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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Le Tricodeur — quand le numérique et la maille se rencontrent

Le Tricodeur — quand le numérique et la maille se rencontrent | Digital #MediaArt(s) Numérique(s) | Scoop.it

Un projet dédié au détournement de machine à tricoter pour une exploration et une accessibilité au design maille. Un temps d'expérimentation, de recherche, de réflexion et de pratique pour explorer les liens et les interactions possibles entre le textile et le numérique à travers un outil : la machine à tricoter.

 

Un projet de l'association Sew&Laine, Louis Eveillard, Processing Bordeaux et 2roqs.

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Déjà Entendu | An Opera Automaton by Lukas Truniger | #BIAN2016 // #mediaart #artnumerique

Déjà Entendu | An Opera Automaton by Lukas Truniger | #BIAN2016 // #mediaart #artnumerique | Digital #MediaArt(s) Numérique(s) | Scoop.it

L’installation se base sur des textes et mélodies d’opéra inspirés par le mythe de Faust – l’épopée de la curiosité humaine et de ses limites. 102 écrans et haut-parleurs sont disposés afin de créer des schémas répétitifs, projetant le virtuel dans l’espace. Les phrases et mélodies des chanteurs sont reproduites à l’aide de logiciels d’apprentissage automatique. Une nouvelle version de Faust est créée, en mouvements fragmentés de sons et de lumières. C’est un jeu avec les frontières de la perception. L’instant où le langage perd son sens, devient abstrait et révèle ainsi la véritable poétique (dans toute son absurdité) du numérique.

 

The installation is based on texts and melodies collected from operas narrating the Faust myth – the epic of human curiosity and its limits. 102 screens and speakers are arranged in repetitive patterns creating an emergent space. The phrases and melodies of the vocalist are reproduced using machine learning software. A new version of Faust is created in fragmented movements of light and sound. It is a game with the boundaries of perception. The point where language loses its meaning and becomes abstract. This reveals the proper poetics – in all its absurdity – of the digital.

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Pascale Gustin – 857 CLUSTERS – OPUS 2 : entre code et texte, le Verbe se décompose

Pascale Gustin – 857 CLUSTERS – OPUS 2 : entre code et texte, le Verbe se décompose | Digital #MediaArt(s) Numérique(s) | Scoop.it

Petite, menue, discrète, … Ne vous y trompez pas pourtant. Pascale Gustin sous ses airs de petit chat gris, a du tempérament et les idées claires quant à sa démarche d’artiste, pleinement investie dans la quête du sens et du non sens générés par le code et l’écriture. Deux types de contenus qu’elle assimile au tissu et qu’elle s’emploie à détricoter, maille par maille, signe par signe, mettant les deux formes en regard, pour mieux interroger les interpénétrations des deux univers et créer une nouvelle matière.

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Language Log » Lorem China - a secret language spoken only online by a knowledgeable and learned few

Language Log » Lorem China - a secret language spoken only online by a knowledgeable and learned few | Digital #MediaArt(s) Numérique(s) | Scoop.it

Imagine discovering a secret language spoken only online by a knowledgeable and learned few. Over a period of weeks, as you begin to tease out the meaning of this curious tongue and ponder its purpose, the language appears to shift in subtle but fantastic ways, remaking itself daily before your eyes. And just when you are poised to share your findings with the rest of the world, the entire thing vanishes.


It all started a few months back when I received a note from Lance James, head of cyber intelligence at Deloitte. James pinged me to share something discovered by FireEye researcher Michael Shoukry and another researcher who wished to be identified only as “Kraeh3n.” They noticed a bizarre pattern in Google Translate: When one typed “lorem ipsum” into Google Translate, the default results (with the system auto-detecting Latin as the language) returned a single word: “China.” 

