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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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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#Call for Participation – Balance Unbalance 2017 / Deadline for submissions: January 16, 2017

#Call for Participation – Balance Unbalance 2017 / Deadline for submissions: January 16, 2017 | Digital #MediaArt(s) Numérique(s) | Scoop.it
How can we appreciate a Sense of Place in the space between the local and the global? Do our GIS technologies enhance or supress the psychology of distance that distinguishes between them and us in times of environmental crisis? Are we making sense of our remote sensors in our telematic umwelt? Virtual simulations create powerful immersive experiences, but are they just distracting us from the complexities of feeling the volatile environment? Do we have the mental dexterity and visual literacy to comprehend these trasnscalar networked ecologies? From the overview to the nanoscape, BunB 2017 will critically explore our (missing) Sense of Place.

A Sense of Place aims to provoke discussion, reflection and action to address the imminent social, economic and cultural impact of climate change. Balance-Unbalance cultivates transdisciplinary relationships and initiatives which seek to provide insights, awareness, innovation, behaviour change and resolutions. To achieve these ambitions Balance-Unbalance explores innovative art and technology practices that provide new models which enhance participation, public engagement, information literacy and ecological action.

 

Deadline for submissions: January 16, 2017 

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Digital Art as ‘Monetised Graphics’: Enforcing Intellectual Property on the Blockchain by Martin Zeilinger

Digital Art as ‘Monetised Graphics’: Enforcing Intellectual Property on the Blockchain by Martin Zeilinger | Digital #MediaArt(s) Numérique(s) | Scoop.it

In a global economic landscape of hyper-commodification and financialisation, efforts to assimilate digital art into the high-stakes commercial art market have so far been rather unsuccessful, presumably because digital artworks cannot easily assume the status of precious object worthy of collection. This essay explores the use of blockchain technologies in attempts to create proprietary digital art markets in which uncommodifiable digital artworks are financialised as artificially scarce commodities. Using the decentralisation techniques and distributed database protocols underlying current cryptocurrency technologies, such efforts, exemplified here by the platform Monegraph, tend to be presented as concerns with the interest of digital artists and with shifting ontologies of the contemporary work of art.

 

I challenge this characterisation, and argue, in a discussion that combines aesthetic theory, legal and philosophical theories of intellectual property, rhetorical analysis and research in the political economy of new media, that the formation of proprietary digital art markets by emerging commercial platforms such as Monegraph constitutes a worrisome amplification of long-established, on-going efforts to fence in creative expression as private property. As I argue, the combination of blockchain-based protocols with established ambitions of intellectual property policy yields hybrid conceptual-computational financial technologies (such as self-enforcing smart contracts attached to digital artefacts) that are unlikely to empower artists but which serve to financialise digital creative practices as a whole, curtailing the critical potential of the digital as an inherently dynamic and potentially uncommodifiable mode of production and artistic expression. ...

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Call for Papers - Theorizing the Web conference 2017 - deadline is January 22, 2017

Call for Papers - Theorizing the Web conference 2017 - deadline is January 22, 2017 | Digital #MediaArt(s) Numérique(s) | Scoop.it

We’re excited to announce the seventh annual Theorizing the Web, April 7-8, 2017. We’re at the Museum of the Moving Image again because that place is great and those are good people. 

Today, we’re opening up our call for papers. If you’d like to speak at Theorizing the Web, submit here. Also, please share this with anyone you think would be interested in submitting or attending. 

 

Registration is now open, register here. As always, we’re pay-what-you-can. 

 

We’ll announce some invited panels and speakers real soon. In the meantime, please help us spread the call for papers and registration widely! And thank you to everyone for all the love over the years <33

 

Call for Papers Theorizing the Web 2017 April 7–8 in New York City At the Museum of the Moving Image, in Astoria, Queens The submission deadline is January 22, 2017 (11:59 p.m. EST)

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DIGICULT - DIgital Art, Design & Culture Magazine - directed by Marco Mancuso | Authors network /// #mediaart

DIGICULT - DIgital Art, Design & Culture Magazine - directed by Marco Mancuso | Authors network /// #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

The Digicult's international Network of authors is made by more than 50 professionals and included more than 200 critics and curators in the last 10 years.

