of Curating New Media Art<br/>Conversations with Curators (2011) // #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

This book of interviews tracks the work of curators in the field of new media art in order to consider the massive changes and developments over a relatively short period of time. They are also a celebration of the ten years that the online resource for curators of new media art, CRUMB, has been publishing interviews and other research. The curators featured in this book range across the contemporary arts. They have been working away, not in the centre or the periphery, but in the nodes of this networked field of new media art...

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interview with Miyö van Stenis and Michaël Borras AKA Systaime - Internet Lovers♥ ♥ ♥ ♥ Naked Flux

interview with Miyö van Stenis and Michaël Borras AKA Systaime - Internet Lovers♥ ♥ ♥ ♥ Naked Flux | Digital #MediaArt(s) Numérique(s) | Scoop.it

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. ...

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Post-Apocalypsis National Exhibition 2015 - curator Agnieszka Jelewska

Nowadays, weather can’t be defined solely as a condition of the atmosphere, external to man, as it takes place on planetary, networked and techno-natural scales, of which the human being is an immanent element. The very condition does not pertain solely to geological, biospheric transformations undertaken by us within the whole ecosystem, but also to their economic, political, social and cultural consequences. Weather conditions in today’s world are a concurrence of all those factors that impact the states of anxiety, threat and constant crisis. The Post-Apocalypsisinstallation is an attempt to indicate complicated assemblages created by contemporary men with techno-nature, which does not actually surround them but co-shapes the contemporary space with them for the survival of life on Earth. From the perspective of that project, weather is an audio-somatic aura, shaped by endless performance, taking place between human and nonhuman actors.


In 1968, when Jerzy Grotowski was preparing his last performance of Apocalypsiscum figuris, one of the most important theatre works of the 20th century, he was thinking about space as a value that plays out and extends solely among people. It was an empty, anthropocentric space, open both to establishing relations and to quests for individual spiritual depth. The gesture to recall that event made by us today, at the beginning of the 21st century, has an extraordinary meaning – in particular if one of the provocateurs of that act is Jerzy Gurawski, the stage designer who cooperated with the director in the initial phase of the latter’s artistic activity. Moreover, ideas of romanticism are returning very clearly nowadays, demanding to be read anew, but not solely from national-liberation or purely human-spiritual perspectives, but in a manner that more explicitly unveils the thinking of systemic, global, dispersed and relational life on Earth...

read more : http://hatcenter.amu.edu.pl/en/projekty/post-apocalypsis

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LeCollagiste // Artist, Curator #VJ, WebMag on #VJing Culture // #videomapping

LeCollagiste // Artist, Curator #VJ, WebMag on #VJing Culture // #videomapping | Digital #MediaArt(s) Numérique(s) | Scoop.it

LeCollagiste VJ works in various and multidisciplinary fields, deploying his multiple skills: Webmaster, Web Designer, Multimedia Designer Computer Graphics, Animation, Web / Short Movie Director , Music.


Audiovisual artist  and technician producing his own images, he established and developed his graphic universe in order to create an atmosphere suitable for listening, always looking for the interaction between the visual and the other artists’s performance.


LeCollagiste VJ deals with several musical styles: Drum’and’Bass, Jungle, Breakbeat, Reggae, Ragga, Dub, Trans, Hardtek, electro jazz, gypsy jazz and various live shows, techno, rock, electro.


Today the audiovisual artist-technician as he likes to define itself, aims to combine technologies of the image with projections of large surface area to work on new concepts of video streaming.

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#Call for #Curatorial Proposals: the Impakt Festivals of 2016 and 2017 // Deadline 25.05.2015

#Call for #Curatorial Proposals: the Impakt Festivals of 2016 and 2017 // Deadline 25.05.2015 | Digital #MediaArt(s) Numérique(s) | Scoop.it

Impakt is calling for curatorial proposals for the 2016 and 2017 Impakt Festivals in 2016 and 2017.


Deadline 25 May 2015
Notification 25 June 2015


The Impakt Festival is the annual culmination of Impakt’s activities as an organisation that focuses on critical media culture: a five-day, multi-media festival with conferences, talks, performances, screenings, exhibitions and presentations. Founded in 1988, the Impakt Festival takes place every autumn in the city of Utrecht (NL).

Curatorial proposals can be submitted by curators individually or collectively and should revolve around a single, main theme. There are two options for this call. One: curators may propose a programme revolving around the theme The Democratic Dilemma, as outlined below.


Or, two: curators may propose a new theme that deals with urgent questions and shifting paradigms in transglobal society, technology and the visual arts seen through media culture’s lens.


