Art and technology

OUTLIERS, INSIDERS AND PRACTICAL HARVESTS: ART AS TECHNOLOGY TRANSFER IN A RESEARCH ENVIRONMENT (2002)

by Lisa Lynch

netart latino database

by lila pagola

Le flux quadripartite

by Chatonsky Gregory

Il existe quatre types de flux fonctionnant par couple : interne et externe, technologique et artistique. Chacun... more Il existe quatre types de flux fonctionnant par couple : interne et externe, technologique et artistique. Chacun d’entre eux est disposé sur une ligne horizontale allant de la subjectivité interne à l’objectivité externe avec le couple technologique et artistique au milieu qui, selon des cas que nous analyserons, renversent leur polarité. Un axe vertical va quant à lui du continu au discontinu s’appliquant à tous les flux. Ce schéma n’est pas à comprendre comme une cartographie statique définissant des frontières étanches mais comme la mise en place de polarités qui permettent d’aborder des processus dynamiques et des mélanges subtils entre les catégories.

Imogen Heap as Musical Cyborg: Renegotiations of Power, Gender and Sound

by Alexa Woloshyn

Published online in Journal on the Art of Record Production (2009)

Imogen Heap, British electronica artist, has had a successful solo and collaborative career since her 1998 release of... more Imogen Heap, British electronica artist, has had a successful solo and collaborative career since her 1998 release of I Megaphone. She became a widespread name in 2004 after the song ‘Let Go’ from her collaborative album with Guy Sigsworth, Details, was used in the film Garden State. Following this success, Heap returned to solo work and released Speak for Yourself in 2005. Through an analysis of Heap’s musical development from her earliest musical experiences to her latest solo endeavors, this paper demonstrates Heap’s renegotiations of power, gender and sound allowed by the reconfigurations of institutional and commercial structures, which were enabled by the developments of recording technology. I assert that the affordability, accessibility and capabilities of electronic technology, and computer technology in particular, are essentials to Heap’ s career and music.

Technonatures Introduction White Wilbert

by Damian White

An attempt to survey and think through the political implications of hybridity discourses such as Latour and Haraway for environmental politics. This is the introductory chapter from D.White and C.Wilbert (Eds) Technonatures: Environments, Technologies, Spaces, and Places in the Twenty-first CenturyISBN13: 978-1-55458-150-4, 2009.

Lots of other really interesting cuts in the book from Erik Swyngedouw, Sarah Whatmore, Mike Michael, Steve Hinchliffe and others ...check it out at Available from http://www.wlu.ca/press/Catalog/white-wilbert.shtml

Lakitas de vinilo en Arica

by Gerardo Mora Rivera

Autor: Gerardo Mora
Revista Iluminuras, volumen 11, número 25 (2010)
Publicación electrónica del Banco de Imagens e Efeitos Visuais - NUPECS/LAS/PPGAS/IFCH e ILEA/UFRGS.
Porto Alegre, Brasil

Las lakitas, instrumentos musicales aerófonos, cuyo origen está en Los Andes centrales aproximadamente siete mil años... more Las lakitas, instrumentos musicales aerófonos, cuyo origen está en Los Andes centrales aproximadamente siete mil años atrás, llegan a la zona de Arica hace más de mil quinientos años y desde entonces han experimentado numerosas modificaciones estéticas y prácticas entre otras. Hasta mediados del siglo XX fueron elaboradas con caña vegetal. Luego el Policloruro de Vinilo, material creado industrialmente con otros propósitos, fue puesto en su lugar.
Este artículo se despliega en tres áreas: (i) cómo sucedió el paso de la caña al vinilo en lakitas de Arica, (ii) cómo son entendidas las diferencias entre los instrumentos de ambos materiales y, (iii) qué es hacer roncar una lakita, principal virtud de este aerófono.
La hipótesis de este estudio propone que este cambio tecnológico se sostiene en una manera particular de pensar este instrumento y su musicalidad, la cual posee una larga data en los Andes y, que dicho cambio ha sido agenciado por sus propios fabricantes e intérpretes.

Heidegger, nature philosophy and art as poietic event

by Warwick Mules

forthcoming in Transformations, Issue 21
http://transformationsjournal.org/

This paper undertakes a reading of Heidegger’s later writing in terms of nature philosophy. Nature philosophy is a... more This paper undertakes a reading of Heidegger’s later writing in terms of nature philosophy. Nature philosophy is a thinking with nature “otherwise” in open possibility. Heidegger’s writings on art and technology indicate a way of thinking with technology otherwise, in the openness of the event of Being (Ereignis). In its singularly resistive stance within technology, art partakes in the “other beginning,” or the turning of technology out of itself and towards the event of Being. Art keeps open the possibility that human being might be otherwise than as the being destined for technological enframing. The paper counters another way of reading Heidegger’s writings on art and technology which argues for a leap out of technology into poetic dwelling with nature, arguing that this neo-Romantic view overlooks crucial aspects of Heidegger’s concept of Gelassenheit: the non-willing “letting be” that enables humans to be with the things of nature in their otherwise possibilities – other than as ordered by technological enframing. Gelassenheit does not mean simply returning to the things of nature in poetic dwelling, but a twisting free from technology in poietic openness. To think with nature as a poietic event of openness requires a reawakened trust in Being and a recovery of the ontological bearing of art.