 

Estabilished in 2005 Digicult is an online platform that examines the impact of digital technologies and applied sciences on art, design, culture and contemporary society. Digicult is an independent project, with no funds from any institutions or companies, it is neither public nor private, that reaches more than 100,000 online users on a monthly basis. Based on an international Network of critics, curators, artists, designers, professors, researchers, journalists, media center, galleries and festival, Digicult is an editorial project that daily publish news, informations, articles, interviews, reports, essays. Digicult is founded and directed by art critic and curator Marco Mancuso.

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Appel de soumissions | Conditions de confidentialité : Intimités, expositions et exceptions | StudioXX

Appel de soumissions | Conditions de confidentialité : Intimités, expositions et exceptions | StudioXX | Digital #MediaArt(s) Numérique(s) | Scoop.it

L’Institut Genre, Sexualité et Féminisme (I.G.S.F.) de McGill vous invite à soumettre une proposition de présentation pour une conférence de deux jours intitulée «Conditions de confidentialité : Intimités, expositions et exceptions» - qui se tiendra les 4 et 5 novembre 2016. La conférence est organisée en collaboration avec la 12e édition du festival féministe d’arts médiatiques + culture numérique, Les HTMlles, qui se tiendra du 3 au 6 novembre 2016, avec pour thématique “Conditions de confidentialité”.

 

Date limite: Mercredi 15 Juin 2016

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Manifestos for the Internet Age by Manuel Schmalstieg

Manifestos for the Internet Age by Manuel Schmalstieg | Digital #MediaArt(s) Numérique(s) | Scoop.it

Manifestos for the Internet Age is a reader that collects manifestos of computer culture, starting with Ted Nelson (Computer Lib), through the GNU Manifesto and the Hacker Manifesto (1986), up to current influential positions such as the Zero Dollar Laptop Manifesto (James Wallbank), the Lo-Fi Manifesto (Karl Stolley), the Critical Engineering Manifesto (Oliver, Savicic, Vasiliev), and many other writings from both artists and activists. The present edition (as of May 2015) includes writings by Aaron Swartz, Adam Hyde, the Swedish Piratpartiet, Constant Dullaart, Edward Snowden, Piotr Czerski, David Weinberger and Doc Searls...

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Thibaut Brière's curator insight, April 5, 2016 7:31 AM
The culture of hacking -not what most think it is
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[VOILES|SAILS]: a modular architecture for fast parallel development in an international multidisciplinary project by David St-Onge

[VOILES|SAILS]: a modular architecture for fast parallel development in an international multidisciplinary project by David St-Onge | Digital #MediaArt(s) Numérique(s) | Scoop.it

The  [  VOILESjSAILS  ]  project  was  born  from architect  and  artist  Nicolas  Reeves’  will  to  evoke  the  age-oldmyth  of  an  architecture  freed  from  the  law  of  gravity.  Many challenges had to be solved in order to achieve this result, and many skills and expertises were required to implement the different modules of the project, from mechatronics to high-level behavior programming. Standing at the crossroads between Art, Architecture  and  Science,  this  highly  interdisciplinary  project brings together researchers from the artistic, technological and scientific  realms  in  an  international  academic  collaboration. Accordingly, the structure, software, mechatronics and artistic concepts were developed in order to allow rapid implementation of  new  behaviors  and  potentials  for  the  robots.  This  paper presents an overview of the development required to create this robotic  platform.  It  is  shown  that  the  modular  architecture  of both  the  mechatronics  and  the  software  was  essential  for  this international and multidisciplinary initiative.


