Digital #MediaArt(s) Numérique(s)
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Digital #MediaArt(s) Numérique(s)
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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15>21.06.2017 - Chercher le réseau (expo) / 20 ans du Fresnoy-Studio national des arts contemporains

15>21.06.2017 - Chercher le réseau (expo) / 20 ans du Fresnoy-Studio national des arts contemporains | Digital #MediaArt(s) Numérique(s) | Scoop.it

Les errances hystériques, de nuit, plongé dans la lumière bleue. Je suis, tu es. De l'autre côté de l'écran. Problème instantané, sur le mur terminal, j'écris sur mon journal.

 

Chercher le réseau, une exposition en résonance avec l'exposition Le rêve des formes au Palais de Tokyo à l'occasion des 20 ans du Fresnoy-Studio national des arts contemporains.

 

du 16 juin au 21 juin 2017
Vernissage le 15 juin à partir de 18h

au Garage Mu, 12 rue d'Oran, 75018, Paris

 

Avec les œuvres de Fabien Zocco, Faye Mullen, Raphaël Moreira Gonçalves, Noé Grenier, Paul Heintz, Marianne Villière, Sébastien Trihan, Marie Lelouche, Damien Jibert, Regina Demina, Yasmina Benabderrahmane, Julie Vacheret Gwendal Sartre.
Commissariat Noé Grenier et Paul Heintz.

 

Cette exposition explore la problématique du « réseau », de l’immensité du flux internet et de son instabilité, à la frustration des communications numériques.

 

http://lefresnoy.net

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14-06>10-09-2017 - Le Rêve des formes @ Palais de Tokyo - 20ème anniversaire du Fresnoy

14-06>10-09-2017 - Le Rêve des formes @ Palais de Tokyo - 20ème anniversaire du Fresnoy | Digital #MediaArt(s) Numérique(s) | Scoop.it

L’exposition Le Rêve des formes, présentée à l’occasion du vingtième anniversaire de l’école du Fresnoy, est conçue comme un paysage imaginaire, un jardin monstrueux où se cultivent des formes périssables et des surfaces en germination, des organismes protubérants et de plates silhouettes.

 

Les artistes et chercheurs rassemblés dans Le Rêve des formes témoignent de leur rencontre avec de nouvelles possibilités de représentation, issues de découvertes scientifiques et techniques récentes, qui bouleversent notre façon de voir et de montrer. En renouvelant grâce à cela le champ du perceptible – nanotechnologies, imagerie de synthèse, scan 3D, stéréolithographie… –, ces nouvelles visualisations nous laissent présumer de géométries encore inconnues...

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#Call: Digital Art Co-Commission with British Science Festival - Brighton Digital Festival - deadline 24.04.2017

#Call: Digital Art Co-Commission with British Science Festival - Brighton Digital Festival - deadline 24.04.2017 | Digital #MediaArt(s) Numérique(s) | Scoop.it

The British Science Festival and Brighton Digital Festival are looking to co-commission a new digital artwork that will be presented in a gallery space at the University of Brighton, Edward St Campus throughout the British Science Festival and Brighton Digital Festival (5 September to 13 October 2017).

 

We are particularly interested in works that explore and respond to themes of place: the shifting horizons of physical and virtual environments; the possibilities of technology to reimagine, reinvent and reinterpret space and place, and new opportunities to facilitate collaboration and connect people, place and things.

 

We are looking for an original artwork or a significant development of an earlier piece. Proposals can involve online work but a thought-out exhibition proposal must be included. Proposals should be aimed at a public audience and a focus on public engagement and participation will be viewed favourably.

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Design for Performance & Interaction – New Masters Programme - Interactive Architecture Lab

At the Bartlett School of Architecture, University College London – the UK’s leading and largest Faculty of the Built Environment – we are starting a new 15-month Masters programme Design for Performance & Interaction offering students an opportunity to learning about Design in 4 Dimensions. Students will design the performance and interaction of objects, environments and people using the latest fabrication, sensing, computation, networked and responsive technologies. Emphasis is placed on prototyping, from interactive objects and installations to staged events, and performance architecture.

