Digital #MediaArt(s) Numérique(s)

Digital Publications are slowly ascending since a couple of years. Due to the rise of tablets and smartphones this development has accelerated and by now these publications – e-books, newspaper apps and digital magazines – are forever part of our media landscape. More and more people use mobile devices to read books and magazines and the coming years this way of information processing will dominate the market.

Publishers can’t stay behind in relation to digital publishing. However, many publishers in the art- and cultural sector are unfamiliar with these developments. They do not have the knowledge, resources and capacities to develop new methods of digital publishing and participate in the digital market. Moreover, the art- and culture books have an extra challenge, because the form and content are deeply intertwined.

This RAAK-MKB project will provide the research and realization of such a platform. The following research questions is formulated: “In what way can a platform be created with new tools for open source-publishing, by which publishers in the art- and cultural sector can produce interactive e-publications by themselves?”

To answer this research question, the Institute of Network Cultures (lectortaat Netwerkcultuur) of the Amsterdam University of Applied Sciences and Knowledge center Creating 010 of the Hogeschool van Rotterdam are executing state-of-the-art research. In collaboration with an already existing consortium of eleven MKB-companies consisting of publishers, designers and developers, a fivesome subprojects will be formulated. Within these subgroups publishers, designers and developers, (research)lecturers and students of the participating applied universities will collaborate.

The result is a new developed toolkit that exists of tools for digital publishing, based on open source-software of which the source code will be published and freely accessible. As a result everyone can freely copy, adjust and distribute the tools. Five e-publications of titles of the art- and culture books fund of the participating publishers will be produced and presented on a platform that is developed for that purpose. Moreover the following manual will be created: “How to publish an e-book?” on digital publishing processes.

Programmé au théâtre de La Criée le 22 juin, à Marseille, “Superposition”, le nouveau spectacle de Ryoji Ikeda est une expérience métaphysique, une déflagration d’images et de son calculée au hertz et au pixel près, une partition quantique pour 22 écrans et deux performers sur scène...

They are the winner of the section “Interactive art”, at the Prix Ars Electronica 2013, that taken place last 16th May in Linz, Austria (http://www.aec.at/prix/en/gewinner/#interactiveart): a deserved reward for André and Michel Décoster, which are working as Cod.Act since more than years, on the possible relations between sound, light and imagine (http://codact.ch/gb/pendugb.html).

They are two brothers that in the 1999 started to put together their different knowledge (Michel is an architect and plastician and Andrè is a musician, compositor and plastician) creating particular devices, functional and lean to specific artistic projects, through that they refer to a post-industrial imaginary. Their work is in the edge between installation and digital performance, and the interaction of the different elements is the starting point for the entire structural genesis. There is a technological and musical research where the human presence becomes the joining link and the last signifier agent. ...

jon.satrom : performs realtime audio/video, spends time data-bending, makes kludgey work-flows, and creates colorful glitch-ware. enjoys working within collaborative projects and open systems.

C’est une Toulousaine, un Rennais, un Caennais et une Grenobloise qui sont dans un bar…

Cela aurait pu être le début d’une bonne blague, mais il s’agit en fait de la journée de travail du groupe Communautés d’Inmédiats qui s’est déroulée le 13 juin dernier à Paris. L’occasion de faire le point, d’avancer sur nos projets communs, de partager nos expériences… et de discuter tous ensemble autour d’un café autrement que par écrans interposés !

Une date loin d’être choisie au hasard car il s’agit de la journée de lancement de Futur en Seine, le festival du numérique. Puisque nous avons bien travaillé, eu le temps d’échanger quelques potins et de refaire le monde, nous avons bien mérité une petite visite du Centquatre et son « village des innovations », lieu incontournable de Futur en Seine paraît-il…

Unmanned mobile devices, better known as drones, are one of the most significant ‘dark technologies’ of the 2010’s, and proceeds to reconfigure sociopolitical relations through the gesture of the remote gaze. Note that I say ‘mobile’, as opposed to ‘aerial’, as drones encompass unmanned land and water-based craft as well, but for our purposes, the flying eye has been the most visible technology in Baudrillard’s mediascape in terms of its use by the CIA in the Afghanistan/Pakistan and African theatres of operation.

To compound matters, the 2012 FAA Reauthorization Act has created a milieu in which estimates are that there could be 10,000 domestic drones in use by 2020 (Bennett & Rubin). Drones are going to be one of the US’s major technology growth markets, with the devices being used in geographic, aerospace, and environmental research as well as military and law enforcement uses. ...

A cyberspace Renaissance man reveals his current thoughts on the World
Wide Web, virtual reality, and other silicon dreams

Jaron Lanier is probably best known as a pioneer of Virtual Reality technology but is probably best described as a modern Renaissance man--an eclectic mix of computer programmer, inventor, musician, artist and futurist. He divides his time between California and New York (where he has positions as a visiting scholar at Columbia University and as a visiting artist at New York University), but he can always be found in cyberspace.

Scientific American editor Corey S. Powell caught up with Jaron Lanier in the summer of 1996, to hear some of his current thoughts on the World Wide Web, synthetic worlds and other silicon dreams. ....

On y a tous été exposés sans exception dans notre vie de geek.

En effet, le « .Gif » (Graphic Interchange Format, prononcer « djif ») est un format qui permet de publier des images animées sur Internet. Ainsi, rien qu’en vous promenant sur votre site de shopping préféré, les pubs qui vous harcèlent en sont un exemple.

Je vous propose ici 6 points qui vont tenter de résumer les 25 ans de vie de ce format en regain de hype, et qui inspire encore beaucoup d’artistes aujourd’hui.

Preuve en est, le verbe « to Gif » était le mot de l’année 2012 élu par l’Oxford University Press, rien que ça...

Unless you’ve been living in a remote island for the last few years, you’ve heard about crowdfunding or stories of people raising thousands or millions of dollars online.

In fact, there’s been so much chatter out there about crowdfunding that people love to throw out the line “yeah, I’ve heard there are something like 500 crowdfunding sites.” While hundreds of sites may be popping up, not all of them have real communities and funding successes under their belt.

Which begs the question… what crowdfunding site is best for you?

As a crowdfunding industry insider, I thought I’d give you an easy guide for which site to go to for your crowdfunding needs.

I’ll start with a tiny overview of the industry, a short primer on the different types of crowdfunding so you know what you’re looking for, and then I’ll get to specific recommendations for you.

Collaboration on the web is an area of exponential growth. Crowdfunding, or collaborative funding via the web, is one of the standouts for growth in this evolving collaborative economy.

The Crowdfunding Industry Report by Massolution put out data showing the overall crowdfunding industry has raised $2.7 billion in 2012, across more than 1 million individual campaigns globally. In 2013 the industry is projected to grow to $5.1 billion. ....