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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Ed Atkins Explores the Deep Creepiness of Facial-Recognition Technology By Andrew Russeth

Ed Atkins Explores the Deep Creepiness of Facial-Recognition Technology By Andrew Russeth | Digital #MediaArt(s) Numérique(s) | Scoop.it

On a very warm afternoon in April, the image of a bald young white man’s head floated on a gray screen at the Kitchen, in Chelsea. The man spoke in a tone that shifted worryingly between aggressive and confessional, punctuating his lines with two disembodied hands. “And I could have been your haruspex, sexy,” he said at one point, snarling. “I could have read omens in your extricated liver.” There were pale red marks beneath his eyes, a five-o’clock shadow on his jaw.

 

The talking man was the creation of the British artist Ed Atkins, who purchased the avatar for five hundred dollars from a Web site called Turbosquid and brought it to life using the software program faceshift, which maps the movements of facial expressions. This is the same type of object-recognition technology that is now used by Microsoft, whose Windows Hello program lets you unlock computers by looking at them, and by apps including Snapchat, which has adopted motion capture to adorn users’ images with flower crowns or dog faces.

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6 expériences de réalité virtuelle qui en disent long sur son potentiel - overview Kaléidoscope 2017

6 expériences de réalité virtuelle qui en disent long sur son potentiel - overview Kaléidoscope 2017 | Digital #MediaArt(s) Numérique(s) | Scoop.it

La réalité virtuelle est souvent associée au jeu vidéo. Pourtant, de nombreux artistes produisent des « expériences » immersives, souvent courtes, dans lequel l’utilisateur n’agit pas, ou très peu. Mardi 1er mars, une trentaine étaient présentées à la Gaîté Lyrique, à Paris, dans le cadre de Kaléidoscope. Cet événement, entièrement consacré à ce type de production, faisait une halte dans la capitale française avant de poursuivre sa tournée internationale à Tel Aviv, Stockholm, Tokyo ou encore Melbourne.

Du dessin animé à la prise de vue réelle, de la poésie à l’horreur, de l’information au clip musical : tous les possibles de la réalité virtuelle étaient présentés, offrant un aperçu alléchant des potentiels de cette technologie. Sélection.

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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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Annie Abrahams - le principe d’incertitude // Magazine MCD

Annie Abrahams - le principe d’incertitude // Magazine MCD | Digital #MediaArt(s) Numérique(s) | Scoop.it
Annie Abrahams est identifiée comme une artiste précurseur liée à l’Internet et c’est sans doute sur la base de protocoles que son travail pourrait être défini. Rassembler des performers, d’âges, personnalités et milieux diversifiés, les mettre en frottement les uns avec les autres et étudier, analyser ce qui en ressort. Il s’avère cependant que ce ne sont pas les conditions d’existence de la performance même qui l’intéressent, ce seraient plutôt les espaces de liberté qui émergent et l’appropriation qu’en font les performers.

 

Annie Abrahams le dit simplement, elle n’est pas performeuse, elle étudie les conditions d’évolution et d’existence des corps en performance sur Internet. La performance fait usage de protocoles, car elle implique de façon indispensable de situer dans le temps les différentes actions et étapes de son déroulement...

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Virtual Reality: how will it influence Art & Design? // Lexus Art & Innovation Series Talk by Whitewall

Lexus Art Series by Whitewall, art & innovation talks: "Virtual Reality: How will it influence Art and Design?" a discussion between Daniel Arsham and Cool Hunting's David Grave.
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On the edge of perception:
the logic of immersion environnements - Enrico Pitozzi (interview by Thomas McIntosh)

On the edge of perception: <br/>            the logic of immersion environnements - Enrico Pitozzi (interview by Thomas McIntosh) | Digital #MediaArt(s) Numérique(s) | Scoop.it

I discovered recently that Rem Koolhaas was a screenwriter before he became an architect. He describes the moment that his journey into architecture began when on a trip to Moscow he was exposed to soviet architecture and Russian Constructivism (MalevichTatline and Lissitzky etc). He observes that their project proposed a radical reconfiguration, a re-ordering of everyday life through the vocabulary of building. Just as a screenwriter prescribes the words and actions of a character in a series of spaces, so architects, with their arrangements of stairs, living room, kitchen and so on, write a script for our lives.

