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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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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Ars Electronica 2017 - Artificial intelligence /// September 7-11, 2017, Linz /// #mediaart #artsci

Ars Electronica 2017 - Artificial intelligence /// September 7-11, 2017, Linz /// #mediaart #artsci | Digital #MediaArt(s) Numérique(s) | Scoop.it

Artificial intelligence has done it again. Now that Facebook, Uber and Co. are suffering from an increasingly bad public image, the reinvention of Virtual Reality has already lost its allure, and the Internet of Things doesn’t seem to be able to get beyond the self-replenishing refrigerator, the thrill engendered by futuristic super-machines is dominating the headlines.

 

So what are we to make of artificial intelligence? Gigantic job eliminator? Or the next step in evolution, the one in which technology finally asserts its mastery over us? Or maybe the source of redemptive systems that develop new medications for us and operate on us, that invest and multiply our capital, and that even make better business executives because the boss is finally a more rational decision-maker? Artificial intelligence has many faces and they’re sure to pay attention to us all.

 

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13.04.2017 - Face au déferlement des images - Colloque de la revue TK-21 /// #bigdata

13.04.2017 - Face au déferlement des images - Colloque de la revue TK-21 /// #bigdata | Digital #MediaArt(s) Numérique(s) | Scoop.it

Comment artistes et photographes en Europe et Asie réagissent aux mega data — Un colloque Data Meta Data
Un évènement TK-21 organisé avec le soutien de la SAIF, le National Culture and Arts Foundation (Taïwan) et la Society of Photographic Museum and Culture of Taïwan

http://www.tk-21.com

Intervenants
• Repenser les archives photographiques chinoises à l’ère du Big Data
par Marine Cabos, docteur en histoire de l’art, spécialiste de l’histoire de la photographie en Chine.
• L’esthétique de dix mille photographies superposées chez Atta Kim : « Toutes choses finissent par disparaître »
par Hyeonsuk Kim, chargée de cours, Université Paris VIII.
• Qu’est-ce aujourd’hui que l’Image-Icône entre Europe et Asie ? Extraction et singularité. De l’Inspiration
par Pascal Payen-Appenzeller, expert stratigraphe du patrimoine.
• Une image de Taïwan, la lumière des multi-cultures et la délicatesse de l’ombre par Wei-Shiuan Sun,
photographe, consultante du ministère de la Culture de Taïwan pour la photographie, membre de l’Aica.
• Dévoilement, furtives impudeurs japonaises ou la fabrique de l’image par Alain Nahum, réalisateur et photographe.
• Fonction esthétique et politique des images/symboles nationaux entre Corée et Occident
par Choi Chungwoo, philosophe indépendant.
• Thomas Ruff, des pixels pornographiques qu’on prendrait pour des lueurs astronomiques,
par Isabelle Hersant chargée de cours, Université Paris VIII.
Modérateur J-Louis Poitevin rédacteur en chef de TK-21 LaRevue, critique d’art, membre de l’Aica, docteur en philosophie.

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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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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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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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06.04.2017 - Posthuman curating: curating authenticity or the question of content online

06.04.2017 - Posthuman curating: curating authenticity or the question of content online | Digital #MediaArt(s) Numérique(s) | Scoop.it

The claim that curating is posthuman recognises the changing modes of curating in the world of mass participation in and mass creation of popular culture. It is no longer just about meaning making by art professionals who commission, archive and interpret objects in museums' collections but it defines a popular activity performed daily by agents of different orders. Not just curators but users of social media, not just people but algorithms and software are actively involved in managing, organising and evaluating content. Curating has become a practice that supports creation of narratives and online personas, generation of data and content that is displayed and managed across different social media platforms. ...

 

Speaker : Anne-Marie Schleiner, Michaël Borras A.K.A Systaime, Gaia Tedone - Curated by Magda Tyżlik-Carver 

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

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

 

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

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

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

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

 

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

 

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

 

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

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Mehdi Medjaoui : “Le design des API conditionne la forme du monde de demain” (interview par Diana Filippova)

Mehdi Medjaoui : “Le design des API conditionne la forme du monde de demain” (interview par Diana Filippova) | Digital #MediaArt(s) Numérique(s) | Scoop.it

Mehdi Medjaoui fait partie d’une espèce peu commune : l’entrepreneur normal. Sa startup, OAuth.io, tourne bien sans scaler ni couler. APIDays, la conférence sur les API qu’il a créée en 2012, rencontre un succès soutenu en restant à taille humaine. Il aime le sport, la politique et les bouquins de philo. Mais ne nous y trompons pas, s’il s’y connaît sacrément en matière d’API sans pour autant revendiquer l’AOP “expert”, Mehdi possède une qualité rare : sa vision de l’entrepreneuriat, des API et de la tech est d’abord politique. Flanqué de son baluchon et de son meilleur dictaphone, KMF a passé quelques heures en sa compagnie pour comprendre pourquoi diable les API sont tout sauf une affaire de techno.

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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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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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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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Artificial Intelligence: Blurring the Lines Between Humans and Machines (Milken Institute 2016)

For decades, futurists and science fiction writers predicted that smart machines would someday rival the intelligence of humans. Now, their forecasts seem to be coming true. Artificial intelligence, or AI, already exceeds human capability in certain fields. Machines can send and receive signals and analyze vast quantities of data faster than humans. They have learned to drive cars, manage stock portfolios and, through personal assistants such as Siri and Alexa, talk to us. In the not-so-distant future, AI may even augment our own brain functions. But as with all revolutions, the potential of AI raises concerns. Among the biggest: Some worry that that its growing capability may trigger the largest labor displacement since the Great Depression. This panel will explore the many ways artificial intelligence will shape our workforce, culture and institutions in the years to come.

Moderator: James Cham, Partner, Bloomberg Beta / Speakers:
Pascale Fung, Professor, Department of Electronic and Computer Engineering, Hong Kong University of Science and Technology ; Ben Goertzel, Chief Scientist, Hanson Robotics; Chief Scientist, Aidyia Ltd ; Hsiao-Wuen Hon, Corporate Vice President, Microsoft Corp.; Chairman, Asia-Pacific R&D Group, Microsoft

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

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

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

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

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

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

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

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

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

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

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

 

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

 

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

 

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

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

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

 

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

 

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

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#Call for curators - A.I.R. Gallery /// deadline 21.04.2017

#Call for curators - A.I.R. Gallery /// deadline 21.04.2017 | Digital #MediaArt(s) Numérique(s) | Scoop.it

A.I.R. Gallery invites curators to submit proposals for our next CURRENTS exhibition that will take place between January 4 and February 4, 2018. CURRENTS began in 2010 as a timely and innovative biennial exhibition program. CURRENTS addresses contemporary issues that warrant expanded critical attention in the art world. 

Proposals should describe an original concept for a group exhibition that can be aligned with the mission of A.I.R. Gallery, and refer to its relevance today. Your proposal should not include a selection of artists but should only focus on the concept of the exhibition and its importance for the institution and the audience. The selection of works will be made from a subsequent open call for artists after the curator has been selected.  A.I.R. Gallery will publish a catalog of the exhibit, which will include images of the artwork and a written essay from the selected curator. A stipend will be available.

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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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