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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Is consciousness just an illusion? By Anna Buckley

Is consciousness just an illusion? By Anna Buckley | Digital #MediaArt(s) Numérique(s) | Scoop.it

The cognitive scientist Daniel Dennett believes our brains are machines, made of billions of tiny "robots" - our neurons, or brain cells. Is the human mind really that special?

 

In an infamous memo written in 1965, the philosopher Hubert Dreyfus stated that humans would always beat computers at chess because machines lacked intuition. Daniel Dennett disagreed.

 

A few years later, Dreyfus rather embarrassingly found himself in checkmate against a computer. And in May 1997 the IBM computer, Deep Blue defeated the world chess champion Garry Kasparov. Many who were unhappy with this result then claimed that chess was a boringly logical game. Computers didn't need intuition to win. The goalposts shifted.

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Museum of Contemporary Art Kiasma opens survey of contemporary art

Museum of Contemporary Art Kiasma opens survey of contemporary art | Digital #MediaArt(s) Numérique(s) | Scoop.it
Hello World!, is a survey of contemporary art focusing on the global digital revolution and its impact on our culture and economy, as well as human identity and behaviour. The exhibition in Kiasma, Museum of Contemporary Art, Helsinki brings together 35 artists from 13 countries representing three generations, from the ‘60s to the ‘80s. The ARS17+ Online Art website at arsplus.fi showcases a selection of new net art as part of the ARS17 exhibition at Kiasma.

Many of the artists featured in the exhibition are post-internet millennials, who are digital natives more or less from the moment they are born. For them, the physical and virtual worlds are inseparable components of the same merged reality. In their world, digital technology is not an end itself, but a tool for creating, sharing and experiencing.
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Eric Mabille's curator insight, April 6, 2017 12:37 PM
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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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Murder in virtual reality should be illégal // by Angela Buckingham /// #VR

Murder in virtual reality should be illégal // by Angela Buckingham /// #VR | Digital #MediaArt(s) Numérique(s) | Scoop.it

You start by picking up the knife, or reaching for the neck of a broken-off bottle. Then comes the lunge and wrestle, the physical strain as your victim fights back, the desire to overpower him. You feel the density of his body against yours, the warmth of his blood. Now the victim is looking up at you, making eye contact in his final moments.

 

Science-fiction writers have fantasised about virtual reality (VR) for decades. Now it is here—and with it, perhaps, the possibility of the complete physical experience of killing someone, without harming a soul. As well as Facebook’s ongoing efforts with Oculus Rift, Google recently bought the eye-tracking start-up Eyefluence to boost its progress towards creating more immersive virtual worlds. The director Alejandro G Iñárritu and the cinematographer Emmanuel Lubezki, both famous for Birdman (2014) and The Revenant (2015), have announced that their next project will be a short VR film.

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The Darkness at the End of the Tunnel: Artificial Intelligence and Neoreaction by Shuja Haider

The Darkness at the End of the Tunnel: Artificial Intelligence and Neoreaction by Shuja Haider | Digital #MediaArt(s) Numérique(s) | Scoop.it

As the consumer-oriented liberalism of Bill Gates and Steve Jobs gave way to the technological authoritarianism of Elon Musk and Peter Thiel, this strange foundation paved the way for “neoreaction,” or, in a distorted echo of Eliezer Yudkowsky’s rationalist vision, the “Dark Enlightenment.

 

Science fiction tells us that a change in a past event, caused by the intervention of a time traveler, will open up a parallel timeline that leads to an alternate present. The example that comes to mind, for some reason, is Back to the Future, Part II. After an unexpected disturbance in the spacetime continuum, Marty McFly visits a world in which Biff Tannen, his father’s high school bully, has gone from unscrupulous small-time businessman to a replica of our current president. ...

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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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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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The science behind the art of Jeff Koons // by Nina Stoller-Lindsey /// #artsci #mediaart

The science behind the art of Jeff Koons // by Nina Stoller-Lindsey /// #artsci #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Today, H&M will release a special-edition leather handbag featuring the likeness of Jeff Koons’s Balloon Dog (Yellow) in some stores and on its website. To celebrate (and, really, further publicize) the occasion, Koons will decorate the six-story facade of the Swedish retailer’s Fifth Avenue flagship store in New York City with images of his iconic sculpture.

 

The most expensive living artist as of a November 2013 auction, Koons is routinely noted for his shrewd, and sometimes unusual, business practices. But the former Wall Street commodities broker also has a knack for science and technology.

 

In fact, his works are often so cutting edge that some of the world’s leading museums have found themselves ill-equipped to handle them. (Asked why the Guggenheim never went through with its 1996 plan for a major Koons exhibition, former director Lisa Dennison admitted to the New York Times that “finding the technology to match Jeff’s vision became impossible.”)