 

Composition, with its etymological root in the act of combination, is for me, an activity which is common to all creative endeavour. In the most general sense I believe that it implies the imposition of structure onto substance. Whether the substance in question is material or immaterial (i.e. thoughts and concepts) or the structure orderly or chaotic is secondary; what remains common is the combinatory act. If one thinks about composition in the way that Koolhaas implies, i.e. as a systematic recombination of themes, metaphors, spaces, colors, dialog, shapes, notes etc. until a result is achieved that one finds meaningful or desirable, then it becomes a very powerful and intellectually liberating concept that can be applied to any discipline.

 

Thinking about composition as being synonymous with design, painting or writing etc, i.e. that it is a shorthand for creativity, also provides me with the impetus to work in collaboration. I find that dialectic engagement with people from other disciplines who bring an entirely different intellectual tool box to the same problem can generate results where the whole is greater the sum of its parts...

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Turbulences Vidéo #94 | Janvier 2017 - Revue éditée par Videoformes

Turbulences Vidéo #94 | Janvier 2017 - Revue éditée par Videoformes | Digital #MediaArt(s) Numérique(s) | Scoop.it

Bientôt le printemps...... après les tensions, les incertitudes, les sensations d’impasse auxquelles chacun peut se trouver confronté dans ses projets... il y a la projection vers des promesses... d’un lieu (re) trouvé (chapelle de l’oratoire) pour faire briller les artistes, des œuvres que nous découvrons et que nous allons partager ; il y a les nouveaux partenaires et l’excitation que suscitent l’exploration de pistes inexplorées, la relance avec les réseaux de proximité et aussi les projets d’aventure comme le label (2+3) à découvrir sur notre site.... après l’hiver... après les fêtes... du John Sanborn en majesté et, comme dans chaque numéro, une artiste à découvir... Christine Maigne !

Gabriel Soucheyre - Turbulences Vidéo #94

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Les ingénieurs pédagogiques, défricheurs de l’enseignement... Par Jean-Claude Lewandowski

Les ingénieurs pédagogiques, défricheurs de l’enseignement... Par Jean-Claude Lewandowski | Digital #MediaArt(s) Numérique(s) | Scoop.it
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...

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The Great A.I. Awakening - By Gideon Lewis-Kraus NYTimes.com // #AI #innovation

The Great A.I. Awakening - By Gideon Lewis-Kraus NYTimes.com // #AI #innovation | Digital #MediaArt(s) Numérique(s) | Scoop.it

How Google used artificial intelligence to transform Google Translate, one of its more popular services — and how machine learning is poised to reinvent computing itself.

 

Late one Friday night in early November, Jun Rekimoto, a distinguished professor of human-computer interaction at the University of Tokyo, was online preparing for a lecture when he began to notice some peculiar posts rolling in on social media. Apparently Google Translate, the company’s popular machine-translation service, had suddenly and almost immeasurably improved. Rekimoto visited Translate himself and began to experiment with it. He was astonished. He had to go to sleep, but Translate refused to relax its grip on his imagination.

 

Rekimoto wrote up his initial findings in a blog post. First, he compared a few sentences from two published versions of “The Great Gatsby,” Takashi Nozaki’s 1957 translation and Haruki Murakami’s more recent iteration, with what this new Google Translate was able to produce. Murakami’s translation is written “in very polished Japanese,” Rekimoto explained to me later via email, but the prose is distinctively “Murakami-style.” By contrast, Google’s translation — despite some “small unnaturalness” — reads to him as “more transparent.”

 

The second half of Rekimoto’s post examined the service in the other direction, from Japanese to English. He dashed off his own Japanese interpretation of the opening to Hemingway’s “The Snows of Kilimanjaro,” then ran that passage back through Google into English. He published this version alongside Hemingway’s original, and proceeded to invite his readers to guess which was the work of a machine. ...

