Digital Arts

MUSEUMISATION OF THE PRESENT

by Suresh Pillai

Apropiación poética de los principios Concretistas: Ars Poética y T-c-r-(bot)-i-cK-e

by Alejandro Corredor Parra

A continuación presento dos trabajos creativos que intentan ser mi apropiación de los principios poéticos del... more A continuación presento dos trabajos creativos que intentan ser mi apropiación de los principios poéticos del movimiento Concretista brasileño de mediados del siglo XIX. En ellos intento explorar y concretar desde mi propia práctica poética -que se inscribe en el movimiento de la literatura digital o electrónica- los principios ideográmicos, caligrámicos, de la traducción y la apropiación de nuevos lenguajes o formas del lenguaje que plantean Auguto de Campos, Haroldo de Campos y Décio Pignari en sus trabajos teóricos.

Screen Dance : A Gestural Interface For Performative Digital Painting

by Michelle Kirby

Screen Dance is a theoretical bridge linking live painting and VJ performance. It's attemp to to bring intuitive... more Screen Dance is a theoretical bridge linking live painting and VJ performance. It's attemp to to bring intuitive analog visual creation processes into a live, digital environment.

Interview with Leila Nadir and Cary Peppermint of Ecoarttech

by Leila C. Nadir

Furtherfield.org Interview with Sophia Kosmaoglou - 20/04/2012

Refusing to regard technology merely as a tool, Ecoarttech expand the uses of mobile technology and digital networks... more Refusing to regard technology merely as a tool, Ecoarttech expand the uses of mobile technology and digital networks revealing them to be fundamental components of the way we experience our environment. Their most recent work Indeterminate Hikes + (IH +) is a phone app that maps a series of trails through the city. IH + can be accessed globally, or wherever users have access to Google Maps on their mobile phones. After identifying the users’ location, IH + generates a route along random “Scenic Vistas" within urban spaces. Users are directed to perform a series of tasks along the trail and provide feedback in the form of snapshots generating an ongoing, open-ended dialogue. But the experience of their work is primarily an encounter with technology. Since 2005, Leila Nadir and Cary Peppermint of Ecoarttech have been engaged in an artistic exploration of environmental sustainability and convergent media. By drawing our attention to the increasing replacement or mediation of physical experiences by technology, Ecoarttech challenge the widely reproduced distinction between nature and culture. They present their work in the form of videos, digital networks, blogs, performance and installations. Their early video-based work (Wilderness Trouble and Frontier Mythology) plays out a performative and ironic encounter with the natural environment as a historically constructed concept. In the summer of 2005 Ecoarttech made A Series of Practical Performances in the Wilderness (2005) a database networked performance in QuickTime (DVD and Podcast).

Martha Ladly Mobile Communities 2012

by Martha Ladly

Mobile Public Art, Public Art Review

by Martha Ladly

Public Art Review, Issue 41, Fall/Winter 2009

Mobile art is a growing phenomenon, attracting new artists who see the potential for engaging new audiences, in both... more Mobile art is a growing phenomenon, attracting new artists who see the potential for engaging new audiences, in both urban and remote public environments. Mobile artworks are potentially ubiquitous and playful, possible and everywhere ¬– all that is required to participate is your presence in a particular public place, your intention to investigate or play, and a mobile device. The mobile devices (usually mobile phones and portable digital assistants) act as interfaces to the artworks, but portable CD players and computers, bicycles and cars, buildings, parks, trails, forests, and even mountains, have all been construed as media elements and interfaces for mobile public art.

Navigation and Devices

by Monika Fleischmann

by John Bowers, Monika Fleischmann, Wolfgang Strauss, Jeffrey Shaw, Sten-Olof Hellström, Michael Hoch, Jaeae-Aro, Thomas Kulessa, Jasminko Novak, CID-81, KTH, Stockholm, Sweden May 1998

eRena Project, Deliverable 6.1 is concerned with developing new interfaces and new metaphors for more physical... more eRena Project, Deliverable 6.1 is concerned with developing new interfaces and new metaphors for more physical interaction with virtual environments, involving the entire body and its physical properties.

