Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
By supporting emerging artists and commissioning new works, NOME showcases how our visual culture is changing. Founded in 2015
By exploring the nodes of entanglements between these fields, NOME aims to raise critical awareness of the crucial issues facing our age.
The gallery works with international emerging and mid-career artists whose practices engage diverse disciplines and involve a broad range of media.
NOME enables artists to deepen their research and further their artistic potential by collaborating with various cultural institutions and facilitating the production of new works for each exhibition.
Le NøøMuseum est une oeuvre d’art numérique immersive et interactive développée par Yann Minh depuis plus de dix ans.
C’est un musée dématérialisé de science-fiction imaginaire consacré à la préhistoire de la cyberculture, et qui étend son réseau de galeries hypermédias connectées, dans différents secteurs du cyberespace. Les premières NøøGaleries ont été installées en 2004, dans l’espace vidéoludique du jeu Unreal-Tournament sous forme de “map” personnalisées, accessibles en réseau multijoueur.
Depuis, le réseau de NøøGaleries s’est développé dans les mondes persistants des open-sims, et de second life, en versions stand alone téléchargeables et installées sur les ordinateur des visiteurs, sur le web, et maintenant en version immersives pour l’Oculus Rift, les Google Cardboard IOS et Android, et autres dispositifs immersifs VR. ...
The director of the Digital Art Museum in Berlin breaks down the promise and limitations of virtual reality in this interview with Artspace’s Will Fenstermaker.
In the Whitney Museum’s first biennial of its new Chelsea home, the most controversial work is one of new media: Jordan Wolfson’s Real Violence (2017) is experienced through virtual reality headsets. Via Oculus Rift, the viewer is forced out of the museum and onto a New York street, where the artist waits with a baseball bat. Before viewers have time to accustom themselves, Wolfson swings, repeatedly wailing the bat and stomping his foot into the face of an animatronic doll—rendered lifelike through post-processing—which spouts too-human blood. Back in the museum, metal handrails help deter viewers from looking away. All of this is overlaid, through headphones, with the recitation of a Hebrew prayer. ...
Blockchain is a shared, immutable ledger for recording the history of transactions. It fosters a new generation of transactional applications that establish trust, accountability and transparency.
IBM Blockchain has joined The Linux Foundation's Hyperledger Project to evolve and improve upon earlier forms of blockchain. Instead of having a blockchain that is reliant on the exchange of cryptocurrencies with anonymous users on a public network (e.g. Bitcoin), a blockchain for business provides a permissioned network, with known identities, without the need for cryptocurrencies.
ELBOW is a portable cassette player reduced to the core. In XXI century, the rise of cheap and convenient digital media has made all physical formats „outdated“. Still, the tactile intimacy of physical formats is dearly missed. That’s the reason behind the resurgence of vinyl, and also motivation behind ELBOW. ELBOW was conceived with burning passion by, and for, cassette tape lovers!
ELBOW’s most prominent feature is the biaxial arm. It rotates in two directions – upward motion enables the insertion of a cassette, while sideways motion allows to manually switch playing direction. Playback is controlled by a single wheel – turning left from the initial position activates the motor and increases volume, turning in the opposite direction fast-forwards the cassette. The device has two connections: a standard 3.5mm audio plug, and a mini-USB port for charging and transferring audio to a computer. Also, an additional pin can be used to attach player to clothes and other objects, turning your cassette into a unique accessory.
Take part in the imminent cassette tape revival - help our research by answering a few simple questions!
A cool idea here and a beautiful design for this portable cassette tape player. This support become popular again in the experimental music world, so hope this company will have success to finalize this with a low price.
Future and Emerging Technologies (FET) push the boundaries of human knowledge. Unconventional ways of thinking and creativity open novel and visionary fields of research that radically shift. Our project brings together artists and FET projects using best practice methods to create high-impact collaborative outcomes including the production of new artworks, major exhibitions, media campaigns, and socially engaged events including festivals, debates and participatory workshops.
Six leading international artists are hosted within FET projects through fully funded embedded residencies. Through in-depth collaborations with researchers and reflecting on the projects, the artists explore, engage and communicate these new areas of research to reach the widest possible audiences, opening up societal discussions, raising awareness and enhancing take-up of radically new technologies.
In our video section you can also find introductory videos by our coordinator, Erich Prem, and our artist partner, Anna Dumitriu, to give you an overview of our project.