 
 
 
 
 
 
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The New Aesthetic & Art: Constellations of the Postdigital by Scott Contreras-Koterbay, Łukasz Mirocha

The New Aesthetic & Art: Constellations of the Postdigital by Scott Contreras-Koterbay, Łukasz Mirocha | Digital #MediaArt(s) Numérique(s) | Scoop.it

The New Aesthetic and Art: Constellations of the Postdigital is an interdisciplinary analysis focusing on new digital phenomena at the intersections of theory and contemporary art. Asserting the unique character of New Aesthetic objects, Contreras-Koterbay and Mirocha trace the origins of the New Aesthetic in visual arts, design, and software, find its presence resonating in various kinds of digital imagery, and track its agency in everyday effects of the intertwined physical world and the digital realm.

 

Contreras-Koterbay and Mirocha bring to light an original perspective that identifies an autonomous quality in common digital objects and examples of art that are increasingly an important influence for today’s culture and society.

Influenced by a diverse range of figures, ranging from Vilém Flusser, Arthur Schopenhauer, Immanuel Kant, David Berry, Lev Manovich, Olga Goriunova, Ernst Mayr, Bruce Sterling and, of course, James Bridle, The New Aesthetic and Art: Constellations of the Postdigital doesn’t just propose a description of a new set of objects but radically asserts that New Aesthetic objects analogously function as organisms within a broader digital-physical ecosystems of things and agents.

 

...

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Art and Technology in Japan: Present, Past, and Future | by Minoru Hatanaka - Wochi Kochi Magazine (2016)

Art and Technology in Japan: Present, Past, and Future | by Minoru Hatanaka - Wochi Kochi Magazine (2016) | Digital #MediaArt(s) Numérique(s) | Scoop.it

The Japan Foundation Asia Center and the Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture) 
co-hosted the international symposium for media art "Art & Technology: Changing Times, Contemporary Trends, Future Platforms" on July 9, 2016. The goal of the initiative is to promote the creation and spread of innovative forms of arts and culture, such as media art, through the application of groundbreaking technologies. 

Minoru Hatanaka, Chief Curator of NTT InterCommunication Center [ICC], who has worked on numerous media art exhibitions and spoke at the symposium, kindly contributed this article on the transformations and current state of arts and technology in Japan, as well as perspectives for their future development...

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Rebooting the relationship between art and tech / by Rachel Falconer (The Guardian 2014)

Rebooting the relationship between art and tech / by Rachel Falconer (The Guardian 2014) | Digital #MediaArt(s) Numérique(s) | Scoop.it

Technology and art have enjoyed a tempestuous relationship over the years. Fine art purists have demonstrated a wary scepticism towards the use and abuse of new technologies, and tech-heads have been staunchly resistant to art’s whimsical influence.

 

But as the pressing issues of privacy and identity, addiction and dependency, and lives increasingly enmeshed in technology begin to create compelling subject matter for artists and technologists alike, art and tech are enjoying a second honeymoon. 

 

This rebooted relationship will be clearly visible in 2014 with a number of high-profile, boundary-pushing exhibitions and initiatives being launched, and more tech-art collaborations being funded by government bodies...

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Post-Photographie ? | Revue Captures (mai 2016) Volume 1 Numéro 1

Post-Photographie ? | Revue Captures (mai 2016) Volume 1 Numéro 1 | Digital #MediaArt(s) Numérique(s) | Scoop.it

Edito : Attentive aux plus récentes manifestations de l’imaginaire contemporain et soucieuse d’en saisir les fondements historiques et théoriques, Captures est la toute nouvelle et première revue à comité de pairs de Figura, le Centre de recherche sur le texte et l’imaginaire. Sa création est source de grande fierté. Dédiée à la publication de travaux consacrés à l’analyse de problématiques liées aux figures, théories et pratiques de l’imaginaire, sans limitations territoriales ou nationales, située à la croisée des études littéraires et cinématographiques, des sciences humaines, de l'histoire de l'art, des arts visuels et médiatiques, Captures se veut une pièce maîtresse de la diffusion internationale de la recherche menée au Centre.