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New media in the contemporary art market:
Access, ownership and artificial scarcity / by Pau Waelder (2016)

New media in the contemporary art market: <br/>Access, ownership and artificial scarcity  / by Pau Waelder (2016) | Digital #MediaArt(s) Numérique(s) | Scoop.it

Since the early 2010s, the contemporary art market has been showing signs of a renewed interest in digital media. On the one hand, several online marketplaces have been launched with the support of investor groups that include leading contemporary art galleries. On the other hand, a growing number of startups have been developing forms of accessing and collecting art in a digital format by means of mobile apps, streaming services and digital frames. Most of these business initiatives have been launched in the past four to five years and are currently exploring models of selling art which have yet to prove their profitability in the context of a market that is changing rapidly, but at the same time holding on to established structures and hierarchies. 

The traditional mechanisms of selling and collecting art that have shaped the art market for more than a hundred years are being challenged by the transformations introduced by digital technologies. The Internet facilitates access to a vast amount of data, as well as the possibility of reaching audiences regardless of their geographical location, while everyday devices such as smartphones, tablets and laptops provide new contexts in which to experience art, away from the white walls of the museum or the gallery. ...

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Own your web archives with the Webrecorder Player desktop app // by rhizome.org

Own your web archives with the Webrecorder Player desktop app // by rhizome.org | Digital #MediaArt(s) Numérique(s) | Scoop.it

Web archiving has traditionally been something done by professionals: national archives, university libraries, and organizations like the Internet Archive have done a tremendous job archiving and making available a wide range of public web resources.

Rhizome now wants to empower regular users to take ownership of the web archiving process, and to take better grasp of access. Webrecorder allows anybody to archive web resources they care about with ease, including things on the other side of logins. This material can be made public on the web, or kept private. Yet in some cases users might want to better control how the web collections they have created are circulating, and maybe want to limit it to a certain community or keep it offline entirely.

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04.03.2017 - L’art des données / Les données de l'art - Invités : Fabien Zocco et Clarisse Bardiot @ MESHS

04.03.2017 - L’art des données / Les données de l'art - Invités : Fabien Zocco et Clarisse Bardiot @ MESHS | Digital #MediaArt(s) Numérique(s) | Scoop.it

Les données sont aujourd’hui un enjeu essentiel. En art, elles sont à la fois point de départ et matériau d'oeuvres contemporaines ainsi que de nouvelles methodologies de recherche. Nous proposons d’aborder cette question par un dialogue entre un artiste et un chercheur.

 

Fabien Zocco, artiste diplômé du Fresnoy en 2016, présentera sa démarche basée sur les données, et en particulier ses créations à partir de twitter et google street view.

 

Clarisse Bardiot reviendra sur le programme Culture Analytics qu’elle a suivi en 2016 à la UCLA (avec entre autres Lev Manovich) et les enjeux de ce nouveau champ disciplinaire pour la recherche sur l’art. ...

 

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24/03/ - 02/04/2017 - STRP Biënnale 2017 /// #creative technology festival /// #mediaart

24/03/ - 02/04/2017 - STRP Biënnale 2017 /// #creative technology festival /// #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

With its approximate 30,000 visitors over a span of 10 days, STRP Biënnale stands amongst the world’s ten leading festivals on creative technology. Over time our audience has come to appreciate STRP’s installations, performances, lectures and workshops as much as they love the music. Talented young makers are shown next to famous pioneers within the field. STRP offers artists from all disciplines assignments for new pieces and challenges her audiences to not only look and listen, but also to experiment themselves.

 

STRP Biënnale’s hybrid program makes it unique to both young and old, layman and professional. STRP is characterised by its accessibility, enticing content, drive for curiosity and international appeal. STRP is the supercollider between creativity and technology within Eindhoven’s DNA.

 

STRP distinguishes itself by relating contemporary themes to a curious audience and as such make future tangible in the now.

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Artefact 2017: are technology and magical thinking really incompatible? by Regine Debatty (we make money not art)

Artefact 2017: are technology and magical thinking really incompatible? by Regine Debatty (we make money not art) | Digital #MediaArt(s) Numérique(s) | Scoop.it

Final chapter of the report from the Artefact festival at STUK in Leuven (this way for the previous posts, ladies and gentlemen —> Dataghost 2. The kabbalistic computational machine and Artefact festival: Magic and politics.)

This year, the event looked at magic, its meaning, reach and role in contemporary culture and society. The topic was analyzed through various lenses: entertainment, politics, finance, technology, etc. 

