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

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

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

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

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

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

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

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

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

 

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

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

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

SPAMM lives on the web well before thinking.

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

SPAMM is NO BORDER.

SPAMM is the quantity not the scarcity.

SPAMM is the horizontal space of digital creation.

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

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The Troll of Internet Art // By Adrian Chen - #webart #netart

The Troll of Internet Art // By Adrian Chen - #webart #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it
On a recent afternoon, Brad Troemel showed me an image of a sculpture that seemed beyond belief: seven hundred monarch butterflies stacked on a levitating magnetic pedestal. Troemel had devised the sculpture six months before, and listed it, for twelve hundred dollars, in his online art store, Ultra Violet Production House.

 

The work looked catalogue-slick, but it didn’t actually exist; the image had been created in Photoshop. The buyer would receive the components to make the work, along with directions for assembling it and a certificate of authenticity. Then she would build it herself, gluing on the butterflies one at a time. Troemel had calculated that the butterflies would weigh about thirteen

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Clickclickclick.click by Moniker – Revealing browser events that monitor our online behaviour / #netart #mediaart

Clickclickclick.click by Moniker – Revealing browser events that monitor our online behaviour / #netart #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Created by Moniker (Roel Wouters & Luna Maurer) and made in conjuction with We Are Data travelling installation, Clickclickclick.click reveals the browser events used to monitor our online behaviour.

 

The website invites the visitor to play along, direct behaviour to unlock “achievements”. Ranging from how many times you click on a button to how fast you move on the page and even how fast is your clicking speed, with the narrator voice who draws conclusions about your character based on your mouse behaviour, the website demonstrates the amount of behavioural data that can be/and is collected today through online services and advertising...

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#Call - Now Accepting Nominations: 2016 Prix #NetArt - co-organized by Chronus Art Centre and Rhizome

#Call - Now Accepting Nominations: 2016 Prix #NetArt - co-organized by Chronus Art Centre and Rhizome | Digital #MediaArt(s) Numérique(s) | Scoop.it

Since 2014, Prix Net Art has celebrated the current moment of net art and its future. The prize was created by Rhizome and Chronus Art Center in response to a relative scarcity of support and recognition for the field, and to promote public conversation about the crucial but always changing role of the internet in contemporary culture and artistic practice. Awards of $10,000 and $5,000 will be given to two artists who are committed to working online and who represent important forward directions in contemporary net art practice.
...

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27.10.2016 - The Art Happens Here: #NetArt Anthology Launch // New Museum

27.10.2016 - The Art Happens Here: #NetArt Anthology Launch // New Museum | Digital #MediaArt(s) Numérique(s) | Scoop.it

On October 27, Rhizome will launch a major new initiative, Net Art Anthology, with a presentation and panel discussion bringing together a group of artists who championed distinct and often conflicting approaches to net art practice in the mid to late 1990s.

Funded by a grant from the Carl & Marilynn Thoma Art Foundation, Net Art Anthology is Rhizome’s ambitious project to retell the history of a field of artistic practice in which even the most influential works often fade into obscurity as a result of technological obsolescence. It will restage a diverse selection of one hundred works from net art history, one per week, over the course of the next two years. The first phase of the Anthology will focus on works created before 1999, and launches on the day of the event with A Cyberfeminist Manifesto for the 21st Century (1991) by VNS Matrix...

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Esthétique des Flux. Interview with Gregory Chatonsky by recto/verso // #mediaart

Esthétique des Flux. Interview with Gregory Chatonsky by recto/verso // #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it
recto/verso: Being one of the pioneers of net art, what is your definition of it? How do you distinguish someone who makes art online from someone doing things online? I think that Capture follows this path of reflection exactly…