 

La revue exploite résolument les ressources du Web en publiant des numéros évolutifs, ouverts à des enrichissements continus et périphériques à chaque parution, et dont les contenus sont intégrés aux environnements de recherches et de connaissances mis en ligne par Figura. Assumant pleinement la mutabilité de son support, Captures aspire à renouveler les formes de la revue savante...

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13.04.2017 - Face au déferlement des images - Colloque de la revue TK-21 /// #bigdata

13.04.2017 - Face au déferlement des images - Colloque de la revue TK-21 /// #bigdata | Digital #MediaArt(s) Numérique(s) | Scoop.it

Comment artistes et photographes en Europe et Asie réagissent aux mega data — Un colloque Data Meta Data
Un évènement TK-21 organisé avec le soutien de la SAIF, le National Culture and Arts Foundation (Taïwan) et la Society of Photographic Museum and Culture of Taïwan

http://www.tk-21.com

Intervenants
• Repenser les archives photographiques chinoises à l’ère du Big Data
par Marine Cabos, docteur en histoire de l’art, spécialiste de l’histoire de la photographie en Chine.
• L’esthétique de dix mille photographies superposées chez Atta Kim : « Toutes choses finissent par disparaître »
par Hyeonsuk Kim, chargée de cours, Université Paris VIII.
• Qu’est-ce aujourd’hui que l’Image-Icône entre Europe et Asie ? Extraction et singularité. De l’Inspiration
par Pascal Payen-Appenzeller, expert stratigraphe du patrimoine.
• Une image de Taïwan, la lumière des multi-cultures et la délicatesse de l’ombre par Wei-Shiuan Sun,
photographe, consultante du ministère de la Culture de Taïwan pour la photographie, membre de l’Aica.
• Dévoilement, furtives impudeurs japonaises ou la fabrique de l’image par Alain Nahum, réalisateur et photographe.
• Fonction esthétique et politique des images/symboles nationaux entre Corée et Occident
par Choi Chungwoo, philosophe indépendant.
• Thomas Ruff, des pixels pornographiques qu’on prendrait pour des lueurs astronomiques,
par Isabelle Hersant chargée de cours, Université Paris VIII.
Modérateur J-Louis Poitevin rédacteur en chef de TK-21 LaRevue, critique d’art, membre de l’Aica, docteur en philosophie.

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The amazing telescope that lets you see New York from London's Tower Bridge // by Paul St George

The amazing telescope that lets you see New York from London's Tower Bridge // by Paul St George | Digital #MediaArt(s) Numérique(s) | Scoop.it

A tunnel built on the whim of a Victorian inventor under the Atlantic is at last 'linking' London and New York - using a giant electronic telescope

 

Deep beneath the Atlantic Ocean, forgotten for the best part of a century, lies a tunnel linking London and New York.

It was built on the whim of a Victorian inventor with the aim of linking two great cities and developing the kind of friendship that still exists today.

 

But bad fortune befell the venture - and the tunnel lay idle ever after. Until today, that is, when the project was rekindled with a modern twist.

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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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« Dans l’ombre de la peur » : les premières pages de la bande dessinée sur le #bigdata par Michael Keller et Josh Neufeld

« Dans l’ombre de la peur » : les premières pages de la bande dessinée sur le #bigdata par Michael Keller et Josh Neufeld | Digital #MediaArt(s) Numérique(s) | Scoop.it
Que pèse le respect de la vie privée au regard des stratégies technologiques et commerciales mises en place par ces géants de l’Internet ayant pour nom Google, Facebook et autre Apple ?

Le journaliste américain Michael Keller, spécialiste des nouveaux médias, et l’auteur de bande dessinée Josh Neufeld ont enquêté dans les méandres du big data, ces données personnelles que recueillent en nombre phénoménal un petit nombre d’entreprises privées ayant pignon sur le Web.

 

Ils ont interviewé des chercheurs, des universitaires, des hommes politiques pour les besoins d’une plongée documentée, non dénuée d’humour, au cœur de ces pratiques qui n’en finissent pas de poser question. Leur album sortira le 14 mars aux éditions Çà et Là. Nous vous proposons d’en lire en exclusivité les 30 premières pages.