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Cultures numériques @ Erg - école de recherche graphique Bruxelles

Cultures numériques @ Erg - école de recherche graphique Bruxelles | Digital #MediaArt(s) Numérique(s) | Scoop.it
Le cours « Cultures numériques » est constitué d’une constellation d’éléments théoriques et pratiques rassemblés autour d’un effort commun : travailler à définir des cultures numériques de manière collective et transversale.

Le but de ce rassemblement est de comprendre et de pratiquer les outils et environnements numériques actuels sous plusieurs approches (historique, philosophique et politique). Les technologies sont des cristallisations de forces diverses ­ politiques, esthétiques, économiques, etc ­ qui ne sont pas elles ­mêmes techniques. Ce ne sont donc pas tant les caractéristiques techniques d’Internet, par exemple, qui sont décisives pour la culture numérique (notre Zeitgeist) mais plutôt leurs effets. Non pas leur manière de fonctionner strictement parlant, mais les opérations qui soutiennent ces fonctionnements. Pour accéder à ces opérations, deux chemins s’entrecoupent et ne deviennent qu’un seul : on apprend (...)
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Interview with Daniel Bandfield by Sarah MacLean - Tate Exchange / Chelsea College of Arts

Interview with Daniel Bandfield by Sarah MacLean - Tate Exchange / Chelsea College of Arts | Digital #MediaArt(s) Numérique(s) | Scoop.it
Daniel Bandfield is a student in his final year of BA Fine Art at Chelsea, and is a member of the Collective. For Tate Exchange, he will be part of the Physical Computing camp which will showcase projects that use coding and electronics within artworks.

 

We spoke to Daniel about how he works with digital in his artistic practice, why he made the shift from static sculpture and ceramics t digital and how using this technology affects the way that audiences view and relate to his artwork.

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Data Art : la donnée comme matériau d’origine - The Open Window on Usbek & Rica -  /// #mediaart #dataart #dataviz

Data Art : la donnée comme matériau d’origine - The Open Window on Usbek & Rica -  /// #mediaart #dataart #dataviz | Digital #MediaArt(s) Numérique(s) | Scoop.it

L’homme a toujours ressenti le besoin d’amasser des données et de chiffrer son existence. Depuis l’introduction de la quantification de l'espace par Descartes au XVIIe siècle, la représentation graphique des fonctions est devenue la pierre angulaire des mathématiques modernes. Mais au cours des dernières décennies, l'explosion de la puissance de calcul des ordinateurs a fait basculer l’humanité dans une nouvelle ère : celle du Big Data, ces milliards de données brut collectées automatiquement par des machines autonomes. Il suffit d’utiliser 24 heures son smartphone pour s’en convaincre : tout flotte désormais dans le cloud. Alors que les réseaux sociaux conservent dans le marbre binaire l’ensemble de nos échanges et de nos données personnelles, l’intégralité de nos déplacements – et a fortiori de nos pérégrinations nocturnes en Uber – constitue des données exploitables.

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#Glitch Art, l'imperfection parfaite par Laura Encinas - on Uzbek & Rica // #mediaart #glitchart

#Glitch Art, l'imperfection parfaite par Laura Encinas - on Uzbek & Rica // #mediaart #glitchart | Digital #MediaArt(s) Numérique(s) | Scoop.it

De l’écran fragmenté en pixels baveux au fichier son corrompu et inaudible, chacun a déjà fait l’expérience du glitch. Cette anomalie qui expose les rouages défectueux des programmes informatiques fascine et fédère les gamers autant qu’elle sert de matériau brut aux artistes. Décryptage d’une esthétique de l’erreur.

 

Juillet 1965. Au détour d’un reportage de Time sur les péripéties spatiales de John Glenn, le monde découvre le terme glitch : du jargon d’astronaute pour désigner un bruit irritant provoqué par un pic de courant électrique. Pourtant, loin des aventuriers de la Nasa, ce mot d’origine yiddish (« glissement ») était employé, dès les années 1940, dans les studios radio, pour caractériser une interférence électromagnétique altérant la qualité du son. Il faudra attendre l’essor de la télévision, et surtout d’Internet, pour que le mot glitch soit associé à une image ou un son « abîmé », que seul un accident numérique peut expliquer. DVD rayé, vidéo pixélisée, fichier endommagé ou corrompu, bug de logiciel, écran de smartphone défectueux, le glitch est aujourd’hui d’une parfaite banalité. ....