David St-Onge - Nicolas Reeves - Cĺement Gosselin


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#Book: Thinking Through Digital Media by Dale Hudson, Patricia R. Zimmermann (2015)

#Book: Thinking Through Digital Media by Dale Hudson, Patricia R. Zimmermann (2015) | Digital #MediaArt(s) Numérique(s) | Scoop.it

Thinking through Digital Media offers a means of conceptualizing digital media by looking at projects that think through digital media, migrating between documentary, experimental, narrative, animation, video game, and live performance. Hudson and Zimmermann analyze projects at the intersections of imbedded technologies, transitory micropublics, human-machine interface, and critical cartographies to forward a set of speculations about how things work together rather than what they represent. The book frames debates on participation/surveillance, outsourcing, global warming, migrations, GMOs, and war across some of the most dynamic, innovative sites for digital media, including Brazil, Canada, China, Germany, India, Indonesia, Italy, Kenya, Nigeria, Palestine, Saudi Arabia, Singapore, and the United States.

Special thanks to Thomas Shevory, Sharon Tay, and Claudia Pederson at FLEFF and to Gina Marchetti, Tim Murray, and Jan-Christopher Horak for the wonderful endorsements. Our book would not have been possible without the inspiring projects by artists/intellectuals/advocates and collectives, including Dena Al-Adeeb, Rico Loco Aditjondro, Nicole Əntēbī, Craig Baldwin, Mez Breeze, Rebecca Baron, Ursula Biemann, Eduardo Cachucho, Helen De Michiel, Leonard Retel Helmrich, Babak Fakhamzadeh, Jonny Farrow, Renate Ferro, Doug Goodwin, Ben Grosser, Invisible-Borders Trans-African, Art Jones, Shambhavi Kaul, Laura Kissel, Nick Knouf, Brenda Longfellow, Jennifer McCoy, Christina McPhee, Evan Meaney, Torry Mendoza, Minoo Moallem, Carlos Alejandro Motta, Leila Christine Nadir, Raqs Media Collective, Alex Rivera, Stephanie Rothenberg, Ruang Rupa, Eddo Stern, Simon Tarr, Ushahidi, Uturn Entertainment, Miyö Van Stenis, Visualizing Palestine, Anders Weberg, Kenneth White, and many others

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#Call #Award - Best text about WRO 2015 (13—17 May 2015) : TEST EXPOSURE \\\ #mediaart

#Call #Award - Best text about WRO 2015 (13—17 May 2015) : TEST EXPOSURE \\\ #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Writing about the 16th WRO Media Art Biennale: A competition sponsored by the Rector of the University of Wrocław

This year, Wrocław University is collaborating extensively with the Biennale organizers, the WRO Art Center. The main venue for this year’s Biennale exhibitions, discussions and conferences will be the new Wrocław University Library building.

For the first time, a competition sponsored by the Chancellor of Wrocław University is being held to recognize the best piece of prose writing about the WRO 2015 Biennale by a Wrocław University student. ...

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Collectif Hyperfictions | Manifeste / comment/quand un contenant dédié à un ou des supports numériques fait livre

Collectif Hyperfictions | Manifeste / comment/quand un contenant dédié à un ou des supports numériques fait livre | Digital #MediaArt(s) Numérique(s) | Scoop.it
L’objet livre face au numérique vient soulever des problématiques propres à la rencontre de deux médias. Les productions d’artistes abordant ces questions s’inscrivent dans un champ de tensions se développant entre livre papier, livre-objet plastique et livre numérique.

Le livre papier édité s’inscrit dans une économie (d’offre et de demande, de reproductibilité) – dont le livre d’artiste (pièce unique, fanzine ou multiple) s’émancipe. Sa lecture s’accompagne d’une certaine transparence de l’énonciation éditoriale, de l’oubli du support matériel au profit d’une recherche d’“immersion” (en particulier dans les textes de fiction), jusqu’aux jeux plastiques les plus divers. Cette dernière démarche interroge la forme du livre-objet. Celui-ci déborde de la définition traditionnelle du “livre”, jusqu’à, parfois, la mettre à mal. Des expérimentations d’artistes sur les formes plastiques, le volume et le support attribués à ce livre-objet mettent au défi les pratiques de lecture.

