Digital #MediaArt(s) Numérique(s)

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. ...

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.

The Stedelijk Museum Amsterdam and MOTI in Breda are jointly acquiring 17 top digital works by contemporary artists in the Netherlands and abroad who are among the pioneers of digital art. This collaboration is spurred by MOTI’s change of course: it is due to reopen in the course of 2017 as the Stedelijk Museum Breda, where the legacy of the city of Breda will have a more prominent role.

In the short space of time that it existed, and under the management of Mieke Gerritzen, MOTI – founded in 2011 – has managed to build a remarkable collection of digital works by leading artists. The joint acquisition with the Stedelijk Museum Amsterdam means investing in a national collection in the field of digital art. This merging of curatorial vision transcends local museum policy. The course taken by MOTI in the collection of digital art coheres perfectly with the policy of the Stedelijk Museum Amsterdam, which is always geared to new forms of art with a particular interest in the cross-over between graphic design and visual arts.

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.

A few years ago, Amin Davaie had a goal in mind that proved impossible to attain. He had decided to study Design and Technology at Parsons, The New School of Design in New York. However, since life circumstances in Iran often take us on a different path than intended, he also involuntarily had to change his. This eventually changed his professional trajectory.
Today, Saman Tehrani, who had recently collaborated with Amin on a few projects, is studying at the same university and majoring in the same field. The duo decided to collaborate again to digitally represent Amin’s unfulfilled wish within the context of an interactive installation, while maintaining that any representation is always incomplete.

The head sculpture located in Tehran, Iran maintains its orientation in sync with Saman's head orientation in realtime. Wearing a headband equipped with sensors Saman lives his ordinary life in New York while at the very same moment, a physical presence of him is being experienced in Tehran.

Amin Davaei & Saman Tehrani
2015

tadaex.com/2015/artists/amin-davaie-saman-tehrani/

For the past decade, along with fellow former members of the late hacker-net artist collective Free Art & Technology (FAT) Lab, American artist Evan Roth has been “dedicated to enriching the public domain one mutha-fuckin LOL at a time,” as the collective writes in their mission statement. Roth’s net art stunts have includedamassing a GIF army to Occupy the Internet; hacking his internet cache to create digital “self-portraits;” fooling the Google algorithm into making his name the number one search result for “bad ass mother fucker,” and creating a browser plug-in that erases Justin Bieber from the internet.

But in recent years, especially in the wake of the NSA spying scandal, Roth has found himself disillusioned with the “monetization, commercialization, and centralization of the internet,” as he tells Hyperallergic....

The importance of net.art will never be adequately addressed while the history of art is written by the museums, galleries and the market. Many artists affiliated with this 1990s art movement deliberately used the Internet to circumvent the machinery of the art world or made works that are difficult if not impossible to exhibit and sell. But net.art still offers an essential critique of our relationship to the Internet as well as a compelling demonstration of how art can challenge it from within.

Recognising that the dust has not yet settled, curator and critic Domenico Quaranta composed four short hypotheses about net.art built around the Introduction to net.art (1994–1999) by artists Natalie Bookchin and Alexei Shulgin in 1999.
In a shared online document, four artists and artist groups who helped shape the course of net.art – UBERMORGEN, JODI, Vuk Cosic, and Olia Lialina – respond with their own take on what happened.

L̶e̶ ̶S̶o̶i̶r̶ édité (@lesoir_diff) est un twitter bot qui tente de capturer les changements et corrections d’articles publiés en Une du site du journal Le Soir.

On le sait, l’information de nos jours court plus vite que le temps qu’on a pour la lire. Les rédactions se sont complètement informatisées et connectées de l’écriture à la publication. Ce qui permet évidemment beaucoup de choses: autant d’offrir un article à ses lecteurs dès qu’il est écrit, que de pouvoir le corriger ou de le compléter alors qu’il est déjà publié. Cela arrive aussi parfois que des articles soient même supprimés, comme l’a repéré la RTBF avec cette intox sur un adolescente qui aurait attaqué ses parents en justice à cause de photos publiées sur Facebook.

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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

cloudmessenger.earth website is a visualisation of all confessions floating over the world using realtime wind data. When one passes over your head, you can listen to it.

Commissioned project as part of all future memories / supported by the art of impact. 