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Mediated bodies and Intercorporeality:
Isabelle Choinière's Flesh Waves - Archée : cyberart et cyberculture artistique

Mediated bodies and Intercorporeality:<br/>                        Isabelle Choinière's Flesh Waves - Archée : cyberart et cyberculture artistique | Digital #MediaArt(s) Numérique(s) | Scoop.it

In an increasingly digital world, it should come as no surprise that digital technologies have infiltrated the landscape of contemporary performance, redefining its practices and discourse, while proposing alternative approaches to performance-making and composition. The integration of technology in performance has moreover challenged the very notions of stage and representation, and, importantly for this article, the perception, figuration and performativity of the body. On this last point, questions of mediation and the mediated body have particular ramifications in dance, a discipline which has traditionally upheld the primacy of the live body in performance. If as one critic notes, « A digital body (...) operates alternately as a weightless shell, as a translation of physical materiality into a controllable code (...) the occidental image of a smooth, moldable [sic] and controllable body (...) structurally unfettered, multiple and boundless in its imaginative/fantastic possibilities », the mediated body in Isabelle Choinière's work resists such description, shunning all possible instrumentalization of the body by technology, and, on the contrary, placing the tangible, sensate body at the centre of its aesthetic proposition...

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From Philosophical Insights
to Affective Interaction Design

Conversation with Jonas Fritsch by  Louise Boisclair (2016)

From Philosophical Insights<br/>            to Affective Interaction Design<br/><br/>Conversation with Jonas Fritsch by  Louise Boisclair (2016) | Digital #MediaArt(s) Numérique(s) | Scoop.it

Jonas Fritsch - Artist statement

I am an interaction design researcher. My research revolves around design experiments in interaction design. I engage in experimental design processes, resulting in the production of a variety of interaction designs with a strong focus on affective experiential qualities.

 

To start this Conversation, as an artist of interactive and immersive art, what role does affect and/or emotion play in the production of your works of art or design?

 

The processes and the designs both become vehicles for knowledge production as a kind of research through design (Frayling 1993) or research-creation, feeding back into the general field of interaction design, affect theory and the coupling between the two in the exploration and design of what I term affectively engaging interfaces. Within interaction design and Human-Computer Interaction HCI more generally, a number of people have been exploring affective aspects of the interaction, most notably under the heading of Affective Computing...

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Virtual Reality Can Leave You With an Existential Hangover / by Rebecca Searles #virtualreality #VR

Virtual Reality Can Leave You With an Existential Hangover / by Rebecca Searles #virtualreality #VR | Digital #MediaArt(s) Numérique(s) | Scoop.it
After exploring a virtual world, some people can’t shake the sense that the actual world isn’t real, either.

 

When Tobias van Schneider slips on a virtual reality headset to play Google’s Tilt Brush, he becomes a god. His fingertips become a fiery paintbrush in the sky. A flick of the wrist rotates the clouds. He can jump effortlessly from one world that he created to another.

 

When the headset comes off, though, it’s back to a dreary reality. And lately van Schneider has been noticing some unsettling lingering effects. “What stays is a strange feeling of sadness and disappointment when participating in the real world, usually on the same day,” he wrote on the blogging platform Medium last month. “The sky seems less colorful and it just feels like I’m missing the ‘magic’ (for the lack of a better word). … I feel deeply disturbed and often end up just sitting there, staring at a wall...

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When Art Conservation Means Repairing TVs, Not Canvases / By Jaime Joyce /// #mediaart #artsci

When Art Conservation Means Repairing TVs, Not Canvases / By Jaime Joyce /// #mediaart #artsci | Digital #MediaArt(s) Numérique(s) | Scoop.it
After triggering a pop of electricity by touching a screwdriver to metal in a disassembled cathode ray tube monitor, Chi-Tien Lui issued a warning to visitors gathered in his cluttered workshop on a recent Friday morning. “That voltage doesn’t kill you,” he said. “But it really hurts you.”