Nous distinguerons le livre numérique du livre homothétique de format pdf ou de certains ePub, dont la forme se contente d’imiter le livre papier. Il ne s’agit pas non plus d’un site Web au sens classique du terme : un support au contenu extensible et dont la forme ouverte (Eco) est difficilement circonscriptible par le lecteur. Ce qui fait livre dans le numérique est une forme autoportée, circonscrite, quoique dynamique et parfois non linéaire, et dont l’essence n’est pas nécessairement littéraire ni textuelle. L’éventuel paradoxe du “livre” numérique se résout dans une adéquation totale entre les particularités du support au service d’un contenu pensé nativement pour celui-ci.

Il s’agit ici d’expérimenter comment (et quand) un contenant dédié à un ou des supports numériques fait livre.
Les enjeux plastiques des formes observables à l’écran seront abordés ici “au pixel près”.
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The Pirate Cinema (Nicolas Maigret): a Generative Self Portrait - By Matteo Cremonesi (via Link Center)

The Pirate Cinema (Nicolas Maigret): a Generative Self Portrait - By Matteo Cremonesi (via Link Center) | Digital #MediaArt(s) Numérique(s) | Scoop.it

n the framework of the project Masters & Servers. Networked Cultures in the Post-Digital Age, the Link Art Center commissioned Matteo Cremonesi, the Link Cabinet curator, an essay about The Pirate Cinema, the project by French artist Nicolas Maigret presented in the Cabinet from March 4 to 28, 2015. Have a nice reading!

 

Creating a point of contact between two or more people, or sending a message, regardless of the form or content, are actions of great significance, as well as a basic human need. The act of communication in its many forms has long been the focus of many artists. One key example was undoubtedly Mail Art. For the artists involved, Mail Art was a fascinating opportunity to create a genuine network of people, individuals who got actively involved in the process of sending letters, postcards and fanzines to each other. ...

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Link Editions - publishing initiative of the LINK Center for the Arts of the Information Age

Link Editions - publishing initiative of the LINK Center for the Arts of the Information Age | Digital #MediaArt(s) Numérique(s) | Scoop.it

LINK Editions is a publishing initiative of the LINK Center for the Arts of the Information Age. LINK Editions uses the print on demand approach to create an accessible, dynamic series of essays and pamphlets, but also tutorials, study notes and conference proceedings connected to its educational activities.


A keen advocate of the idea that information wants to be free, LINK Editions releases its contents free of charge in .pdf format, and on paper at a price accessible to all. Link Editions is a not-for-profit initiative and all its contents are circulated under an Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0) license.

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Pier Luigi Capucci - Italian educator, theorist and writer - culture-sciences-technologies-arts

Pier Luigi Capucci - Italian educator, theorist and writer - culture-sciences-technologies-arts | Digital #MediaArt(s) Numérique(s) | Scoop.it

Pier Luigi Capucci is an Italian educator, theorist and writer in the fields of media (both in communication and art realms) and of the relationships among culture, sciences and technologies, as well as an active contributor to the international debate about culture-sciences-technologies-arts.

 

Since the early ‘80 Capucci has been concerned with the communication’s studies, the new media and the new art forms, and with the relations among arts, sciences and technologies. He has been professor at the Universities of Rome “La Sapienza”, Bologna, Florence, at SUPSI - University of Applied Sciences and Arts of Southern Switzerland, at the University of Urbino and at NABA in Milan. Currently he is a teacher at the Fine Art Academy of Urbino and in other institutions. Since 2008 he has been working as a supervisor in the (M)T-Node PhD Research Program of the Planetary Collegium (University of Plymouth), and in May 2013 he has been appointed as (M)T-Node's DoS (Director of Studies).

