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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until 28.05. DISNOVATION.ORG exhibition @ Mapping Festival 2017 /// #mediaart #artnumerique

until 28.05. DISNOVATION.ORG exhibition @ Mapping Festival 2017 /// #mediaart #artnumerique | Digital #MediaArt(s) Numérique(s) | Scoop.it
Today’s vocabulary of innovation is the ultimate rhetorical tool. It inundates dominant discourse, spreading from the field of politics to the sectors of work, education and art. At the heart of this prevailing techno-positivist context, collective DISNOVATION.ORG [aka. disobedient innovation] offers a dissection of the ideology of technological innovation through a series of critical hacks.

This exhibition presents alternative narratives to the "propaganda of innovation" by exploring: a parallel history of technologies from the perspective of their failures (The Museum of Failures), the ghosts of military engineering and science fiction in everyday technologies (War Zone, Floating Prophecies), the standardization of Western technological imaginaries (Shanzhai Archeology), and an anthology on piracy of necessity (The Pirate Book).

The second part looks at the friction spaces generated between hyperconnected web users and the global network - including hacks such as: a system to predict and subvert emerging artistic trends (Predictive Art Bot), an exposure of live peer-to-peer video exchanges (The Pirate Cinema), or a printed directory containing millions of restricted addresses commonly used to filter Internet access worldwide (Blacklists).

http://2017.mappingfestival.com/fr/events/disnovation-org

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Fire - art installation by Nasan Tur (2017)

An immaterial artwork consisting real fire.
The fire is continuously burning inside the space over the whole exhibition period. It seems like it is just the begin before the fire takes the whole space.


The heat and the flickering of the flames take the whole exhibition space into tension. It brings, on one hand the potential of destruction and danger of this element but also the domination over it, out.

 

http://www.nasantur.com

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Nelmarie du Preez - performance, photography, video and computational arts // #mediaart

Nelmarie du Preez - performance, photography, video and computational arts // #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Nelmarie du Preez is a South African artist based in Pretoria and London working in the fields
of performance, photography, video and computational arts. In 2014 she completed her MFA Fine Art
at Goldsmiths, University of London, where she also completed her MA in Computational Arts (2013).


 

Recently she formed part of the London Open 2015 at the Whitechapel Gallery (London), formed part of Home Works 7 at Ashkal Alwan (Beirut) and was selected for the International Digital Arts Biennale (Montreal). In the past two years she has been shortlisted for six significant international art awards and is the winner of the 2015 Sasol New Signatures. She was also selected as a 2015 Ampersand Foundation Fellow.

 

Du Preez is currently a lecturer in Visual Arts and New Media at the University of South Africa.

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What if you could listen in on the chemical communication within your body?

What if you could listen in on the chemical communication within your body? | Digital #MediaArt(s) Numérique(s) | Scoop.it
We all glow. All living cells of bacteria, plants as well as (human and non-human) animals emit biophotons, extremely weak light emissions which cannot be perceived by the naked eye and are used in cell-to-cell communication in living systems. Instruments like photomultipliers tubes (PMT), however, are such sensitive detectors of light that they can detect individual photons.

Back in 2015, Mike and Susana from Thought Collider teamed up with artist Dave Young and researchers at Leiden University to build a kinetic sound installation around a Photon-Multiplier Tube.

 

Although the transformation of the functional state of the living organism into sound was an important dimension of the work, the artists and designers were also interested in looking at the processes and authoritative gestures that legitimise the collection of personal information and how informed consent is attained and defined.