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15>18.03.2017  - six bonnes raisons d'aller au festival d'Arts numériques Vidéoformes - Clermont-Ferrand

15>18.03.2017  - six bonnes raisons d'aller au festival d'Arts numériques Vidéoformes - Clermont-Ferrand | Digital #MediaArt(s) Numérique(s) | Scoop.it

Sur 514 films reçus de 41 pays, le comité de sélection en a gardé 43, répartis en huit programmes et provenant de 21 pays, d’Europe mais aussi d’Asie (Chine, Iran), d’Australie, d’Amérique latine (Chili, Brésil), du Canada… « Des vidéos du monde entier, de différentes formes et de thèmes divers », précise Gabriel Soucheyre.


En tout, huit lieux situés dans le centre-ville de Clermont-Ferrand accueilleront des d’artistes, parmi lesquels le musée Bargoin et le travail numérique d’Isabelle Dehay sur la nature, les plantes. On y retrouvera aussi une sculpture vidéo d’Anne-Sophie Aymard. La salle Gilbert-Gaillard accueillera éelle aussi trois artistes: Joris Guibert qui travaille avec les tubes cathodiques des téléviseurs d’antan sera là, aux côtés des travaux de Christine Maigne qui nous emmène « dans un monde méditatif » et de Véronique Rizzo qui, avec Dreamers propose une œuvre-hommage au cinéma....

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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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This software is like getting a modular inside your computer, for free // by Peter Kirn on CDM blog

This software is like getting a modular inside your computer, for free // by Peter Kirn on CDM blog | Digital #MediaArt(s) Numérique(s) | Scoop.it
Modular synthesizers present some beautiful possibilities for sound design and composition. For constructing certain kinds of sounds, and certain automated rhythmic and melodic structures, they’re beautiful – and endure for a reason.

Now, that description could fit both software and hardware modulars. And of course, hardware has some inarguable, irreplaceable advantages. But the same things that make it great to work with can also be limiting. You can’t dynamically change patches without some plugging and replugging, you’re limited by what modules you’ve got bolted into a rack, and … oh yeah, apart from size and weight, these things cost money.

So let’s sing the praises of computers for a moment – because it’s great that we can choose either, or both.
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Do #Selfies Constitute Art? This New Exhibition Says Yes / by Kate Samuelson

Do #Selfies Constitute Art? This New Exhibition Says Yes / by Kate Samuelson | Digital #MediaArt(s) Numérique(s) | Scoop.it
Home button, camera, front camera, click; it takes four actions and less than five seconds to capture a selfie on a standard iPhone. Perhaps then it is no surprise that we take an estimated one million a day, often risking our careers as well as our lives and the lives of those around us in order to get the perfect self-portrait.


But is this ubiquitous action merely an inane form of self-promotion or are selfies in fact a modern medium of visual expression and communication that should be taken seriously? ...

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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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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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Joi Ito interviewed by Juliet Bartz. About MIT media lab’s Disobedience Award

Joi Ito interviewed by Juliet Bartz. About MIT media lab’s Disobedience Award | Digital #MediaArt(s) Numérique(s) | Scoop.it

In the 1980s, Joi Ito traded in library tables at the University of Chicago for turntables at Chicago’s Smart Bar. But his attempt to evade academia wouldn’t stick.

 

The two-time college dropout became director of the MIT Media Lab in 2011, making the 50-year-old an academic administrator at one of the most renowned universities in the world. Before that, he was an entrepreneur who started a number of his own companies and invested in the likes of Flickr, Twitter and Kickstarter

 

A proud supporter of “responsible disobedience” — the lab is awarding its first $250,000 Disobedience Award this July — Ito is in Chicago Wednesday as a Chicago Ideas speaker. He will appear with IDEO Chicago Executive Portfolio Director Neil Stevenson at an event to discuss Chicago’s role in “embracing culture, art and experimentation.”

 

Blue Sky talked to Ito — whose interdisciplinary media lab focuses on the creative use of digital technology, sciences, arts and design — about the disobedience mindset....

https://www.media.mit.edu/disobedience

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New Artificial Synapse Bridges the Gap to Brain-Like Computers by Shelly Fan

New Artificial Synapse Bridges the Gap to Brain-Like Computers by Shelly Fan | Digital #MediaArt(s) Numérique(s) | Scoop.it

From AlphaGo’s historic victory against world champion Lee Sedol to DeepStack’s sweeping win against professional poker players, artificial intelligence is clearly on a roll.

 

Part of the momentum comes from breakthroughs in artificial neural networks, which loosely mimic the multi-layer structure of the human brain. But that’s where the similarity ends. While the brain can hum along on energy only enough to power a light bulb, AlphaGo’s neural network runs on a whopping 1,920 CPUs and 280 GPUs, with a total power consumption of roughly one million watts—50,000 times more than its biological counterpart.