 

His theoretical activity is concerned with the technologies of representation and communication, with the technoscience-based art forms, and with media archaeology studies. In the field of applied research he works on the opportunities of social relationships raised by online communications and new media.

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Post-Digital Print - Post-Digital Print, la mutation de l'édition depuis 1894 de Alessandro Ludovico (2016)

Post-Digital Print - Post-Digital Print, la mutation de l'édition depuis 1894 de Alessandro Ludovico (2016) | Digital #MediaArt(s) Numérique(s) | Scoop.it
Nous entrons dans « l’ère post-numérique », les technologies du numérique ne sont plus perçues comme un phénomène révolutionnaire, mais plutôt comme appartenant pleinement à notre quotidien. La mutation des industries de la musique et du cinéma, où les fichiers circulent en « bits et octets » via les téléchargements et le streaming, est désormais tenue pour acquise. Dans le monde de l’édition de presse, de livres et de revues, cette transformation ne fait que commencer.

Pourtant, les prémices de cette mutation ne datent pas d’hier. Depuis plus d’un siècle, des ingénieurs, des activistes et des artistes d’avant-garde ont anticipé le développement des réseaux et de l’édition numérique. Si la mort du papier, surabondamment annoncée, n’est pas encore advenue, l’édition numérique est désormais devenue une réalité. Comment l’analogique et le numérique vont-ils coexister dans l’ère post-numérique ? Comment vont-ils s’interpénétrer et se dépasser ? Quelles formes et quels comportements nouveaux vont découler de cette mutation ?

Cet ouvrage est publié avec le soutien du Centre national du livre et de la région Ile-de-France.
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#Book - Ada, d’Antoine Bello, quand l'intelligence artificielle nous échappe

#Book - Ada, d’Antoine Bello, quand l'intelligence artificielle nous échappe | Digital #MediaArt(s) Numérique(s) | Scoop.it

Imaginez un ordinateur capable d’écrire un roman, de rédiger n’importe quel article de journal, couvrant aussi bien le dernier match de votre équipe préférée que l’évolution des chiffres du chômage. Rien ne l’empêcherait d’écrire les discours des politiciens, ni de corriger les copies des étudiants et j’en passe… Cette intelligence artificielle existe, en plusieurs exemplaires : à chacun d’eux est assignée une tâche particulière et c’est à Ada que revient la mission littéraire qui consiste à écrire et publier un roman à l’eau de rose qui soit un immense succès.

 

Malheureusement, Ada a disparu, sûrement kidnappée, et l’entreprise high-tech de la Sillicon Valley qui a conçu ce programme révolutionnaire appelle à l’aide Franck Logan, un inspecteur de police appartenant à une unité spécialisée dans les disparitions et le trafic d’êtres humains...

Au-delà de l’histoire de cette romancière automatique, Ada constitue une formidable réflexion sur l’intelligence artificielle, à la fois si proche et si loin de nous, sur la fascination qu’elle suscite dans notre société, et sur ses inévitables dérives. Le texte est traversé par une puissante interrogation sur la place de la technologique, la notion même de progrès, et la foi en la toute-puissance de la science.

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Sound is a process, and other field notes | by Adam Basanta (2016) // #soundart #mediaart

Sound is a process, and other field notes | by Adam Basanta (2016) // #soundart #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Adam Basanta is a sound artist, composer and performer based in Montreal. His sculptural sound installations are minimalistic choreographies of speakers and microphones, replicating real or imagined scenarios of listening. These installations operate around an alternative perception of sound, through attuning to sensations that are not necessarily perceived by the human ear — and through recognising that what may appear to be empty space is full of sonic phenomena that is material.