 

The relationship between technology and magic is a particularly puzzling and interesting one. You’d think that progress in science and technology would automatically mark the demise of our interest for magical thinking and occult forms of knowledge. Far from it. It seems that humans have an inherent need to leave some space in their world for the unaccountable and the supernatural. That’s why progresses in science and technology have often been accompanied by the arrival or renewal of paranormal phenomena. The advent of photography, for example, saw a rise in the popularity of spiritism and photography was even used as a proofthat ghosts and other spiritual entities did indeed exist.

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21>22.04.2017 - Being Material #symposium - Arts at MIT MediaLab // #mediaart #artsci

21>22.04.2017 - Being Material #symposium - Arts at MIT MediaLab // #mediaart #artsci | Digital #MediaArt(s) Numérique(s) | Scoop.it

In 1995, MIT’s Nicholas Negroponte predicted that “being digital” would have us entering a realm increasingly unconstrained by the materiality of the world. Two decades later, our everyday lives are indeed ever more suffused by computation and calculation. But unwieldy materiality persists and even reasserts itself.

 

Programmable matter, self-assembling structures, 3D/4D printing, wearable technologies and bio-inspired design today capture the attention of engineers, scientists and artists. “BEING MATERIAL” will showcase recent developments in materials systems and design, placing this work in dialogue with kindred and contrasting philosophy, art practice and critique.

 

Panels on the PROGRAMMABLE, WEARABLE, LIVABLE and INVISIBLE—along with a concert, AUDIBLE—will explore new and unexpected meetings of the digital and material worlds.

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NODE17 Designing Hope:
Open Call for Submissions // Deadline : March, 31st

NODE17 Designing Hope: <br/>Open Call for Submissions // Deadline : March, 31st | Digital #MediaArt(s) Numérique(s) | Scoop.it
From June 26th - July 2nd 2017 Frankfurt will turn into a vibrant hub for open exchange, hands-on experiments and reflection combining creative coding workshops, AV performances, laboratories, artist talks, engaging debates and an exhibition.

With the leitmotif ‘Designing Hope’ NODE will discuss an intangible yet powerful motor that drives ideas of a better future.

The program will analyse the role of technology in the creation and manipulation of these collective imaginaries. How do today’s communication infrastructures determine the formation of public opinion? Are we living in a global village that is accessible for everyone or in secluded, exclusive bubbles? What do we expect from creative technologists who dedicate themselves to developing the next life-improving or life-extending tools? Are critical creative practices able to shape responsible design?
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Lifespace - Science Art Research Gallery /// University of Dundee, Scotland, UK

Lifespace - Science Art Research Gallery /// University of Dundee, Scotland, UK | Digital #MediaArt(s) Numérique(s) | Scoop.it

LifeSpace Science Art Research Gallery is located in the School of Life Sciences, University of Dundee, Scotland, UK.

The Gallery is open during exhibitions on Saturdays from 11am-5pm, and during the week by appointment only (email lifespace@dundee.ac.uk)

 

The mission of LifeSpace is to engage artists and scientists in exciting new collaborations and to foster long-term cross-disciplinary activity that will provide these communities and the public with greater insight into the broad spectrum of life sciences research. This research-driven gallery space is curated as a collaborative partnership between researchers from Duncan of Jordanstone College of Art and Design and researchers from the School of Life Sciences. It enables an exciting opportunity for interdisciplinary art and science interactions as well as providing a location for curatorial exchange between staff, students, researchers and the general public.

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BIOFACTION | research and science communication company

BIOFACTION | research and science communication company | Digital #MediaArt(s) Numérique(s) | Scoop.it

Biofaction is a research and science communication company based in Vienna, Austria. Biofaction has significant expertise in science communication, film production, technology assessment and the study of ethical, legal and social issues in a number of emerging sciences and technology (genetic engineering, synthetic biology, converging technology).

 

They provide expertise and services in the following areas:

 

– technology assessment of new and emerging (bio)technologies

– art and science collaboration

– film and video production on science and technology

– science communication and managing the science-society interface

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The Trampery and the Barbican launch major new art and tech accelerator // #mediaart #artsci

The Trampery and the Barbican launch major new art and tech accelerator // #mediaart #artsci | Digital #MediaArt(s) Numérique(s) | Scoop.it

The Barbican and The Trampery today launch alt.barbican and announce the inaugural cohort of five artists selected for the major new accelerator for innovative artists working at the intersection of art and technology.