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Videographies 4.0 - VICE VERSA - Arts / sciences / Transcultures /// #mediaart #artsci

Videographies 4.0 - VICE  VERSA - Arts / sciences / Transcultures /// #mediaart #artsci | Digital #MediaArt(s) Numérique(s) | Scoop.it

Videographies - VICE<->VERSA 3.0 - Arts / sciences - La Trois RTBF (00h26) - Retransmission sur RTBF Auvio

 

Le 25 novembre 2016, Transcultures, Centre des cultures numériques et sonores, organisait, en partenariat avec Vidéographies, Vice Versa 3.0 – Horizons numériques, un forum consacré aux liens féconds qui se nouent entre Arts et Sciences, Cultures numériques et Nouveaux médias. Cette journée de réflexion s’est tenue, dans le cadre de la Saison des cultures numériques de la Fédération Wallonie-Bruxelles, à Liège (Média Rives RTBF) et a rassemblé des experts, des chercheurs et des professionnels belges et internationaux autour de divers enjeux de la création numérique d’aujourd’hui et de demain. En parallèle, Vice Versa 3.0 a également présenté plusieurs installations (dont Olga Kisseleva, Judith Guez, Elizabeth Meur-Poniris, Claire Williams), des démos (notamment Numediart, Hovertone, Le laboratoire Mint-Université Lille 1) et des « works in progress » d’artistes et chercheurs associés ...

http://bit.ly/2nqZgVc

 

Avec des projets de : Alice Jarry, Anthony Rouneau, Art orienté objet, Christian Frisson, Chen Chu-Yin, Claire Williams, Drag On Slide, Edouardo Kac, Elisabeth Meur-Poniris, Fabien Zocco, Franck Soudan, François Zajéga, Gauthier Keyaerts, Curnel Gina, Heather Dewey-Hagborg, Hovertone, Jacques Urbanska, Jean-François Lahos, Judith Guez, Kika Nicolela, Larbitslab, Loic Reboursiere, Louis Philippe Demers, Marta De Menezes, Mihai Grecu & Thibault Gleize, Nicolas Bernier, Nicolas d'Alessandro, numediart, Olga Kisseleva, Paulo Dos Santos, Pauline de Chalendar, Ryoji ikeda (official), Sébastien Lacomblez, @Symbiotica (labo), @Thierry De Mey, Thomas Israel, Tom Mens, Vincent Evrard...

 

La programmation de cette émission a été composée par les soins de Philippe Franck, critique culturel et directeur de Transcultures qui la représente également en complicité avec Jacques Urbanska, artiste/concepteur multimédiatique et chargé des projets arts numériques pour Transcultures.

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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 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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LOOPY: a interactive tool for thinking in systems by Nicky Case

LOOPY: a interactive tool for thinking in systems by Nicky Case | Digital #MediaArt(s) Numérique(s) | Scoop.it
In a world filled with ever-more-complex technological, sociological, ecological, political & economic systems... a tool to make interactive simulations may not be that much help. But it can certainly try.

 

LOOPY is also open source and public domain, meaning it's free for coders, educators, and just about anybody to re-use and re-mix LOOPY as they see fit.
 
LOOPY is made by Nicky Case, (wobsite | tweeter
thanks to my generous supporters on Patreon! (see them all here) 
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Happy World Poetry Day! – Hackster’s Blog

Happy World Poetry Day! – Hackster’s Blog | Digital #MediaArt(s) Numérique(s) | Scoop.it
Using 40 Raspberry Pis attached to 40 Adafruit e-ink displays, New York conceptual artist Zach Gage turned Google Search’s autocomplete function into poetry. Each “Glacier” is a unique poem generated…

 

The installation’s screens refresh daily as the Pis check Google for changes and update accordingly. For some search phrases, however, it’s likely that they will not be altered for years or even décades. ...

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Data and Dragons - by Addie Wagenknecht // bitforms gallery

Data and Dragons - by Addie Wagenknecht // bitforms gallery | Digital #MediaArt(s) Numérique(s) | Scoop.it

Data and Dragons is a series of sculptures that intercepts and logs anonymous live data captured from surrounding WiFi signals. An assembly of custom printed circuit boards and Ethernet cabling, each work is dark and austere, manifesting “the cloud”, social networks, data, leaks, and that which forms social capital into a single object. Passively interactive, the behavior of these pieces is driven by custom hardware and packet sniffers, which capture all the live data passing through the area. The information is then visualized via surface mounted LEDs, through a series of blinking patterns.