Using 40 Raspberry Pis attached to 40 Adafruit e-ink displays, New York conceptual artist Zach Gage turned Google Search’s autocomplete function into poetry. Each “Glacier” is a unique poem generated…
The installation’s screens refresh daily as the Pis check Google for changes and update accordingly. For some search phrases, however, it’s likely that they will not be altered for years or even décades. ...
Data and Dragons is a series of sculptures that intercepts and logs anonymous live data captured from surrounding WiFi signals. An assembly of custom printed circuit boards and Ethernet cabling, each work is dark and austere, manifesting “the cloud”, social networks, data, leaks, and that which forms social capital into a single object. Passively interactive, the behavior of these pieces is driven by custom hardware and packet sniffers, which capture all the live data passing through the area. The information is then visualized via surface mounted LEDs, through a series of blinking patterns.
Addie Wagenknecht is an American artist based in Austria whose work explores the tension between expression and technology. Blending conceptually-driven painting, sculpture, and installation with the ethos of hacker culture, Wagenknecht constructs spaces between art object and lived experience. Here, the darker side of systems that constitute lived reality emerge, revealing alternative yet parallel realities. In the context of post-Snowden information culture, Wagenknecht’s work contemplates power, networked consciousness, and the incessant beauty of everyday life despite the anxiety of being surveilled.
Biofaction is a research and science communication company based in Vienna, Austria. Biofaction has significant expertise in science communication, film production, technology assessment and the study of ethical, legal and social issues in a number of emerging sciences and technology (genetic engineering, synthetic biology, converging technology).
They provide expertise and services in the following areas:
– technology assessment of new and emerging (bio)technologies
– art and science collaboration
– film and video production on science and technology
– science communication and managing the science-society interface
In March 2017, iMAL and Packed.be start a two-year research collaboration to develop methods, tools and services for the preservation of digital-born content, as well as their public access through a prototype of new type of media library for digital artefacts based on emulation.
The project will focus on the use of emulation, an efficient approach that consists in simulating old hardware platform in a software way. This technique provides a promising basis for the development of a strategy for the preservation of digital creations and their future public access. Today, in Belgium and Brussels, expertise in the preservation of digital-born works and the use of emulators is not sufficient to meet the challenges on the future of born-digital content. It is this gap that the Resurrection Lab proposes to fill.
The project initiated by iMAL is a collaboration with Packed.be, the Center of Expertise in Digital Heritage based in Brussels and the bwFLA team of the University of Freiburg, one of the leading R&D center in the development of emulation environment.
The project is supported by Innoviris, the Institute for Research and Innovation of the Brussels-capital Region.
For 20 years This is Not Art has celebrated Newcastle as a first-rate creative city. As one of Australia's leading contemporary and emerging arts festivals, TiNA provides a national platform for experimental and emerging arts practices. The festival supports artists to take risks, experiment, and extend the boundaries of their art forms and practices. Now is your chance to get involved!
The next TiNA Cultural Festival. 28 September - 1 October, 2017. Newcastle Australia
In the 1980s, Joi Ito traded in library tables at the University of Chicago for turntables at Chicago’s Smart Bar. But his attempt to evade academia wouldn’t stick.
The two-time college dropout became director of the MIT Media Lab in 2011, making the 50-year-old an academic administrator at one of the most renowned universities in the world. Before that, he was an entrepreneur who started a number of his own companies and invested in the likes of Flickr, Twitter and Kickstarter.
A proud supporter of “responsible disobedience” — the lab is awarding its first $250,000 Disobedience Award this July — Ito is in Chicago Wednesday as a Chicago Ideas speaker. He will appear with IDEO Chicago Executive Portfolio Director Neil Stevenson at an event to discuss Chicago’s role in “embracing culture, art and experimentation.”
Blue Sky talked to Ito — whose interdisciplinary media lab focuses on the creative use of digital technology, sciences, arts and design — about the disobedience mindset....
Part of the momentum comes from breakthroughs in artificial neural networks, which loosely mimic the multi-layer structure of the human brain. But that’s where the similarity ends. While the brain can hum along on energy only enough to power a light bulb, AlphaGo’s neural network runs on a whopping 1,920 CPUs and 280 GPUs, with a total power consumption of roughly one million watts—50,000 times more than its biological counterpart.
Extrapolate those numbers, and it’s easy to see that artificial neural networks have a serious problem—even if scientists design powerfully intelligent machines, they may demand too much energy to be practical for everyday use.
In 1995, MIT’s Nicholas Negroponte predicted that “being digital” would have us entering a realm increasingly unconstrained by the materiality of the world. Two decades later, our everyday lives are indeed ever more suffused by computation and calculation. But unwieldy materiality persists and even reasserts itself.