 

Over 230 practitioners applied to the programme and the selected artists, Dries Depoorter, Henry Driver, Jasmine Johnson, Ling Tan and Magz Hall were all asked to respond to the theme of ‘the subversion of reality’ with proposals for a broad range of projects including mobile apps, projection mapping, voice manipulation and wearable technology; exploring subjects as diverse as privacy and surveillance, body image, representations of gender and globalisation.

 

Delivered in partnership with MUTEK, the British Council, and the National Theatre’s Immersive Storytelling Studio, alt.barbican is a response to an increasingly fluid creative landscape. As new technologies open up previously unimagined expressive possibilities, alt.barbican’s six-month programme presents a new model of artistic support, drawing from entrepreneurial startup culture, to help emerging artists develop their carres...

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Rock Print by Gramazio Kohler Research, ETH Zurich, and Self-Assembly Lab, MIT - STARTS Prize 2017

 

Rock Print is an investigation into the constructive principle of the physical phenomena of jamming, in which granular matter can change from liquid to solid and back again. Rock Print exploits this characteristic with a congruent construction system that: 1) is informed by a computational design and realised with robotic fabrication machinery, 2) can be constructed into highly differentiated and load-bearing structures at an architectural scale using low-grade bulk material, such as gravel, and 3) is fully reversible. The construction system works as follows. To be able to control where and how gravel jams, the density between the aggregates has to be decreased to a level that forces it to behave like a solid. This can be achieved by introducing tensile reinforcement, such as string, to confine the gravel. A robotic arm enables the precise placement of string according to a digital blueprint and as such informs the shape and performance of a specific architectural artefact. To reverse the construction, the string is pulled, leading to a chain reaction restoring the gravel and the string to their initial state...

https://starts-prize.aec.at

 

Collaborators: Prof. Fabio Gramazio, Prof. Matthias Kohler, Prof. Skylar Tibbits, Andreas Thoma (project lead installation), Petrus Aejmelaeus-Lindström (project lead research), Dr. Volker Helm, Sara Falcone, Jared Laucks, Lina Kara’in, Michael Lyrenmann, Carrie McKnelly, George Varnavides, Stephane de Weck, Dr. Jan Willmann

Selected experts: Prof. Dr. Hans J. Herrmann and Dr. Falk K. Wittel (Institute for Building Materials, ETH Zurich), Prof. Dr. Heinrich Jaeger and Kieran Murphy (Chicago University)

Selected consultants: Walt + Galmarini AG

Supported by ETH Zurich, ETH Zurich Foundation Grant, MIT’s Department of Architecture, the MIT International Design Center, MIT (MISTI) Grant, Pro Helvetia Swiss Arts Council, swissnex, MISAPOR Beton AG

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Book Launch: Ariel Guzik (mechanisms and instruments maker) - Arts Catalyst 2017

Book Launch: Ariel Guzik (mechanisms and instruments maker) - Arts Catalyst 2017 | Digital #MediaArt(s) Numérique(s) | Scoop.it
For the last 10 years, artist Ariel Guzik has searched for a way to communicate with whales and dolphins. Guzik’s project has encompassed the creation of underwater instruments, expeditions to contact whales and dolphins off the coasts of Baja California, Costa Rica and Scotland, and sound recordings of these remarkable encounters.
 
Guzik's Holoturian was a new work commissioned by Arts Catalyst and Edinburgh Art Festival in 2015. It was an installation of a new underwater resonance instrument, specially designed to communicate with whales and dolphins in the deep seas, and incorporated objects, drawings and films from the artist’s decade-long research project, which included a field trip by the artist and his team with Arts Catalyst to the Moray Firth in the North of Scotland to encounter the population of bottlenose dolphins that live there.
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07.04>21.05.2017 – No Copyright Infringement Intended / Curated by Antonio Roberts @ Phoenix

07.04>21.05.2017 – No Copyright Infringement Intended / Curated by Antonio Roberts @ Phoenix | Digital #MediaArt(s) Numérique(s) | Scoop.it

No Copyright Infringement Intended is a group exhibition exploring the relationship between copyright and culture in the digital age, investigating how the concept of ownership and authorship is evolving and coming into conflict with outdated copyright and intellectual property laws.