 

Addie Wagenknecht is an American artist based in Austria whose work explores the tension between expression and technology. Blending conceptually-driven painting, sculpture, and installation with the ethos of hacker culture, Wagenknecht constructs spaces between art object and lived experience. Here, the darker side of systems that constitute lived reality emerge, revealing alternative yet parallel realities. In the context of post-Snowden information culture, Wagenknecht’s work contemplates power, networked consciousness, and the incessant beauty of everyday life despite the anxiety of being surveilled.

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SPAMM POWER (ϟℙ∀ℳℳ▁ℙϴШ€ℜ_TOUR) / (Physical & online exhibitions) // #netart #mediaart

SPAMM POWER (ϟℙ∀ℳℳ▁ℙϴШ€ℜ_TOUR) / (Physical & online exhibitions) // #netart #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

SPAMM POWER (ϟℙ∀ℳℳ▁ℙϴШ€ℜ_TOUR) / (PHYSICAL & ONLINE EXHIBITIONS)

SPAMM (SuPer Art Modern Museum)
http://www.spamm.fr

We_Are_The_Power, We_Are_Internet❗️
We_Are_Now, We_Are_Here❗️
We_Are_SPAMM❗️
We_Are_Happy❗️
We_Are_TAAZ*❗️
We_Are_Art❗️

��___CURATORS
Ellectra Radikalal & Michaël Borras A.K.A Systaime

��__03 / 31 / 2017 - 04 / 14 / 2017 / 19 H 19 @ Parsons Paris
SPAMM_POWER EXHIBITION / R3FRAG 
http://dtparis.com/refrag_3/

��___04 / 14 / 2017 / 14 H 14 @ Parsons Paris
OPEN_HOUSE_TAAZ*_SPAMM_POWER_AFTERNOON_PARTY @ R3FRAG / TEMPORARY AUTONOMOUS ART ZONE 
http://dtparis.com/refrag_3/

COM’ W!TH YOUR ART / OPEN EXH!B!TION / COM’ W!TH YOUR LAPTOP / OPEN SCREEN!ING / SHOW YOUR ART AND DR!NK WATER / BE A PART OF TH!S EXH!B!T!ON !N PROGRESS…

 

For ϟℙ∀ℳℳ▁ℙϴШ€ℜ, we wanted to identify the paths that artists plot on social networks to the convergence of several digital disciplines, to identify the links between the different groups of practices and research, and then to reconstitute a unit in a set open for this Exhibition to be discovered on the site SPAMM.fr

UFOs of the web, flux electrons, artists and hackers of images and sounds, each figure has its own meaning. Together they form a larger drawing.

Beyond the comfort zones, beyond criticism and confrontations, divergent feelings,

SPAMM lives on the web well before thinking.

SPAMM is an open space that does not contain its boundary.

SPAMM is NO BORDER.

SPAMM is the quantity not the scarcity.

SPAMM is the horizontal space of digital creation.

SPAMM is an irreducible complexity that escapes the domain of words. ...

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Overview du dernier Mirage Festival - plongée dans l'univers immatériel de l'art numérique

Overview du dernier Mirage Festival - plongée dans l'univers immatériel de l'art numérique | Digital #MediaArt(s) Numérique(s) | Scoop.it

Le Mirage Festival est un cocktail magique qui se sirote pendant quatre jours et quatre nuits. Subtil équilibre d’expositions, de conférences et de soirées électro, la recette 2017, intitulée "(Im)atérialités", promet des effets surprenants : donner accès à des choses habituellement invisibles, perturber les limites de la perception, envoûter les sens, titiller la réalité… Ses ingrédients principaux sont des couleurs, du son et du mouvement… Konbini vous présente des pépites repérées dans la programmation de cette 5e édition, qui se déroule jusqu'au 12 mars à Lyon.