Gregory Chatonsky: It would be difficult to summarize all the history of netart. It has given rise to many debates and multiple strategies. What I have noticed is that very quickly, some players in the netart wanted to invent its History and, at the same time, historicize themselves. The almost immediate passage between Contemporary and History seems to be a symptom of our time: we know that all is going to be lost very quickly, that immediate obsolescence is also going to affect our devices and that we need to develop discourses to follow in another temporality. Thus the notion of pioneering, of frequent use, is rooted in the imagination of the American West, of the Wild West in Silicon Valley. When the classic net.art declare that the netart died, there is, beyond a false forward thinking, a way of appropriating a domain: because if it is dead, we are simultaneously the first and last. The act of certifying death is also a declaration of birth. I think it’s time to make a critical juncture and analyze from a distance this historicizing procedure as an artistic capture strategy. Unfortunately some art historians have taken this to its first degree. As for the distinction between an art that would address the network as a medium and a different art, which would consider it in a strictly instrumental way, I see it there an avatar of Greenbergian modernity where the sovereignty of the artwork is identified with the process of empowering the medium. What interests me here is how the “net art” reactivated past discussions and became a bearer for nearly 20 years of a certain modernist posture that saw the development of coding, glitch, GIF, etc. Web for web, art for art, money for money, these self-references circulate on each other...

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Twitter writes Hamlet - #netart installation by Emmanuel Pire // #mediaart #artnumerique

Twitter writes Hamlet - #netart installation by Emmanuel Pire // #mediaart #artnumerique | Digital #MediaArt(s) Numérique(s) | Scoop.it
“If you put 100 monkeys with typewriters in a room long enough, eventually you'll get Hamlet.”

 

A monkey on a typewriter would produce random letters. 6 random letters could be dhsllr or hamlet or klefim. Sometimes randomness produces sequences that seem not random. But the fact that snake has meaning but uvzmp has not is pretty much arbitrary. Some sequence of letters have meaning, some don’t.

 

Out of a random sequence of letters, it all boils down to probabilities. Out of a set of 26 letters, a sequence of 5 of them have about 1 / 12 billion (26^5) chance of being exactly the word snake. The probability of getting a certain word or sentence goes down as you add more letters.

 

So how about a full book ? The version of Hamlet I’m using has about 170k characters. Out of a reduced alphabet of 26 letters + 1 space (leaving out all the ponctuation), the amount of possible combinations for a set of 170000 characters is ridiculous (it’s a 240k+ digits figure).

 

Very unlikely, but theoretically possible. ....

 


Emmanuel Pire
http://lipsumarium.com

http://blog.lipsumarium.com

 

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Terminator Studies, Jean-Baptiste Bayle @ la gaîté lyrique (2014) /// #mediaart #netart

Terminator Studies, Jean-Baptiste Bayle @ la gaîté lyrique (2014) /// #mediaart #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Ce projet propose une relecture de la série de science-fiction « Terminator », dont le scénario se révèle un véritable almanach prophétique. Alors que le fameux « scénario Terminator » devient de plus en plus plausible, chaque jour amène son lot de validation des hypothèses fictionnelles du film. De Foxconn, qui remplace ses travailleurs humains par des androïdes pour fabriquer les nouveaux iPad, à Amazon qui met en esclavage les humains ou Google qui prendrait soudain le contrôle à la « Skynet ». La catastrophe de Fukushima qui est survenue, à quelques jours près, à la même date que l'attaque nucléaire dans « Rise of the machines » (le « Terminator 3 »). La résistance s'organise : des scarabées qui mutent pour résister aux OGM, à James Cameron qui se mobilise pour la sauvegarde des tribus amazoniennes...

 

Jean-Baptiste Bayle est artiste, actionniste audio, dé-programmeur et expert de la contre-surveillance au quotidien. Il est l' anti-auteur de nombreux sites parodiques et collections de remixes, que quelques institutions et initiatives privées ont pris le risque de présenter, dont le festival README04, le CNEAI à Chatou, Villette numérique, le Cnac-Magasin à Grenoble, la galerie W139 à Amsterdam, le Jeu de Paume à Paris. Actif dans différents réseaux de recherches et d'action citoyenne, il continue de rêver d?un monde vivable sous la perspective de la vie immédiate. Il a coordonné différents projets radiophoniques, enseigné à l?Ecole supérieure d?art de Grenoble et conduit des ateliers avec l' Atelier d' Architecture Autogérée à Paris, et se produit régulièrement en concert. Il est un manifestant permanent contre la société de Big Brother.