La Apropiación de los Medios en el Arte Colombian Esp-Ing

by Jorge Luis Vaca Forero

Machines fall apart: failure in art and technology

by Jennifer Gabrys

Published in the special issue of “RE: Searching Our Origins,” edited by Paul Brown and Catherine Mason, in Leonardo Electronic Almanac, Vol. 13, No. 4 (April 2005).

Technological failure is central to the logic of innovation; it exhibits the scope of the machine's profuse promises... more Technological failure is central to the logic of innovation; it exhibits the scope of the machine's profuse promises unfulfilled, while generating new assurances against a landscape of side effects. Artists working with technology at the inception of widespread automation, including Jean Tinguely and Gustav Metzger, focused particularly on machines geared toward failure. At the same time, E.A.T., an organization founded for the collaboration between artists and engineers, encountered failure at times unintentionally and attempted to recast the role that failure plays in experimentation. By considering how failure emerges at this moment in art and technology, this article suggests that the program of failure potentially reveals more about the drive of the automated machine than its recognized successes.

Cool Example: Leo Caillard’s Art & Technology

by Nelson Pinheiro

http://www.scienceofthetime.com/blog/read/leo_caillards_art_technology/

What it Is:

This is a photographic presentation of Leo Caillard, which invites us to a new world where art meets technology and museums are completely reinvented, by making visitors able to choose what they wish to see and there will be a greater interaction with the visitors. This concept enables museums to present a different set of images and works. It poses many questions related to authenticity. However, this next step could change forever the way we see art, collections and culture.


Why it's cool:

Because it changes the entire concept of museums and galleries for the better, since they can bee no longer static places but rather dynamic and interactive ones. It also increases the attractiveness of cultural spaces, inviting new generations and an audience that normally wouldn’t attend such places.


Nelson Pinheiro Gomes

Inovação Tecnológica e Desenho Animado

by Jose Eliezer Mikosz

Dissertação de Mestrado pela UTFPR

Os imensos avanços tecnológicos que o mundo abraça todos os dias, não poderiam deixar de tocar a arte, nem de serem... more Os imensos avanços tecnológicos que o mundo abraça todos os dias, não poderiam deixar de tocar a arte, nem de serem tocados pela mesma. Para demonstrar esta relação de mútua influência da arte com a tecnologia, foi escolhido o processo de criação nos desenhos animados. As idéias e necessidades dos artistas estimularam muitas descobertas científicas que estão ligadas ao cinema e a computação gráfica. Neste trabalho são vistas algumas influências entre a ciência e a arte no fazer criativo das animações.

Simulación Uno. Un encuentro mediático entre comunicación ficcional y universo empírico

by Questiones Publicitarias

Pedro Javier Millán Barroso
Published in Questiones Publicitarias, 2008, 13, 52-68.

Con la película Simone (Niccol, 2002) como objeto de estudio y adoptando un enfoque pragmático y estético, se aborda... more Con la película Simone (Niccol, 2002) como objeto de estudio y adoptando un enfoque pragmático y estético, se aborda la trascendencia social empírica de los textos ficcionales en los medios de comunicación de masas: los efectos empíricos de lo llamado virtual, las dinámicas de simulación y duplicación puestas al servicio de la industria cultural... todo ello articulado mediante las lógicas no verificables, según criterios proposicionales, de los lenguajes secundarios.

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With the movie Simone (Niccol, 2002) as main objetc and adopting a pragmatic and aesthetic point of view, it is studied the empiric social trascendence of the ficcional texts on the mass media: the empiric effects of the so called virtual, the dynamics of simulation and duplication as tools of the cultural industry... each of these items articulated by the non checkable logics, under propositional criterions, of the secondary languages.

Once Upon a Space Age: How the dream was lost (and how we get it back again)

by Nicola Triscott

in ‘Human Futures: art in an age of uncertainty’, ed. Dr Andy Miah, Liverpool University Press, University of Chicago Press and FACT, October 2008

Critical Art and Intervention in the Technologies of the North

by Nicola Triscott

in Arctic Perspective Cahier No. 2: Arctic Geopolitics & Autonomy, ed. Michael Bravo, Nicola Triscott, Published by Hatje Cantz Verlag, December 2010

La Mano Digitale. Scrivere Nell'Epoca Dei Computer

by Pierpaolo Antonello

Beyond Futurism: Bruno Munari’s Useless Machines

by Pierpaolo Antonello

In G. Berghaus (ed.), Futurism and Technological Imagination. Amsterdam: Rodopi, 2009: 313-34. Longer web version.