 

Rendre visible l’immatériel, c’est le jeu auquel se prêtent les artistes présentés dans le parcours d’exposition (accessible à tous, gratuitement) qui s’installe aux Subsistances, à la Taverne Gutenberg, au Musée des Beaux-Arts et à l’École des Beaux-Arts de Lyon. "Le numérique est hyper présent dans notre quotidien, l’idée cette année était d’explorer sa présence, de dévoiler l'intangible", nous explique Jean-Manu Rosnet, cofondateur du festival...

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Ruairi Glynn - Interactive installations & architecture // #mediaart

Ruairi Glynn - Interactive installations & architecture // #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Ruairi Glynn practices as an installation artist and directs the Interactive Architecture Lab at the Bartlett School of Architecture, University College London. He has exhibited internationally with recent shows at the Centre Pompidou Paris, the National Art Museum of China Beijing, and the Tate Modern, London. His interactive installations reflect on rapid developments in robotics, material science and computational technologies exploring the emerging aesthetics of behaviour permeating across art, architecture and design.


Drawing influence from the fields of psychophysics, cybernetics, and performance his recent work has looked at the uncanny sensation of life (anima) present in interactive objects and environments. Projects such as Fearful Symmetry commissioned for the inauguration of the Tanks at Tate Modern examined the very human impulse to anthropomorphise and build emotional relationships with things that move and interact with signs of intelligence.

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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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12.05.2017 - Soft Love (texte d’Eric Sadin) par Le Clair Obscur / Le Cube

12.05.2017 - Soft Love (texte d’Eric Sadin) par Le Clair Obscur / Le Cube | Digital #MediaArt(s) Numérique(s) | Scoop.it

Softlove relate 24h de la vie d’une femme à travers le regard avisé et éperdu de son assistant numérique. Un système intelligent connaît tout de la personne dont il a la charge exclusive, l’accompagnant à chaque instant de son quotidien. À toute heure du jour ou de la nuit, cette entité invisible et omnisciente est programmée pour anticiper ses désirs. Or, cette machine est douée d’affect et tombe secrètement amoureuse...

 

Publié en 2014, le texte d’Eric Sadin Softlove franchit une nouvelle étape avec cette adaptation théâtrale, ou plutôt une forme plus (con)textuelle, dans un format un peu particulier : le monologue d’une Intelligence Artificielle.

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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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Déjà Entendu | An Opera Automaton - generative installation by Lukas Truniger /// #mediaart

The structure of language – musical at its origin – is the source of this installation. Based on texts and melodies originating from operas telling the Faust myth (the epic of human curiosity and desire), the installation explores the underlying contour of language.

 

The work is made of industrial objects. 102 screens and speakers creating an emergent space, arranged in repetitive patterns. Blowing up the virtual into space. Phrases and melodies of the vocalists are constantly reproduced using machine learning software. Powerful algorithms, which transform the way we act and think, omnipresent in our society and in permanent interaction with us. A new version of Faust is created, fragmented and with varying degrees of legibility, recreated in light and sound movements. 

 

It is a game with the boundaries of perception. The point where language loses its meaning and becomes abstract. Language which is pushed to its limits, where nothing is left but pure rhythmic and melodic structure. It is the organic nature of language, imitated by a machine. This reveals the proper poetics – in all its absurdity – of the digital.

 

A production of Le Fresnoy - Studio national des arts contemporains
lefresnoy.net
Supported by Bipolar in the framework of RUNAWAY
bipolar-production.com

Engineer: Glenn Silver
Camera: Aurelie Brouet

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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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The Punishment - installation by Filipe Vilas-Boas & Paul Coudamy /// #mediaart #robotics

The Punishment is an installation in which a robot executes a preventive punishment for its possible future disobedience. A reference to Isaac Asimov’s laws of robotics. 

Technologies are now merging at high speed, notably robotics and artificial intelligence. It raises a lot of questions about man-machine relation. Tainted with dark humor, this dystopian anthropomorphization also underlines the fears that robotics engenders. How automated do we want our world, our body to be? What physical, moral and legal framework should we use? What consequences for human life? Which post-work society should we build? Isn't it time to reinvent the school? At the turn of the century, questions related to automation are popping up in everyone’s mind. We will have to answers them collectively, if possible.