For the record, Mr. Lui, 75, was unharmed. He carried on with his lesson about how to remove a circuit board, then opened it up to hands-on participation. The students in his shop, CTL Electronics, in TriBeCa, were from an art conservation program at New York University. They were studying electronic art, including works by the pioneering Korean-born artist Nam June Paik, and their professor had arranged a half-day session with Mr. Lui, a technician with whom Mr. Paik had a long association
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The 3D Additivist Cookbook is out - devised/edited by Morehshin Allahyari & Daniel Rourke (2016)

The 3D Additivist Cookbook is out - devised/edited by Morehshin Allahyari & Daniel Rourke (2016) | Digital #MediaArt(s) Numérique(s) | Scoop.it

The 3D Additivist Cookbook is a compendium of imaginative, provocative works from over 100 world-leading artists, activists and theorists. The 3D Additivist Cookbook contains 3D .obj and .stl files, critical texts, templates, recipes, (im)practical designs and methodologies for living in this most contradictory of times.

Contributors include… Nora Al-BadriMorehshin AllahyariKayla AndersonNadav AssorLishan AmdeDom BarraAndrew BlantonBody and SwineMarija Bozinovska JonesTom BurtonwoodBryan CeraSymrin Chawla, Simon Clark, Christopher ColemanKaty ConnorLuigi ConsoleHeather DavisJulien DeswaefLaura DevendorfHeather Dewey-HagborgDebbie DingCathrine DisneyAmi DrachAntonio EsparzaBehnaz FarahiJason FergusonMatthew Plummer FernandezVilem FlusserDov GanchrowUrs GaudenzCarl GentMandi GoodierAnna GreenspanBen GrosserBrittany RansomKeeley HaftnerRyan HammondJulian HannaClaudia HartNorman HoggJoey HolderMatthew HollingsSophie HoyleSha HwangAmy IrelandThe Speculative Prototyping Lab, University of California, Irvine(special thanks to Jesse Jackson), Geraldine JuárezKanyaphorn KaewprasertSophie KahnSamy KamkarMichelle KasprzakKatie KaulbachScott KildallCorinna KirschDanica KorošecKuang-Yi KuDarlene Farris-LaBarTom LauermanMark LeckeyGolan LevinPatrick Lichty, Suzanne Livingston, Cat MazzaEmma McCormick-GoodhartKyle McDonaldShane MecklenburgerJasper MeinersRosa MenkmanGabriel MenottiNano Entity CollectiveShushana TesfuzigtaJan Nikolai NellesHenrik NieratschkerNicholas O'BrienNora O'MurchúIsabel PaehrVimal PatelEverardo Reyes-GarciaZach RispoliPatrick RomeoAdam RothsteinDaniel RourkeDorothy SantosGaia ScagnettiDylan SchenkerCatherine ScottLeo SelvaggioLéo SexerFahmy ShahinHua ShuGermán SierraShawn SimsPaul SoulellisDaniel TemkinBen ValentineElia VargasAlan WarburtonTimothy WeaverPatrick WhitmarshWoelab-Lomé (special thanks to Sename Koffi Agbodjinou), Belen ZaheraAlison Bennett (with Mark PayneJacki Hammer and Megan Beckwith), ARTEKLAB (Jaime de los Ríos, Daniel Tirado, Enrique Sancho and Saul, Ibon Gurrutxaga), print-green.org (Tina Zidanšek, Maja Petek, Urška Skaza and Simon Tržan) Browntourage (Tonia BeglariHawa Arsala) with Sofía CórdovaBiayna Bogosian and Emilia Yang, A Parede (Pedro OliveiraLuiza Prado) with Fannie SosaLucas Odahara and Tabita Rezaire.

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HOLO #2 Magazine – The Future is (Out) Now /// creativeapplications.net // #mediaart

HOLO #2 Magazine – The Future is (Out) Now /// creativeapplications.net // #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

From the paradoxical nature of our impending quantum (computing) future to the enduring mystery of the Big Bang – the ideas explored in HOLO 2 could not be any bigger. We think it shows.