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Collide@CERN: interview with Cassandre Poirier-Simon ⋆ Gruppo Giada // #ArtSci #mediaart

Collide@CERN: interview with Cassandre Poirier-Simon ⋆ Gruppo Giada // #ArtSci #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

As is known, it was during the 1980s when the young Londoner Timothy “Tim” John Berners-Lee was looking for a way to organize the huge amount of information produced by the very CERN (European Organisation For Nuclear Research) he started to dedicate himself to program Enquire that would have later on allowed the hypertextual management of contents, fulfilling the intuitions of Vannevar Bush in 1945 (MEMEX) and of Theodor “Ted” Nelson in 1962 (Xanadu).

 

Furthermore, nine years later, it was still in the hallways of the CERN the Berners-Lee met the Belgian Robert Cailliau with whom he succeeded in perfecting Enquire, by creating the program which will pass to history with the name of World Wide Web, with its “common language” for the interchange of hypertexts between different computers (HTTP) and its markup language for hypertexts (HTML)...

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A Visual History of Typewriter Art from 1893 to Today

A Visual History of Typewriter Art from 1893 to Today | Digital #MediaArt(s) Numérique(s) | Scoop.it

“Art is not a thing — it is a way,” Elbert Hubbard observed in 1908 in what became one of history’s finest definitions of art. Hubbard was writing at the dawn of an unusual new art form, wherein artists were appropriating a new thing — a trailblazing technology — to find a new way of making art. The product and legacy of that is what graphic design scholar Barrie Tullett explores in Typewriter Art: A Modern Anthology (public library) — a fascinating chronicle of “the development of the typewriter as a medium for creating work far beyond anything envisioned by the machine’s makers,” embedded in which is a beautiful allegory for how all technology is eventually co-opted as an unforeseen canvas for art and political statement. ...



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bcksp.es | We record your backspaces and turn them into books... by Vincent Evrard

bcksp.es | We record your backspaces and turn them into books... by Vincent Evrard | Digital #MediaArt(s) Numérique(s) | Scoop.it

Writing is like shaping the world. Erosion shapes our ideas and turns them into sentences. The most sensitive slices of your ideas fly away like sand and end up in the desert of nothingness. When you use the backspace key, a piece of your soul flies away with these lost words.


We archive the dust of your thoughts in a book. Bcksp.es has been designed to capture these deleted ideas. When your archive is full, we offer you to buy your book.


Lorsque vous utilisez la touche backspace une part de vous s'en envole avec ces mots perdus. La pratique de l'écriture est pareille à un monde en formation. Soumis à l'érosion, les idées s'affinent pour former des phrases. Les tranches les plus sensibles de vos idées s'envolent sous la forme du sable subtile pour finir dans le désert du néant.


Nous archivons pour vous ces poussières de pensée dans un livre. Bcksp.es est conçu pour capturer ces idées supprimées. Lorsque votre archive est pleine nous vous proposons d'acheter votre livre. Nous enregistrons vos backspaces et les transformons en livres.


http://www.ogre.be

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"text-mode" - A collection of text graphics and related works

"text-mode" - A collection of text graphics and related works | Digital #MediaArt(s) Numérique(s) | Scoop.it

A collection of text graphics and related works, stretching back thousands of years. Textiles, BBS-graphics, poetry, mosaic, typography, and much more. Collected by Raquel Meyers and Goto80.

Includes formats such as shift-JIS, PETSCII, ASCII, SharpSCII, EBCDIC, ANSI, RTTY, ATASCII, unicode, braille, xbin

Made for media like videotex, teletext, BBS, buildings, typewriters, clothes, textile, cross-stitch, letterpress, toys, telidon, antiope, print, minitel

With styles such as animation, typography, mosaic, poetry, text art, χχχ, text mode, advertising, elite, kufic, sloyd

Putting the emphasis on grids, patterns, emoticons, tiles, tessellations

From ancient times and the 1700s, 1800s, 1900s, 1910s, 1920s, 1930s, 1940s, 1950s, 1960s, 1970s, 1980s, 1990s , 2000s, 2010s

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