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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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James Auger and Jimmy Loizeau / Prospective and non-conformiste designers /// #mediaart #design

James Auger and Jimmy Loizeau / Prospective and non-conformiste designers /// #mediaart #design | Digital #MediaArt(s) Numérique(s) | Scoop.it

James Auger and Jimmy Loizeau have been collaborating on projects since the concept of the Audio Tooth Implant was first conceived in October 2000.

[Industrial] Design is mostly concerned with the process of bringing products to market – making them desirable and therefore saleable. By removing the commercial aspect from the development of the [designed] object, it can be given a different agenda, investigating the process that gives birth to it rather than being defined by it. In this way design can comment on consumer culture; the role of products in shaping human behaviour and experience and the role of technology. It becomes a tool for questioning rather than problem solving. Through the development and dissemination of speculative and critical artefacts Auger-Loizeau aim to instigate a broader analysis of what it means to exist in a technology rich environment both today and in the near future. 
Our intention is for this analysis to take place over a broad a spectrum as possible. 


Auger-Loizeau projects have been published and exhibited internationally, including MoMA, New York, 21_21, Tokyo, The Science Museum, London, The National Museum of China, Beijing, and the Ars Electronica festival, Linz and are part of the permanent collection at MoMA.

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dis:play(bias) -deconstruction of the display-
by Ryo Kishi /// #mediaart #ligthart

In the 19th century a lot of devices, such as Thamatrope, Phenakistiscope or Zoetrope, that displayed images were invented.


These devices are unique in shape and process of how to display images itself.
In the process of generalization and optimization,the shape and process of the display converged to a stereotyped figure such as flat , square or fixed.


It is one of the most efficient shapes to transmit information correctly, but it`s unsatisfying in terms of a device to create expression.


There should be a diversity and more room for creation.
dis:play(bias) is a experimental trial to create devices dedicated to transmit not information, but expression.
dis:play(bias) is based on the principles of polarization.
LCD(liquid crystal display) consists of 4 layers, top polarizing film, liquid crystal, bottom polarizing film and backlight.
dis:play(bias) also has 4layers, but top polarizing film is separated from LCD display.
To separate top polarizing film from display, so that top polarizing film can be designed any shape.
Images are visible only through cubes and plates attached polarization film on.

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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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Todor Todoroff – Composer, developer of interactive systems and gesture-controlled virtual instruments

Todor Todoroff – Composer, developer of interactive systems and gesture-controlled virtual instruments | Digital #MediaArt(s) Numérique(s) | Scoop.it

Electrical Engineer with a specialization in telecommunications at the Free University of Brussels (ULB, 1987), he received a First Prize and a higher diploma in Electroacoustic Composition at the Royal Conservatories of Music in Brussels (1993) and in Mons (1996).


First researcher in the field of speech processing at ULB, he was from 1992 till 1997 head of the Computer Music Research at the Polytechnic Faculty and the Royal Conservatory of Music in Mons (Belgium) where he developed instruments used by composers like Leo Kupper and Robert Normandeau. He collaborated on several occasions with IRCAM where his programs were used by Joshua Fineberg, Emmanuel Nunes, Luca Francesconi and other composers.

He is co-founder and president of FeBeME-BeFEM (Belgian Federation for Electroacoustic Music) and ARTeM (Art, Research, Technology & Music, in Brussels), founding member of the Forum des Compositeurs and was Belgian representative of the European COST actions “Digital Audio Effects” (DAFX, 1997-2001) and “Gesture Controlled Audio Systems” (CONGAS, 2003-2007).


He was researcher from 2008 to 2013 at the Numediart Institute of the University in Mons and professor from 2008 to 2015 at Arts2, the School for the Arts in Mons.

Since 1993 he develops interactive systems at ARTeM, for studio use, concerts, sound installations and dance performances, using a wide variety of sensors. ....

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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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