 

https://twitter.com/terminatorstud
http://terminatorstudies.org

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Poéticas de la conectividad (2015) - #NetArt #MediaArt

Poéticas de la conectividad (2015) - #NetArt #MediaArt | Digital #MediaArt(s) Numérique(s) | Scoop.it

¿Qué impacto tiene Internet en la creación artística? ¿Qué forma toman las obras generadas desde la Red y con sus mismos códigos? Metrópolis emite esta noche su  Sexta Carta Blanca, invitando a JUAN MARTIN PRADA, experto e investigador en Net Art, a que nos seleccione un conjunto de obras que evidencian que Internet se ha convertido en un elemento clave para generar nuevas pautas sociales, comunicativas y afectivas.  Ha titulado su propuesta: “Poéticas de la Conectividad”.


Las obras seleccionadas abordan el mundo de la red desde muy diversos enfoques y metodologías, evidenciando cómo Internet se ha convertido en un elemento clave en la articulación de las pautas sociales, comunicativas y afectivas que caracterizan nuestro tiempo. De ahí que un elemento común a todas estas obras sea el homenaje que rinden al usuario de Internet, que aparece en ellas como tema central, como su protagonista último.


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Lorna Mills | interview on TRIANGULATION blog (2012) /// #mediaart #netart

Lorna Mills | interview on TRIANGULATION blog (2012) /// #mediaart #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

I'm pleased to present an interview with Lorna Mills, who has been working with the GIF format since 2005. Lorna uses different ways to create her animated GIFs, a well known one is from the huge research she makes on the Internet about viral videos, images and even found GIFs, then she manipulates it to create her animated collages to show to the viewer her own story, her own world. I must say Lorna's work is great and funny, I love to see at her work and see how all those situations are put together. But it is not always funny Lorna works can be offensive, profane, sexy, violent, bizarre.. You will find a great variety of content on her pieces, as she says; men and women wanking with rubber dolphins, masturbating kangaroos, animals humping inanimate objects... more into the post!

Lorna Mills has actively exhibited her work in both solo and group exhibitions since the early 1990's. A founding member of the Red Head Gallery, her practice has included obsessive Cibachrome printing, obsessive painting, obsessive super 8 film, and recently, obsessive digital video animations incorporated into restrained installation work. ...

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Digicult: The Book (2012) | #DigitalArt, #Design and Culture /// #mediaart #soundart #netart

Digicult: The Book (2012) | #DigitalArt, #Design and Culture /// #mediaart #soundart #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it


The goal of this publication is to build a resource of information that disseminates and deepens the study of new technologies in the international artistic scene. Using an impressive body of critical work, the book intends to recuperate the experience of Digicult, a magazine that has seen the gradual growth of a network of professionals form disparate areas of research. These individuals have contributed to the creation of a proactive, dynamic and multilayered platform that could be defined unique in this context...

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Project Cuckoo by Jochen Maria Weber /// #mediaart #netart

Project Cuckoo by Jochen Maria Weber /// #mediaart #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Cuckoo is a communication device that uses public social networks as a means of private communication. Cuckoo encrypts messages into randomly generated words, meanings and noise in order to scatter them over multiple communication networks simultaneously. Each letter of an original message gets translated into complex forms of certain length forming new sentences. Those sentences get posted to aforementioned social networks, next to randomly generated noise-sentences for distraction. Read more →

http://jochenmariaweber.de

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☆HYPERMEDIA DREAMS☆ // Curator: Haydiroket a.k.a Mert Keskin /// The Wrong (again) /// #netart #mediaart

☆HYPERMEDIA DREAMS☆ // Curator: Haydiroket a.k.a Mert Keskin /// The Wrong (again) /// #netart #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Future of World Wide Web: Interactive Multimedia Interconnectedness. Curated by Haydiroket - HYPERMEDIA DREAMS is part of The Wrong (again) - New Digital Art Biennale.


www.haydiroket.tumblr.com


Mert Keskin aka Haydiroket is an Istanbul resident, well known around the world with a very impressive work in this medium.His works presented on theMuseum of the Moving Image and Smithsonian's National Air and Space Museum.He has participated in many exhibitions in Canada, the UK, Italy, Portugal, Belgium, Asia and the US and has worked with numerous companies in the entertainment business and his is also a one of Tumblr’s resident GIF editors.