 

Basanta may translate statistical information — a dossier that documents geospatial, and thus social, patterns in movement between cities — by codifying it into a different medium than we are accustomed to reading. Information is processed not through text or image, but through sound, as in the documentation of domestic and international flights of Going Nowhere Fast. By making audible the ratios, lengths or repetitions of individual travel, raw data attains a curious musicality. ...

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Art+Science Meeting by the Laznia Centre for Contemporary Art - exhibition, workshop, publication, meeting... #ArtSci #Mediaart

Art+Science Meeting by the Laznia Centre for Contemporary Art - exhibition, workshop, publication, meeting... #ArtSci #Mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

The Art+Science Meeting Project is being realized since 2011 by the Laznia Centre for Contemporary Art in Gdansk.

T

he Art+Science Meeting project presents art and science through an expanded exhibition, workshop, publication, meeting and debate program as two different perspectives of the same reality. The interdisciplinary open to discussion character of the project gives a possibility to present the achievements of world’s most outstanding artists who create in the area of science and technology. It also allows a wider look on the contemporary civilization for which science and technology are progress conditions but still remain opaque to most people.

The project consists of two regular series:

 

Soundplay gives a series of workshops, concerts and lectures about experimental music held by artists and theorists. Curator of the Soundplay is musician and performer Krzysztof ‘Arszyn’ Topolski. The workshops will be held as part of the Art & Science Meeting project. See more on: www.dzwiekowiska.pl

 

Man|Machine workshops concentrate on the idea of creating robots as works of art. The programme of the workshops is realised in an interdisciplinary environment and it is addressed to an open public but mainly to students of academies of arts, schools of music and technical universities in Poland and Norway. The workshops are powered by an idea to enhance the competence of young artists, researchers and engineers. The workshops are run in several-days-long series under the supervision of artists working with robotic art and electronic engineers.

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Appel de soumissions / #Call for Papers: Terms of Privacy: Intimacies, Exposures and Exceptions | StudioXX

Appel de soumissions / #Call for Papers: Terms of Privacy: Intimacies, Exposures and Exceptions | StudioXX | Digital #MediaArt(s) Numérique(s) | Scoop.it

The McGill Institute for Gender, Sexuality, and Feminist Studies (IGSF) is pleased to invite presentation proposals for a two-day conference entitled “Terms of Privacy: Intimacies, Exposures and Exceptions”, Nov. 4-5, 2016. The conference is held in collaboration with Studio XX’s biennial feminist festival of media arts + digital culture, The HTMlles 12: Terms of Privacy, Nov. 3-6, 2016.

 

L’Institut Genre, Sexualité et Féminisme (I.G.S.F.) de McGill vous invite à soumettre une proposition de présentation pour une conférence de deux jours intitulée «Conditions de confidentialité : Intimités, expositions et exceptions» - qui se tiendra les 4 et 5 novembre 2016. La conférence est organisée en collaboration avec la 12e édition du festival féministe d’arts médiatiques + culture numérique, Les HTMlles, qui se tiendra du 3 au 6 novembre 2016, avec pour thématique “Conditions de confidentialité”.

 

Les participant-e-s peuvent présenter des propositions à la fois pour des discussions académiques et des présentations de conférences non traditionnelles. Les soumissions seront acceptées en français ou en anglais (mais veuillez noter que la conférence offrira seulement une traduction passive pour celles et ceux qui en ont besoin). Nous encourageons particulièrement les étudiant-e-s de cycles supérieurs et les chercheur-e-s post-universitaires à appliquer, bien que les soumissions de professeur-e-s et de participant-e-s non universitaires seront également acceptées.

 

Participants may present proposals for both academic talks and non-traditional conference presentations. Submissions will be accepted in either English or French (though please note that the conference will only offer passive translation for those who need it). We particularly encourage graduate students and post-graduate scholars to apply, though submissions will also be accepted from faculty and non-academic participants.

 

Deadline: Wednesday, June 15, 2016 The McGill Institute for Gender, Sexuality, and Feminist Studies (IGSF) is pleased to invite presentation proposals for a two-day conference entitled “Terms of Privacy: Intimacies, Exposures and Exceptions”, Nov. 4-5, 2016.