Outline of the suggested theme The Democratic Dilemma:
What exactly is democracy nowadays? In our times of global political turmoil, traditional politics are increasingly critiqued while digital technologies offer new tools of expression and organisation. The Impakt Festival will function as a platform to explore and discuss democracy’s current and near-future issues. ...

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Le Printemps numérique 2015 vu par ... #artnumerique #mediaart

Le Printemps numérique 2015 vu par ... #artnumerique #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Ils ont tous le développement de l’industrie des arts numériques à cœur; voici les regards de Marie Brassard, Monique Simard, Alain Mongeau, Nadine Gelly et Martin Messier sur le Printemps numérique, la saison aux 150 rendez-vous!


...

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Miyö Van Stenis about the *Beautiful Interfaces - Pavilion of The Wrong Biennale - #netart

Miyö Van Stenis about the *Beautiful Interfaces - Pavilion of The Wrong Biennale - #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Beautiful Interfaces in a pavilion that focuses on social media interfaces, but is created to exist in the deep web - which is not a normal place for art and definitely not for social media. The Deep in the Void Miyö Van Stenis


www.thedeepinthevoid.com

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#Call for curators - A.I.R. Gallery /// deadline 21.04.2017

#Call for curators - A.I.R. Gallery /// deadline 21.04.2017 | Digital #MediaArt(s) Numérique(s) | Scoop.it

A.I.R. Gallery invites curators to submit proposals for our next CURRENTS exhibition that will take place between January 4 and February 4, 2018. CURRENTS began in 2010 as a timely and innovative biennial exhibition program. CURRENTS addresses contemporary issues that warrant expanded critical attention in the art world. 

Proposals should describe an original concept for a group exhibition that can be aligned with the mission of A.I.R. Gallery, and refer to its relevance today. Your proposal should not include a selection of artists but should only focus on the concept of the exhibition and its importance for the institution and the audience. The selection of works will be made from a subsequent open call for artists after the curator has been selected.  A.I.R. Gallery will publish a catalog of the exhibit, which will include images of the artwork and a written essay from the selected curator. A stipend will be available.

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CRUMB - research unit into the curating of new #mediaart - by Beryl Graham and Sarah Cook

CRUMB - research unit into the curating of new #mediaart - by Beryl Graham and Sarah Cook | Digital #MediaArt(s) Numérique(s) | Scoop.it

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.

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Interview: Looking at Alien Matter with Inke Arns - By Chloe Stavrou | furtherfield.org

Interview: Looking at Alien Matter with Inke Arns - By Chloe Stavrou | furtherfield.org | Digital #MediaArt(s) Numérique(s) | Scoop.it
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. 
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ArtScience Nexus - Curation and Funding for Art inspirated by Science / founded by Bob Nidever / #mediaart #artsci

ArtScience Nexus - Curation and Funding for Art inspirated by Science / founded by Bob Nidever / #mediaart #artsci | Digital #MediaArt(s) Numérique(s) | Scoop.it

What We Do

  • Arts-based science communications
  • Fund public Art-Inspired-By-Science exhibitions and networking events Connect curators, artists, and scientists
  • exploring collaborations Share #artsci #sciart news, trends, and funding opportunities

 

About the Founder

Bob Nidever is a composer, organizer of the 7,000 plus members International Scientist Artist Collaborations group on LinkedIn, and has a distinguished career in academia commercializing scientific discoveries.

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Kelani Nichole - TRANSFER (computer-based practices) Gallery - interview by independent-collectors.com

Kelani Nichole - TRANSFER (computer-based practices) Gallery - interview by independent-collectors.com | Digital #MediaArt(s) Numérique(s) | Scoop.it

Since its opening in 2013, the Brooklyn TRANSFER Gallery has remained dedicated to representing computer-based practices by producing solo exhibitions and presentations, experimenting with the artists "de-screening" mediated artworks to create considered physical installations. We speak to the Founder/Director of the unique space, Kelani Nichole, about her own collection of contemporary art and how some of the world's biggest collectors are welcoming new formats into their private collections.

 

IC: Tell us about your collection. How did your passion for collecting digital art come about?

 

Kelani Nichole: The collection grew out of my activities at TRANSFER, an experimental exhibition space I founded in 2013 in Brooklyn, NY to support emerging media formats. At the time, I was quite new to the art market and the world of collecting...