 

Extrapolate those numbers, and it’s easy to see that artificial neural networks have a serious problem—even if scientists design powerfully intelligent machines, they may demand too much energy to be practical for everyday use.

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

Interview: Looking at Alien Matter with Inke Arns - By Chloe Stavrou | furtherfield.org | Digital #MediaArt(s) Numérique(s) | Scoop.it
Since 2005, Inke Arns has been the curator and artist director of Hartware MedienKunstVerein, an institution focusing the cross-section between media and technology into forms of experimental and contemporary art. This year, she was the curator for the exhibition titled alien matter during transmediale festival's thirty-year anniversary. I had the pleasure of meeting Inke and taking a leisurely stroll with her around the exhibition.

The interview is written as part of a late-night email exchange with Inke a couple of weeks following our initial meeting. 
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Le D.I.X. Digital Interactive Xperience - les cultures numériques auront un lieu à Genève

Le D.I.X. Digital Interactive Xperience - les cultures numériques auront un lieu à Genève | Digital #MediaArt(s) Numérique(s) | Scoop.it

Pour le moment, ce n’est qu’une porte de garage au pied d’un immeuble de logements du tournant du XXe siècle, dans le quartier genevois des Pâquis. Mais en novembre, si ses enthousiastes promoteurs tiennent leur calendrier, le D.I.X. déploiera ses espaces futuristes derrière cette porte. D.I.X parce que nous sommes au 10 rue Jean-Jacquet, et pour Digital Interactive Xperience.

 

Le D.I.X., un peu moins de 600 m2 sans les bureaux, se projette donc en lieu de création, avec des résidences, de l’incubation de projets, une petite salle VR – pour réalité virtuelle – avec des sièges pivotant à 360°, une autre à peine plus grande (une soixantaine de places) pour les films interactifs et autres séries web, un espace d’exposition, ou encore un fonds de documentation, en collaboration avec les Bibliothèques municipales.

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Virtual Room : Le premier escape game en réalité virtuelle ouvre ses portes à Paris

Virtual Room : Le premier escape game en réalité virtuelle ouvre ses portes à Paris | Digital #MediaArt(s) Numérique(s) | Scoop.it
Entre jeu de société grandeur nature et jeu vidéo entièrement immersif, la Virtual Room ouvre un monde parallèle dans lequel une équipe de trois à quatre joueurs est invitée à se plonger pour résoudre des énigmes et décoder les différents mystères qui s’y passent.
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Les scénographes numériques du Peacock Society – par Chloé Magdelaine pour beatalair.com

Les scénographes numériques du Peacock Society – par Chloé Magdelaine pour beatalair.com | Digital #MediaArt(s) Numérique(s) | Scoop.it

Si l’on parle quasiment toujours des lines-up de Peacock Society, on s’attarde plus rarement sur les acteurs des différentes scénographies numériques innovantes qui font de ce festival une expérience multi sensorielle, qualifié à juste titre de «festival des cultures électroniques (…) de la musique aux arts visuels». Ces scénographies révolutionnent notre façon de vivre, de penser et de ressentir la musique en mettant le spectateur au centre du processus créatif.

Depuis sa création, l’agence WE LOVE ART – à l’origine du festival – œuvre pour la culture de demain dans les domaines de la musique, de la scénographie, des arts numériques et de la technologie en proposant des événements novateurs où les nouvelles technologies sont mises au service de la création et du public. Et ce n’est pas un hasard si l’agence a proposé deux années des créations dans le parcours officiel de la nuit blanche – en 2010 en collaboration avec 1024 Architecture ; et cette année sur le Pont des Invalides, pour une performance bluffante...


Une fois tous les deux mois, Beat à l’air vous emmène à la découverte des meilleures scénographies immersives mêlant art sonore et visuel.

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Virtuality 2017 - La réalité virtuelle fait son cinéma par Lila Meghraoua (overview)

Virtuality 2017 - La réalité virtuelle fait son cinéma par Lila Meghraoua (overview) | Digital #MediaArt(s) Numérique(s) | Scoop.it

Du 24 au 26 février se tenait au 104, à Paris, le salon Virtuality (http://www.virtuality-paris.com), dédié, comme son nom l'indique, à la réalité virtuelle. Réalisateurs, producteurs et distributeurs de cinéma s’y sont pressés pour explorer la façon dont la « VR » pourrait permettre d'augmenter, voire de réinventer le septième art. Après avoir exploré les promesses de la « VR 4D », intéressons-nous ici aux ressorts de création et de production de ce nouvel art.

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