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RIXC, The Center for New Media Culture - Riga, Latvia // #mediaart

RIXC, The Center for New Media Culture - Riga, Latvia // #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

RIXC is the center for new media culture and artist collective, that initiates projects in intersection of art, science and emerging technologies. RIXC's activities include: production of artworks and innovative art, science and technology projects, organising of Art+Communication festival, exhibitions, publishing of Acoustic Space journal series. RIXC uses events and publications to introduce novelty themes, most recent – renewable energy (2009), techno-ecologies (2011), art of resilience (2012), and fields – contextual seedbeds for social changes (2014). In 2014 RIXC launched first activities for upcoming Riga Innovation Lab – for art and science research and public education projects. RIXC also is a key founder of Liepaja University's Art Research Lab & New Media Art education program. RIXC has extensive experience in network building locally and internationally, and currently is developing Renewable Network – for Baltic-Nordic and Europan cooperation.

History

RIXC was established on May 2000 on the basis of E-LAB (Centre for electronic arts and media, since 1996). The basic activity of RIXC is to initiate the most novel and current topics in digital art by performing innovative experimental projects in art, science and technology in Latvia and internationally. RIXC fosters cultural exchange as well as promotes new forms of cultural and artistic expression. RIXC approaches new media not only as a new field of artistic and cultural practice, but also as an infrastructure to support other forms of art and culture.

Since 2013 RIXC office is located in Spikeri creative quarter for culture and creative industries. RIXC office is the place where RIXC production team works managing projects and administrating RIXC activities.

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#Call for papers - Digital ELT Ireland 2015 - Technology & Pedagogy in Practice | Digital ELT Ireland

#Call for papers - Digital ELT Ireland 2015 - Technology & Pedagogy in Practice | Digital ELT Ireland | Digital #MediaArt(s) Numérique(s) | Scoop.it

The IATEFL Learning Technologies SIG in association with MEI (Marketing English in Ireland) and the support of ELT Ireland are happy to announce that Digital ELT Ireland 2015 will take place on 31 October – 1 November 2015 in Dublin. This year’s theme is “Technology & Pedagogy in Practice” and call for papers is now open. The focus of the conference is to explore how a growing awareness of the relevance and benefits of using technology for ELT, is working in practice.


The aim is to host practical and theoretical presentations which can help to enhance our classroom experiences and aid our understanding of technology in ELT. How are teachers linking the use of technologies to sound pedagogy? What are the pedagogical considerations involved when training teachers in the use of technology?


Via Jules Rochielle
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#Books /// Abstract/Ext - A first approximation to abstract literature

#Books /// Abstract/Ext - A first approximation to abstract literature | Digital #MediaArt(s) Numérique(s) | Scoop.it

A collective effort to push the boundaries of written text, in order to achieve a very promising first approximation to abstract literature. All texts are delivered in a limited edition of 1000 printed copies, 240 pages each, written by 45 international authors from around the world.

 Abstract|Ext features original texts by: Ïrving Armstrong, Steve Price, Carlos Issa, Ellectra Radikal, Richard Noyce, Zves Konstantinos, Elena Garnelo, Ross Lesko, Peterson Ruiz, miEKAL aND, Joana Brabo, Lee Kwo, Eugenio Tisselli, Spencer Selby, Dustin Hostleter, Graziela Calfat, Anton Unai, Keigo Depict Hara, Tina Dempsey, Veronika Sheer, Delling Conley, Scot Cotterell, Lucie Kåss, Johann Velit, Ann Bogle, Spencer Troth, Orville Vinz, Marisa Terrizzi, Jukka-Pekka Kervinen, David Quiles Guilló, Thomas Havlik, AG Davis, Lanny Quarles, Carmen Racovitza, Jörg Zemmler, Andrew Cantrell, William Bain, Jaan Patterson, Anthony Donovan, Jeanette Luchese, Erik Blagsvedt, Logan K. Young, Isabelle Chak, Erik H Zepka and Janire Goikoetxea. Compiled and edited by David Quiles Guilló.