It’s no surprise that insatiable curiosity mixed with, at times, stubborn determination yielded another beast of a magazine – at 236 pages, HOLO 2 is not only bigger than our first outing; it surpasses it in many ways. We’ve never worked with so many contributors across such great distances (about 12,000 km between Casey Reas in LA, Fanqiao Wang in Shanghai and Mitchell Whitelaw in Canberra – we truly span the globe). In our effort to contextualize the present we dove even deeper into the past (in search for true randomness we look back to beginning of the universe, and we met face to face with 92-year old digital art pioneer Vera Molnar) and we brought art and science a little closer together as well (by having software artist Casey Reas chat with theoretical computer scientist Scott Aaronson). “Technology has already blurred absolutes to great effect,” we muse on disciplinary “superposition” in our editorial note. And both the wealth of fields covered – astronomy, data science, human-computer interaction, psychology, social engineering – and the breadth of talents involved in creating it make this magazine equal parts documentation and product of nascent transdisciplinary practice. Welcome back to the frontiers of 21st century creativity.

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Digital/New #MediaArt and Contemporary Iran: Questions of Gender - by Morehshin Allahyari & Jennifer Way (2013)

Digital/New #MediaArt and Contemporary Iran: Questions of Gender - by Morehshin Allahyari & Jennifer Way (2013) | Digital #MediaArt(s) Numérique(s) | Scoop.it

On August 20, 2012, Iran’s Ministry of Science, Research and Technology announced that thirty-six universities would cut seventy-seven fields of study from the female curriculum, making them male-only fields. They include archaeology, nuclear physics, computer science, electrical engineering, industrial engineering and business management, among others. The ban resulted from Iran’s government’s perceptions about the already-greater and still-increasing number of women attending universities in Iran in comparison to men, and it made news around the world. From London The Telegraph observed, “Iran has the highest ratio of female to male undergraduates in the world, according to UNESCO. Female students have become prominent in traditionally male-dominated courses like applied physics and some engineering disciplines.” Consequently, it reported, “[s]enior clerics in Iran’s theocratic regime have become concerned about the social side-effects of rising educational standards among women, including declining birth and marriage rates.” As a result, many programs would become “‘single gender’ and effectively exclusive to men.”...

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Superhumanity - we are continuously reshaped by the artifacts we shape /// e-flux 10-2016

Superhumanity - we are continuously reshaped by the artifacts we shape /// e-flux 10-2016 | Digital #MediaArt(s) Numérique(s) | Scoop.it

The field of design has radically expanded. As a practice, design is no longer limited to the world of material objects, but rather extends from carefully crafted individual looks and online identities, to the surrounding galaxies of personal devices, new materials, interfaces, networks, systems, infrastructures, data, chemicals, organisms, and genetic codes, as Beatriz Colomina and Mark Wigley, curators of the 3rd Istanbul Design Biennial, put it in their manifesto ().

 

Our response to the Biennial’s theme—Are We Human?—draws from “The Obligation to Self-Design” (e-flux Journal 0), a text by Boris Groys in which a genealogy of design is traced from the design of the soul and the design of the self to "the design of life as a whole." Superhumanity seeks to explore and challenge our understanding of “design” by engaging with and departing from the concept of the “self.” Superhumanity aims to probe the idea that we are and always have been continuously reshaped by the artifacts we shape, to which we ask: who designed the lives we live today? What are the forms of life we inhabit, and what new forms are currently being designed? Where are the sites, and what are the techniques, to design others?

 

Over fifty writers, scientists, artists, architects, designers, philosophers, historians, archeologists and anthropologists will bring new insight to these and related questions over the coming four months. Contributions will be published both on the e-flux website and dispatched as emails.

 

To join the Superhumanitymailing list, please subscribe to e-flux Architecture here.

 

In addition to online publication, a Superhumanity reading room will be exhibited from October 22 to November 20 at DEPO (Tütün Deposu Lüleci Hendek Caddesi No.12, Tophane 34425 İstanbul) as a part of the 3rd Istanbul Design Biennial.

 

Editors
Beatriz Colomina - Nikolaus Hirsch - Anton Vidokle - Mark Wigley

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