Since the 1990s the internet has provided the opportunity for mass copying, redistribution and remixing of content – profoundly changing the way culture is produced and shared and sparking legal battles and debates that still rage on. Today, the increasing availability of technologies like 3D scanning and 3D printing have extended the ability to digitally copy and reproduce to the physical realm.

... 

The exhibition includes work by Nick Briz, Emilie Gervais, Nicolas Maigret, Christopher Meerdo, Jan Nikolai Nelles & Nora Al-Badri, Duncan Poulton, Fernando Sosa, Andrea Wallace & Ronan Deazley

 

Curated by Antonio Roberts, a new media artist and curator based in Birmingham. Kindly supported by Arts Council England

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15.04>15.07.2017 - Modus Operandi - exhibition by Société Brussels (Co-curatorship: Gregory Lang) /// #mediaart

15.04>15.07.2017 - Modus Operandi - exhibition by Société Brussels (Co-curatorship: Gregory Lang) /// #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

The exhibition Modus Operandi activates a well-known strategy from conceptual art using instructions and explores art by delegation. The artwork imagined by the artist is presented in form of a written or verbal statement to be executed by others. The instructions take form with advised experts such as the curator him or herself and his or her assistant, usually in dialogue with the artist. The instruction can be transmitted through: 'cards' as with the 'event scores' of the artist George Brecht or as in Lucy Lippard's 1969-74 'numbers' exhibition series ; 'Certificates' for Sol Lewitt's 'instructions' or Laurence Weiner's 'statements'; 'definitions / methods' for Claude Rutault; or in form of instructions communicated by telephone as in the mythical 'Art by Telephone' exhibition of 1969 and its recent 'Recalled' versions. Thus the artwork already exists in form of a description, and a collection of instructions makes it possible to constitute an exhibition. ...

 

with : Pep Agut, Ivan Argote, Robert Barry, Julien Bismuth, Mel Bochner, George Brecht, Angela Bulloch, Luis Paulo Costa, Claude Closky, Alec Debusschere, Alessandro De Francesco, Walter De Maria, Detanico Lain, Pascal Dombis, Peter Downsbrough, Mark Geffriaud, Aurélie Godard, Nicolas Knight, LAb[au], David Lamelas, Sol LeWitt, Eva & Franco Mattes, Manfred Mohr, Gianni Motti, Paulo Nazareth, Dennis Oppenheim, Casey Reas, Claude Rutault, Peter Scott, Daniel Spœrri, UBERMORGEN, Lawrence Weiner, Ian Wilson, Erwin Wurm, a.o.

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The Hacking #VR Speaker Series: Brian Chirls on webVR - MIT Open Documentary Lab 2017

Virtual Reality productions are on the rise. But is the medium even available? How can we start thinking about the accessibility and democratization of immersive production, creation and consumption?

 

About the Speaker:
Brian Chirls is Chief Technology Officer at Datavized, an NYC-based immersive design and technology studio. He is creator of the WebVR Starter Kit and a recognized innovator in the independent film world. He was recently the Digital Technology Fellow at PBS POV, a position funded by the Knight Foundation. He has developed innovative models for interaction, data visualization and content authoring in virtual reality. Brian has helped to create a new genre of interactive video pieces and software libraries that demonstrate ways to combine the interactivity and connectivity of the web with the aesthetic power of cinema and his work has been presented at CPH:DOX, IDFA DocLab, SXSW and Tribeca Film Institute.

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An immersive, completely silent “desert” has been installed by Doug Wheeler at the Guggenheim

An immersive, completely silent “desert” has been installed by Doug Wheeler at the Guggenheim | Digital #MediaArt(s) Numérique(s) | Scoop.it

Last year, the Solomon R. Guggenheim Museum captured the public’s attention with a working, solid gold toilet installed in one of its restrooms. This year, they're are going for something a little more subtle: A “desert” that’s acoustically soundproofed to prevent anything but the lowest of ambient sounds. PSAD Synthetic Desert III, as the installation is formally titled, is the creation of West Coast artist Doug Wheeler, who originally conceived the idea nearly 50 years ago. Working in collaboration with the museum, Wheeler is finally realizing the project after all this time.