Programmable matter, self-assembling structures, 3D/4D printing, wearable technologies and bio-inspired design today capture the attention of engineers, scientists and artists. “BEING MATERIAL” will showcase recent developments in materials systems and design, placing this work in dialogue with kindred and contrasting philosophy, art practice and critique.
Panels on the PROGRAMMABLE, WEARABLE, LIVABLE and INVISIBLE—along with a concert, AUDIBLE—will explore new and unexpected meetings of the digital and material worlds.
James Auger and Jimmy Loizeau have been collaborating on projects since the concept of the Audio Tooth Implant was first conceived in October 2000.
[Industrial] Design is mostly concerned with the process of bringing products to market – making them desirable and therefore saleable. By removing the commercial aspect from the development of the [designed] object, it can be given a different agenda, investigating the process that gives birth to it rather than being defined by it. In this way design can comment on consumer culture; the role of products in shaping human behaviour and experience and the role of technology. It becomes a tool for questioning rather than problem solving. Through the development and dissemination of speculative and critical artefacts Auger-Loizeau aim to instigate a broader analysis of what it means to exist in a technology rich environment both today and in the near future. Our intention is for this analysis to take place over a broad a spectrum as possible.
Auger-Loizeau projects have been published and exhibited internationally, including MoMA, New York, 21_21, Tokyo, The Science Museum, London, The National Museum of China, Beijing, and the Ars Electronica festival, Linz and are part of the permanent collection at MoMA.
With two decades of artistic practice exploring an understanding of the natural world through the medium of computational technologies, boredomresearch have become intimately aware of the sensitivity and vulnerability of complex systems, including those which support human life on earth.
boredomresearch have been expanding their interest in bio-inspired systems in a project Robots in Distress which considers our strategies for coping in a world increasingly destabilised by human activity. In collaboration with the Artificial Life Lab (Karl Franzens University, Graz Austria), who are employing bio-inspired robots to provide solutions operating in human polluted environments, in 2016 boredomresearch started building robots made from the same plastic waste that pollutes many marine environments. Their work with biologists and engineers offers a different perspective which challenges a broader concern over a tendency towards increasingly complex solutions to answer the challenges of environmental crisis. This has led the artists to extend cutting edge research in artificial neural networks augmented by artificial hormone production to create autonomous agents with the potential for despondency. As emotional robotics becomes a reality does it also reveal a vulnerability? As we incorporate the robustness of swarm robotics into our technological armory should we also be mindful that the most archetypal swarm of all, the honey bee, is an organism in crisis. In this presentation boredomresearch foster a new vision for technological innovation, one that recognises the fragility of the environment that sustains it.
L’exposition Cells Fiction, qui interroge l’univers du microcosme, présente les travaux de dix étudiants de Master, réalisés dans le cadre du programme de recherche Images, Sciences et Technologies conduit par l’Esä, Ecole Supérieure d’Art du Nord-Pas-de-Calais, en association avec le Centre d’art Espace Croisé et le laboratoire TisBio (CNRS, Université Lille 1). Pour réaliser leurs projets, les étudiants ont travaillé au sein du laboratoire de microscopie photonique Tisbio, à l’interface entre la biologie, l’informatique et la physique. Si certains ont étudié les minéraux ou les propriétés de la lumière, beaucoup ont travaillé à partir des cellules, humaines ou végétales, ces plus petites unités du vivant. Quelles informations contiennent-elles ? Leur division, qui s’opère à notre insu, peuvent-elles nous apporter des informations autres que strictement scientifiques sur nous-mêmes ? Peut-on les faire « parler » différemment : ont-elles un son, une odeur ? Les séances au sein du laboratoire se sont multipliées depuis sept mois, conduisant les uns et les autres à affiner leurs projets, à les nourrir de lectures scientifiques, à répéter les expériences et les phases d’observation. ...
From June 26th - July 2nd 2017 Frankfurt will turn into a vibrant hub for open exchange, hands-on experiments and reflection combining creative coding workshops, AV performances, laboratories, artist talks, engaging debates and an exhibition.
With the leitmotif ‘Designing Hope’ NODE will discuss an intangible yet powerful motor that drives ideas of a better future.
The program will analyse the role of technology in the creation and manipulation of these collective imaginaries. How do today’s communication infrastructures determine the formation of public opinion? Are we living in a global village that is accessible for everyone or in secluded, exclusive bubbles? What do we expect from creative technologists who dedicate themselves to developing the next life-improving or life-extending tools? Are critical creative practices able to shape responsible design?