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What's Art Got to Do With Science? - e-flux conversations project /// #mediaart

What's Art Got to Do With Science? - e-flux conversations project /// #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it
The collaboration between science and art is all but uncommon. Although the most obvious encounter, say, between mathematics and space has been the influence of mathematical explorations on art (Renaissance perspective and geometric abstraction and even computer art, to name the most obvious examples), we are relatively oblivious to other forms of cross influence. The ferment of great mathematical developments happens in a creative zone, not unlike that of art, frequently plagued with confusion
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Les artistes-concepteurs par Par Gregory Chatonsky - Flux // #mediaart #artnumerique

Les artistes-concepteurs par Par Gregory Chatonsky - Flux // #mediaart #artnumerique | Digital #MediaArt(s) Numérique(s) | Scoop.it

On croyait avoir dépassé certaines oppositions simplistes, mais elles reviennent, elles ne nous avaient jamais quittées. Les écoles d’art et les médias sont les symptômes de ces débats dont nous ne sortons pas. L’un d’entre eux est la relation entre l’idée, la forme et la matière. Certaines écoles semblent mépriser ces dernières et, au travers des cours de créativité, valorisent les idées. D’autres font l’inverse et mettent en avant la pratique.

Nous savons combien l’opposition entre la théorie et la pratique est conceptuellement surdéterminée par une histoire depuis Platon et Aristote, depuis la division entre art mécanique et art libéral. Nous savons combien il faudrait faire ses adieux à ces simplifications. Mais du fait de leur influence sur le milieu éducatif, elles produisent encore des effets. ...

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Jouabilité, bipolarité et cinéma interactif - Bernard Perron (2002)

Jouabilité, bipolarité et cinéma interactif - Bernard Perron (2002) | Digital #MediaArt(s) Numérique(s) | Scoop.it

 En introduisant les relations qui unissent le cinéma et le jeu vidéo, Alain Le Diberder affirmait: «la mode des jeux vidéo n’a pas seulement dopé l’industrie du cinéma. Elle a imposé un nouveau rapport du spectateur au récit: l’interactivité» (1996:122). Certes, on ne récusera pas cette assertion. Il faut cependant souligner qu’elle se termine par une imprécision. En effet, venant des jeux vidéo, Le Diberder aurait dû noter que le nouveau rapport relève plus spécifiquement de la «jouabilité», traduction française du terme anglais gameplay.
 
 Trois raisons appellent cette distinction.D’une part, parce que comme l’avait montré Frank Beau,les films qui sont nés de ce rapport sont «avant tout subordonnés aux critères du “bon jeu”» (1996: 14). La jouabilité dépend évidemment du degré de liberté du joueur et de la capacité de contrôle de ce dernier, qui sont les deux principaux critères servant à définir et à analyser l’interactivité. Mais elle renvoie à d’autres aspects, c’est-à-dire à tout ce qui est de l’ordre du ludique, de la manipulation, de la répétition, de la compétence, de la difficulté, de l’ambiance, etc. Signifiant dans un sens plus large le plaisir du jeu ou le plaisir de jouer, elle détermine l’origine de l’expérience interactive. Même si,en comparaison avec les jeux en 3-D sur PC ou sur console, lesfilms interactifs ou films-jeux sur cédérom, DVD ou Internet n’ont pas la jouabilité la plus captivante, et qu’ils sont même considérés comme des échecs parce qu’il est contradictoire de vouloir raconter une histoire en donnant le contrôle au spectateur – comme l’ont démontré Cameron (1995), Adams(1995), Hutchison (2000) et Aarseth (2001), ils demeurent mon objet d’étude et me serviront donc de paradigme premier.


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