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VERTIGO european project - Boost synergies between artists, creative people and technologists

VERTIGO european project - Boost synergies between artists, creative people and technologists | Digital #MediaArt(s) Numérique(s) | Scoop.it

Artistic practices are more and more broadly recognized as potential vectors of technological innovation. One of the main objectives of the STARTS initiative of the European Commission is to catalyze new synergies between all concerned stakeholders: artists, cultural institutions, R&D projects in information and communication technologies (ICT), companies, incubators and funds.

 

The VERTIGO project is a Coordination and Support Action (CSA) supported by the H2020 Program of the European Commission. Its purpose is to support and coordinate these synergies at the European level through three main action lines:

 

  • A program of artistic residencies as part of ICT R&D projects
  • The organization of a yearly public event in Paris exhibiting the results of these collaborations.
  • The development of the web platform starts.eu

 

The project gathers a consortium of experienced partners in the fields of art-science collaborations, design, ICT research and innovation. It includes an international network of cultural institutions which will relay and disseminate the activities to their own networks.

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NOME (gallery) | operates between art, politics, and technology /// #mediaart

NOME (gallery) | operates between art, politics, and technology /// #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

By supporting emerging artists and commissioning new works, NOME showcases how our visual culture is changing. Founded in 2015

 

By exploring the nodes of entanglements between these fields, NOME aims to raise critical awareness of the crucial issues facing our age.

 

The gallery works with international emerging and mid-career artists whose practices engage diverse disciplines and involve a broad range of media.

 

NOME enables artists to deepen their research and further their artistic potential by collaborating with various cultural institutions and facilitating the production of new works for each exhibition.

 

Director: Luca Barbeni  

Managing director: Manuela Benetton

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05.04.17 - Arts/Sciences #20: boredomresearch - Bio-inspired Fragility and Technological Advancement // iMAL

05.04.17 - Arts/Sciences #20: boredomresearch - Bio-inspired Fragility and Technological Advancement // iMAL | Digital #MediaArt(s) Numérique(s) | Scoop.it

With two decades of artistic practice exploring an understanding of the natural world through the medium of computational technologies, boredomresearch have become intimately aware of the sensitivity and vulnerability of complex systems, including those which support human life on earth.

 

boredomresearch have been expanding their interest in bio-inspired systems in a project Robots in Distress which considers our strategies for coping in a world increasingly destabilised by human activity. In collaboration with the Artificial Life Lab (Karl Franzens University, Graz Austria), who are employing bio-inspired robots to provide solutions operating in human polluted environments, in 2016 boredomresearch started building robots made from the same plastic waste that pollutes many marine environments. Their work with biologists and engineers offers a different perspective which challenges a broader concern over a tendency towards increasingly complex solutions to answer the challenges of environmental crisis. This has led the artists to extend cutting edge research in artificial neural networks augmented by artificial hormone production to create autonomous agents with the potential for despondency. As emotional robotics becomes a reality does it also reveal a vulnerability? As we incorporate the robustness of swarm robotics into our technological armory should we also be mindful that the most archetypal swarm of all, the honey bee, is an organism in crisis. In this presentation boredomresearch foster a new vision for technological innovation, one that recognises the fragility of the environment that sustains it.

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featart FEAT /// Future Emerging Art and Technology...

featart FEAT /// Future Emerging Art and Technology... | Digital #MediaArt(s) Numérique(s) | Scoop.it

Future and Emerging Technologies (FET) push the boundaries of human knowledge. Unconventional ways of thinking and creativity open novel and visionary fields of research that radically shift. Our project brings together artists and FET projects using best practice methods to create high-impact collaborative outcomes including the production of new artworks, major exhibitions, media campaigns, and socially engaged events including festivals, debates and participatory workshops.

 

Six leading international artists are hosted within FET projects through fully funded embedded residencies. Through in-depth collaborations with researchers and reflecting on the projects, the artists explore, engage and communicate these new areas of research to reach the widest possible audiences, opening up societal discussions, raising awareness and enhancing take-up of radically new technologies.

 

In our video section you can also find introductory videos by our coordinator, Erich Prem, and our artist partner, Anna Dumitriu, to give you an overview of our project.

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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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