LifeSpace Science Art Research Gallery is located in the School of Life Sciences, University of Dundee, Scotland, UK.
The Gallery is open during exhibitions on Saturdays from 11am-5pm, and during the week by appointment only (email lifespace@dundee.ac.uk)
The mission of LifeSpace is to engage artists and scientists in exciting new collaborations and to foster long-term cross-disciplinary activity that will provide these communities and the public with greater insight into the broad spectrum of life sciences research. This research-driven gallery space is curated as a collaborative partnership between researchers from Duncan of Jordanstone College of Art and Design and researchers from the School of Life Sciences. It enables an exciting opportunity for interdisciplinary art and science interactions as well as providing a location for curatorial exchange between staff, students, researchers and the general public.
In the 19th century a lot of devices, such as Thamatrope, Phenakistiscope or Zoetrope, that displayed images were invented.
These devices are unique in shape and process of how to display images itself. In the process of generalization and optimization,the shape and process of the display converged to a stereotyped figure such as flat , square or fixed.
It is one of the most efficient shapes to transmit information correctly, but it`s unsatisfying in terms of a device to create expression.
There should be a diversity and more room for creation. dis:play(bias) is a experimental trial to create devices dedicated to transmit not information, but expression. dis:play(bias) is based on the principles of polarization. LCD(liquid crystal display) consists of 4 layers, top polarizing film, liquid crystal, bottom polarizing film and backlight. dis:play(bias) also has 4layers, but top polarizing film is separated from LCD display. To separate top polarizing film from display, so that top polarizing film can be designed any shape. Images are visible only through cubes and plates attached polarization film on.
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.
BOM (Birmingham Open Media) is forging a new model of radical practice at the intersection of art, technology and science with measurable social impact.
By making sustained investment in a community of Fellows and developing strategic projects and partnerships, we test pioneering ideas that investigate the transformative value of the arts across education, health and society.
BOM is proactively addressing barriers to cultural participation, by connecting world-class practitioners with activist research and communities.
We are born from hacker culture. But unlike other hackspaces that are filled with tools and operate on a membership model, our building foregrounds public engagement with a free gallery and events space, and supports a curated community of practitioners to deliver our aims. ...
��___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. ...
Electrical Engineer with a specialization in telecommunications at the Free University of Brussels (ULB, 1987), he received a First Prize and a higher diploma in Electroacoustic Composition at the Royal Conservatories of Music in Brussels (1993) and in Mons (1996).
First researcher in the field of speech processing at ULB, he was from 1992 till 1997 head of the Computer Music Research at the Polytechnic Faculty and the Royal Conservatory of Music in Mons (Belgium) where he developed instruments used by composers like Leo Kupper and Robert Normandeau. He collaborated on several occasions with IRCAM where his programs were used by Joshua Fineberg, Emmanuel Nunes, Luca Francesconi and other composers.
He is co-founder and president of FeBeME-BeFEM (Belgian Federation for Electroacoustic Music) and ARTeM (Art, Research, Technology & Music, in Brussels), founding member of the Forum des Compositeurs and was Belgian representative of the European COST actions “Digital Audio Effects” (DAFX, 1997-2001) and “Gesture Controlled Audio Systems” (CONGAS, 2003-2007).
He was researcher from 2008 to 2013 at the Numediart Institute of the University in Mons and professor from 2008 to 2015 at Arts2, the School for the Arts in Mons.
Since 1993 he develops interactive systems at ARTeM, for studio use, concerts, sound installations and dance performances, using a wide variety of sensors. ....
Le Mirage Festival est un cocktail magique qui se sirote pendant quatre jours et quatre nuits. Subtil équilibre d’expositions, de conférences et de soirées électro, la recette 2017, intitulée "(Im)atérialités", promet des effets surprenants : donner accès à des choses habituellement invisibles, perturber les limites de la perception, envoûter les sens, titiller la réalité… Ses ingrédients principaux sont des couleurs, du son et du mouvement… Konbini vous présente des pépites repérées dans la programmation de cette 5e édition, qui se déroule jusqu'au 12 mars à Lyon.
Rendre visible l’immatériel, c’est le jeu auquel se prêtent les artistes présentés dans le parcours d’exposition (accessible à tous, gratuitement) qui s’installe aux Subsistances, à la Taverne Gutenberg, au Musée des Beaux-Arts et à l’École des Beaux-Arts de Lyon. "Le numérique est hyper présent dans notre quotidien, l’idée cette année était d’explorer sa présence, de dévoiler l'intangible", nous explique Jean-Manu Rosnet, cofondateur du festival...
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