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Sleep Mode, new exhibition /// Rafaël Rozendaal @ Het Nieuwe Instituut // #netart #mediaart

Sleep Mode, new exhibition /// Rafaël Rozendaal @ Het Nieuwe Instituut // #netart #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Internet artist Rafaël Rozendaal presents a new exhibition about the screensaver. Rozendaal questions the anonymity and ephemerality of the screensaver and is fascinated by its subversive, playful and diffuse character. He creates an immersive space for the visitor that captures the extraordinary visual language of this virtually lost medium.

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Net Art Anthology by Rhizome - A two-year online exhibition retelling the history of #netart

Net Art Anthology by Rhizome - A two-year online exhibition retelling the history of #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

This two-year online exhibition will present 100 artworks from net art history, restaging and contextualizing one project each week.

 

Devised in concert with Rhizome's acclaimed digital preservation department, Net Art Anthology also aims to address the shortage of historical perspectives on a field in which even the most prominent artworks are often inaccessible. The series takes on the complex task of identifying, preserving, and presenting exemplary works in a field characterized by broad participation, diverse practices, promiscuous collaboration, and rapidly shifting formal and aesthetic standards, sketching a possible net art canon.

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Satelliten - a machine tracking activities in lower earth orbit / by Quadrature /// #mediaart #netart

Satellites are used for almost all modern achievements, from communication or navigation systems to environmental monitoring and military purposes. By now there are approximately 3000 satellites in orbit, about 1000 of those are still operating. The majority of these objects revolve our planet in 200km to 2000km height, with an orbital period of 90 to 130 minutes.

 

Despite their overall application, we hardly notice their existence. From earth they are visible only in the rare case, that they are in the perfect angle to reflect the sun. All necessary data about the positions and paths of satellites is known though, as it is crucial for determining free spots for new satellites. Accessing this information allows the drawing machine SATELLITEN to keep record of the sheer amount of satellite flyovers in regard to its own location. In a square of approximately 10cm², the machine traces their lines in real time until the far away object leaves our horizon again...

 

Quadrature is a collective for arts, light and robotics.

http://quadrature.co

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A Truly Magical Moment - interactive installation by Adam Basanta // #mediaart #netart

Two lovers in the middle of the dance floor. They link arms and begin to spin. The room blurs as they stare deep into each other’s eyes.


This classic scene is found throughout modern romantic cinema, often shot from an over-the-shoulder and point-of-view cinematography. In A Truly Magical Moment, visitors can re-enact this “Magical Moment” using the contemporary communication tool for many long-distance relationships: Apple’s proprietary FaceTime technology.


Gallery visitors and online guests can use their iPhones or computers to video chat the two FaceTime accounts. When two guests connect one to each phone in a virtual “face to face”, the sculpture begins to spin, reaching dizzying speeds while romantic music plays in the background. At top speed, the background blurs and warps, while the image of your dance-partner remains in focus.


After 60 seconds of a “Truly Magical Moment” - a wordless, “genuine connection” with another person - the rotation slows down to a standstill, while a nearby digital counter keeps count of the amount of “Magical Moments” enabled throughout the exhibition.


A Truly Magical Moment was made possible by financial support from the Canada Council for the Arts and The Agosto Fondation.
Microprocessor programming: Lucas Paris
Consultation: Antonin Sorel

http://www.adambasanta.com

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Daft Gallery | A place for Anonymous Post-Internet Artists (founded by M0US310n.net) /// #mediaart #netart

Daft Gallery | A place for Anonymous Post-Internet Artists (founded by M0US310n.net) /// #mediaart #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it
Daft Gallery believes in the strength and the potential of anonymous artists. We are therefore deeply committed to the growth and development of this kind of artists, and through a market oriented approach and promotion internationally. Daft Gallery supports and represents anonymous artists whom, in their work, remain true to their convictions and their ideals. We are the intermediary between artist and client and place equal value on the interests of both parties.

 

As gallery we offer the artists a professional and stable basis which serves as a solid foundation for the development of their careers. We support not only the development of the artist, but also the development of the art market, since ultimately this benefits the artist as well as the client. It is after of great interest to the client, when the artist he or she has invested in, is capable of growing professionally. This process is also particularly well served when the number of collectors of Post-Internet Art increases.