 

http://kelaninichole.com

http://transfergallery.com

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"Machinima is ideal for detournement" - Isabelle Arvers interview by Matteo Bittanti

"Machinima is ideal for detournement" - Isabelle Arvers interview by Matteo Bittanti | Digital #MediaArt(s) Numérique(s) | Scoop.it
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...

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Interview: Lindsay Howard Talks Curating the First Digital Art Auction With Phillips and Tumblr (in 2013)

Interview: Lindsay Howard Talks Curating the First Digital Art Auction With Phillips and Tumblr (in 2013) | Digital #MediaArt(s) Numérique(s) | Scoop.it
We talked to the prolific curator about the historic art endeavor.

 

The first digital art auction, titled "Paddles On," took place in 2013 at Philips in partnership with Tumblr and curated by Lindsay Howard. Lindsay is the curatorial director at 319 Scholes, who has had her eye on digital art and artists for a long time. We spoke with her about tonight's auction, the future of digital art, and how they organized this historic moment in art...

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Ici & Ailleurs. Petit tour guidé des structures arts-sciences | Annick Bureaud

Ici & Ailleurs. Petit tour guidé des structures arts-sciences | Annick Bureaud | Digital #MediaArt(s) Numérique(s) | Scoop.it

Ce texte a été écrit dans le cadre du numéro « Arts & Sciences » du magazine MCD (n°81, mars/avril/mai 2016) dont Annick Bureaud était la rédactrice en chef invitée. Une version condensée a été publiée sous le titre « Ici & Ailleurs. Panorama des structures arts-sciences »...

La France ne dispose pas, ou pas encore, d’un lieu emblématique arts-sciences, mais, comme partout, les initiatives fleurissent : du soutien à la création, à la monstration, en passant par la formation et la recherche, durables ou éphémères, portées par des institutions de taille et de nature diverses, initiées par toutes sortes de gens (artistes, scientifiques, acteurs culturels), parfois relabellisant simplement du bon vieil art numérique ou flirtant avec l’ingénierie. En bref, l’art-science devient tendance. ...

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Roberta Colavecchio - New Media Art & Technocultures | Events & Exhibition Production

Roberta Colavecchio - New Media Art & Technocultures | Events & Exhibition Production | Digital #MediaArt(s) Numérique(s) | Scoop.it

independent curator and cultural producer whose research is situated on the borders of contemporary art and new technologies.

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#Call - DIAGONALE + BIAN 2016 | #artnumerique #mediaart - deadline : 2 juin 2015

#Call - DIAGONALE + BIAN 2016  | #artnumerique #mediaart - deadline : 2 juin 2015 | Digital #MediaArt(s) Numérique(s) | Scoop.it
APPELS DE DOSSIERS | ARTISTES ET COMMISSAIRES


Diagonale s'associe à la Biennale Internationale d'Art Numérique (BIAN) pour sa 3ème édition et lance un appel à projets dont les spécificités lieront le mandat du centre et la thématique 2016 de la biennale: AUTOMATA. Les commissaires et les artistes sont invités à soumettre une proposition jusqu'au 2 juin 2015, 00h. Le projet retenue s'inscrira dans la programmation officielle de BIAN et sera présenté à Diagonale de mai à juin 2016 (dates exactes à confirmer).

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Interview With Domenico Quaranta - By Daniel Rourke | on furtherfield

Interview With Domenico Quaranta - By Daniel Rourke | on furtherfield | Digital #MediaArt(s) Numérique(s) | Scoop.it

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. ...

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#GIF Artists World Map - A project by Alessandro Scali - #netart #mediaart

#GIF Artists World Map - A project by Alessandro Scali - #netart #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

GIFs are really global now. Well, not much more than before, but Alessandro Scali—who previously allowed us to bring GIFs anywhere with the Giphoscope—made a public Google Map based on @giphy artists list that gives visitors an easy way to see the glitchy, DIY animations from creatives all over the world. Explore the animation: here.


From Haydiroket in Turkey to Mike + Claire in New York (old favorites of The Creators Project), the map is the step in the right direction for categorizing and archiving the various individuals working in a medium that's only beginning to get recognized as an art medium. The map by no means represents the whole GIF community, and many names are missing, but as Scali notes, "it's a first step."

The map includes 78 artists from 19 different countries, which probably doesn't even scratch the surface of the amount of GIF tinkerers out there. ...


Want to be added on the map? Contact me at lssndrscl@gmail.com or info@okkul.lt, and don't forget to write your website and your location.


A project by http://bit.ly/alessandroscali | www.okku.lt

Featured on The Creators Project: http://bit.ly/1lCNP8H

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