BY DRIES DEPOORTER / EVA MOERAERT / IREGULAR

The Macintosh Lab series has been in standby during the last three years, but it has been recently updated and firstly featured through two great mediums ; two new pieces are announced on the last issue of the Japanese magazine MASSAGE 10 containing a screenshot series “Vertical Desktops” and a screen video capture called “Returning Folders”, and another four new screen-video-captures exploring the "Opening Folders" property from the operative system have been presented in a group exhibition titled Kaleidoramacurated by Josephine Skinner at Stills Gallery, Sidney.

Annie Abrahams est identifiée comme une artiste précurseur liée à l’Internet et c’est sans doute sur la base de protocoles que son travail pourrait être défini. Rassembler des performers, d’âges, personnalités et milieux diversifiés, les mettre en frottement les uns avec les autres et étudier, analyser ce qui en ressort. Il s’avère cependant que ce ne sont pas les conditions d’existence de la performance même qui l’intéressent, ce seraient plutôt les espaces de liberté qui émergent et l’appropriation qu’en font les performers.

Annie Abrahams le dit simplement, elle n’est pas performeuse, elle étudie les conditions d’évolution et d’existence des corps en performance sur Internet. La performance fait usage de protocoles, car elle implique de façon indispensable de situer dans le temps les différentes actions et étapes de son déroulement...

A Cyberfeminist Manifesto for the 21st Century was a project in multiple media that gave vivid expression to the emerging political position of cyberfeminism, which saw new technology as an opportunity to disrupt society’s patriarchal norms, and to have fun doing it.

The manifesto was authored in a mode that spoke to the conditions of early network culture: collaborative, plagiaristic, possibly drug-fueled, and pornographic. The resulting text was distributed by fax, snail mail, paste-up poster, billboard, and online post, adopting the techniques of propaganda as an art practice. Through its circulation, it began to generate new versions, spinoffs, and critiques, giving rise to new worlds for artists and theorists to inhabit...

Ars investigates the nascent domain of turning source code and errors into art.

Glitch art resonates with the increasingly complex love-hate relationship humans have with technology. Errors, and by extension the changes, that can occur within software source code and data can provide a fertile foundation for the imagination.

In an attempt to explain this nascent artform, Martino Prendini wrote: “The error becomes image and movement, system errors are exploited, and it has a certain punk nature. At the same time, this kind of art exploits the glitch and uses it, so its nature is also entropic, dadaist... Glitch art is therefore the contradictory relationship between man and machine losing his functionality."

...

PREDICTIVE ART BOT is presently offering production aids in order to accelerate the physical dissemination of its deviant imaginary. This process will lead to a series of exhibitions across different countries, that becomes a hybrid laboratory for human/non-human augmentation.

1. PREDICTIVE ART BOT is a generator of non-human artistic concepts whose use, appropriation and misappropriation are completely free.
2. PREDICTIVE ART BOT is a monitoring, forecasting and self-fulfilling prophecy tool that operates in the field of art and activism.
3. PREDICTIVE ART BOT is a conceptual prosthesis intended to transcend creative constraints such as habit, socialization and education in order to bring about, through inspiration, the creation of completely new objects.
4. PREDICTIVE ART BOT is, at times, a system of sponsorship offering production aids in order to accelerate the physical dissemination of its deviant imaginaries.
5. PREDICTIVE ART BOT is a series of exhibitions across different countries that becomes a laboratory for human/non-human augmentation.
6. PREDICTIVE ART BOT is a virus that transmutes trends into the unexpected.
7. PREDICTIVE ART BOT is, at its best, a lucky accident between words that the machine can’t comprehend and your own imagination.
8. PREDICTIVE ART BOT is a manifestation of the AIvant-garde to come.

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...

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

Three days of talks, performances, workshops and art about computer networking technologies and the communities we build with them.

Learn how to create your own offline networks, portable web servers, mesh networks or internet gateways in hands on workshops. Attend panels where you can discuss your visions for how a localized network could support your school, your community, or your cause. Listen to speakers talk about the future of computer networks and why it’s important to understand how networks work in this age of hyper-connectivity.

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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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...

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....

How would the internet look like if all data were temporary and ephemeral?

An Internet unfolds a vision of such a future internet, with a radically new type of data: smoke.
An Internet converts the 280 internet undersea cable names into (binary) smoke signals.

The names are puffed into the glass network, causing it to fill up, to spill over by which it puffs the data out again. Together the smoke signals create a unique moment without any form of documentation.