 

Our international goal is to increasingly present and promote anonymous artists. For another art galleries that are searching new ways of art, we offer our service. In close collaboration with the client the most fitting selection is put together for each particular space....

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Now Accepting Submissions for the Net Art Microgrant - Rhizome.org // #call #netart #mediaart

Now Accepting Submissions for the Net Art Microgrant - Rhizome.org // #call #netart #mediaart | Digital #MediaArt(s) Numérique(s) | Scoop.it
This year, Rhizome will award net art microgrants ranging from $500 to $1500 to fund the creation of new artworks or online exhibitions. Special emphasis will be given to projects that fall in one or more of these categories:
 
  • experimental narrative
  • artists living in NY
  • new browser-based works or series of curated works for front page exhibition on Rhizome.org.

 

Front page works ideally use the full browser viewport with no visible scrollbars, and allow for nudity warnings as necessary, for people visiting the site from their office. For past examples, see Olia Lialina's Best Effort Network, Lance Wakeling's Incantations for the Birth of a Network, and Juan Obando's Museum Mixtape: Dirty South Edition. ...
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hotspot poet by ::vtol:: (Dmitry Morozov) - Autonomous micro-device /// #mediaart #netart

Autonomous micro-device which distributes wi-fi masked as wireless network, visible at any gadget such as a smartphone or a laptop. The device is automatically renaming its network every 10 seconds, taking as its name various lines of poems by famous poets. The device is using an information channel which is accessible and visible to everyone through mobile devices, thus being a non-standard transmitter of poetry. There is no possibility to connect to this network (which is actually a dummy disconnected from Internet) - the message being the name of the network. If one would leave the wi-fi settings menu open, then gradually, line by line, all the poems programmed into the object will be revealed.

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#Systaime @ Jed Voras Galerie - exhibition 05.05 > 03.06.2016 /// #mediaart #netart

#Systaime @ Jed Voras Galerie - exhibition 05.05 > 03.06.2016 /// #mediaart #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Artiste du multimédia et des réseaux, Michaël Borras A.K.A Systaime est le fondateur du mouvement French Trash Touch (créé en 1995, attesté en 2003), membre de l’internationale échantillonniste, il est un acteur important du réseau artistique alternatif international, de l’art numérique et de l’art en réseau. Michaël Borras intervient sur de nombreux événements artistiques internationaux en tant que producteur, organisateur, conférencier, commissaire d’exposition et créateur.

Jed Voras est un acteur d’une nouvelle génération d’artistes dédiant leur travail à l’installation artistique, l’art numérique, le Street Art et le Net.Art.
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The Interior of #NetArt | Josephine Bosma (2002)

The Interior of #NetArt | Josephine Bosma (2002) | Digital #MediaArt(s) Numérique(s) | Scoop.it

The question of how to exhibit net art came up strongly in 1997. It became clear that some works were actually interesting for a traditional, offline art audience. In the beginning it seemed that exhibiting net art in a physical space was an anomaly, something contradictive to the nature and background of the attitude from which net art sprung. The online communities a lot of net art came out of refused to think of solutions for physical exhibitions, like they also found it very difficult (with some exceptions) to find a way to deal with question how to sell a net art work.

 

When I was approached by one of the net communities' most notorious members Frederic Madre to write a text for a tongue in cheeck woman's magazine I decided therefore to write a piece that was half satire half serious about how to deal with net art. In some sense one could say the text is metaphorical. By ridiculing the style of the average woman's magazine I compare the desire to own any art work (and also to exhibit it) to certain bourgois tendencies to use art in a semi-decorative way. We could ask ourselves whether our desire to own and present an art piece is ultimately more then a wish to exhibit our own cultural awareness in a fashionable way, like the American artist Cary Peppermint jokes in this text. The intangibility of most new media art and the impossibility to set limits to certain works force us having to face what exactly it is we want from art. Many do want something of art that seems missing: something to surround oneself with. Let's dive into the interior design of net art.

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Curating Internet Art, Online and IRL / By Ryan Steadman // #netart

Curating Internet Art, Online and IRL / By Ryan Steadman // #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

To fans of Rembrandt’s delicate touch, Schiele’s enervating line or Rothko’s immersive color, the Internet might not seem like the perfect tool for making art, but don’t tell Lindsay Howard that. The New York-based curator took her interest in digital media and ran with it, becoming one of the few experts in the burgeoning realm of Postinternet Art. She’s already curated digital art sales for a major auction house and helped turn young digital artists like Petra Cortright into art world stars. She even positioned movie star Shia LaBeouf as a new media artist that needs to be taken seriously—no small feat. We spoke to her (over the Internet, obviously) about the state of “net art,” how digital art can work in a real-life gallery and her current research on “ex-boyfriends and gambling.” ...

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Adam Ferriss - Artist (pics) Interview Series on Electric Objects /// #mediaart #netart

Adam Ferriss - Artist (pics) Interview Series on Electric Objects /// #mediaart #netart | Digital #MediaArt(s) Numérique(s) | Scoop.it

Artist Interview Series / Electric Objects

The artists below are creating some of the most compelling work today, and have agreed to experiment with Electric Objects.

We’ve asked them a series of questions about their practice. Images, video, text and otherwise are welcome as answers.


----------


read also an another interview about Adam on http://www.itsnicethat.com/articles/adam-ferriss

Adam Ferriss is one of those technologically-minded creatives who is able to put his ever-growing knowledge of code and processing to use building aesthetically wondrous digital art for the rest of us to enjoy. His images make me feel like I’ve just taken some psychedelics and stepped into one of those crazy houses you get in funfairs, where there are giant optical illusions on every wall and the floor keeps moving under your feet, except these are made using algorithms and coding frameworks and, for the moment at least, they don’t exist beyond the screen.


Intrigued and slightly baffled by the infinitely complicated world of digital art, we had a chat with Adam to find out how he got started in working with code, how much control he has over an outcome which is produced largely by random processes, and how he plans to take his work offline...



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Digicult, new Website 2016 | Digital Art, Design and Culture // #mediaart #soundart #netart #hacktivism...

Digicult, new Website 2016 | Digital Art, Design and Culture // #mediaart #soundart #netart #hacktivism... | Digital #MediaArt(s) Numérique(s) | Scoop.it

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...


Marco Mancuso is a critic and curator in the field of digital technologies applied to Art, Design and Contemporary Culture.

Founder and Editor-In-Chief at Digicult and Digimag Journal (part of The Leonardo Affiliate Program), he teaches "Media Art Management" at NABA Academy in Milan, "Phenomenology of Contemporary Art" at IED Institute in Milan, "New Media Theory" at SUPSI in Lugano, "Digital Publishing for the Arts" at Academy of Fine Art in Bergamo, "Marketing of Net Culture" at Bauer in Milan and is visiting professor at Transmedia-Postgraduate Program in Arts+Media+Design in Brussels.

With the Digicult Agency he curated and co-curated a number of exhibitions, round-tables, meetings and events including Mixed Media Festival (Milan, 2006), Screen Music Festival (Florence, 2006-2007), Otolab ‘op7’ exhibition (Bergamo, 2008), Graffiti Research Lab / Laser Tag public performance (Rome, 2008), Sincronie Festival (Milan, 2008-2009), Thorsten Fleisch Retrospective (Milan, 2009), The Mediagate exhibition (Lodz, 2010), Connecting Cultures DIY workshops (Milan, 2013), he presented his screenings and productions at art and cultural events, including Dissonanze Festival (Rome, 2006), Cimatics Festival (Brussels, 2008), Strp Festival (Eindhoven, 2008), Sonic Acts Festival (Amsterdam, 2009), Nemo Festival (Paris, 2009), Elektra Festival (Montreal, 2010), Subtle Technologies Festival (Toronto, 2011), Che Fare Prize (Milan, 2013) and lectured - among others - at Market for Digital Arts/Elektra (Montreal 2008), Fabrica Workshops (Treviso, 2009), Laptop’r’s (Madrid, 2010), Subtle Technologies (Toronto, 2011), Isea (Istanbul, 2012), Open World Forum (Paris, 2012), Design Week (Milan, 2013), 55th Venice International Art Exhibition (Venice, 2013), Cyberfest (Berlin, 2013), Ninth International Conference on Arts in Society (Rome, 2014), BOZAR Festival (Brussels, 2014)…

http://www.marcomancuso.net


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