Processing: Understanding Art as Encountering Ongoing Narrative

by Heidi May

Forthcoming publication in the International Digital Media Arts Association Journal

When digital media plays a role in the production and reception of art, an aesthetic encounter may occur that... more When digital media plays a role in the production and reception of art, an aesthetic encounter may occur that influences the narrative perceived. A digital aesthetic can be understood as the relational and behavioral processes that unfold while one encounters the media, which may ultimately extend the narrative of the work to be recognized as a cultural mode of expression and a reflection of ourselves with/in contemporary culture. This paper examines artworks that explore the invisible processes of our relationships with digital technologies, in which there exists a continual state of processing and a desire to understand.

Opening up to a Digital Space of Emergence in Art Pedagogy (2011)

by Heidi May

Co-authored with Jody Baker.
Published in Media N - the Journal of the New Media Caucus, 7(2), 20-25

Networked art practices share conceptual overlaps with current discussions about pedagogy, particularly those that... more Networked art practices share conceptual overlaps with current discussions about pedagogy, particularly those that encourage interactive and collaborative methods of meaning-making in response to contemporary digital culture. Decentralized processes of learning, which exist in participatory artworks and nonhierarchal art education, are embraced by the open source movement. In this paper, we argue that open source media can be used to demonstrate a quest for knowledge that is not representational but rather performative-based - a temporal epistemology that is about critical inquiry of media and the ongoing discovery of creative ways of interacting with, and remixing, our reality. This paper incorporates the above ideas into a proposal for a team-taught digital studio/theory course that explores the “remix” phenomenon, operating online and utilizing open source culture. Drawing upon previous online teaching experience, the pedagogical intentions and anticipations for this course will be discussed.

Queen Bees and the Hum of the Hive: An Overview of Feminist Hypertext's Subversive

by Carolyn Guertin

" The Poetics of Exile: The Feminist Artist in Global Culture.

by Carolyn Guertin

Andy Warhol: The execution of a dream

by Darrelyn Gunzburg

This is a review of the exhibition ‘Os Mistérios Da Arte: Andy Warhol and Pietro Psaier’ held at the Fórum Eugénio de... more This is a review of the exhibition ‘Os Mistérios Da Arte: Andy Warhol and Pietro Psaier’ held at the Fórum Eugénio de Almeida, Rua Vasco da Gama, no.13 7000-941 Évora, Portugal in December 2011-January 2012.

'Nine Warhols Waiting ... '

by Darrelyn Gunzburg

On three occasions I have been privileged to interview people who have been involved with revealing major lost or... more On three occasions I have been privileged to interview people who have been involved with revealing major lost or unknown art works. In 2007 I interviewed Michael Liversidge on his identification of two ‘lost’ Fra Angelico paintings. These panels had been missing from the San Marco altarpiece (c.1438–40) since the Napoleonic occupation of Florence at the end of the 18th century. This interview was published in The Art Book in June 2007 and I felt fortunate and exhilarated to have met an art historian who was so intimately connected with a unique event. Then in December 2010 David Glasser, co-chairman of Ben Uri, London Jewish Museum of Art, stumbled upon an unknown sketch by Marc Chagall entitled Apocalypse in Lilac: Capriccio in the catalogue of leading French auction house Tajan and purchased it for Ben Uri. Again, I was the person who interviewed him about this. When a third such opportunity occurred I began to feel as if I were a magnet for people connected with recovering art works. This article is the story of that third event.

Call2_Project Rendering the Real

by Sireita Mullings

Project Rendering the Real, is calling for participants for an interactive symposium and exhibition by project titled the “Fourth Moment”.

March 22nd – April 27th 2012.

www.renderingthereal.com

The intention is to interrogate the visual representations of art practitioners and their project participants, by way... more The intention is to interrogate the visual representations of art practitioners and their project participants, by way of papers, presentations, workshops and artwork.

The exhibition and symposium will run between
March 22nd – April 27th 2012.

Visit www.renderingthereal.com for more information.

Datamoshing and the emergence of digital complexity from digital chaos

by William Brown

Co-authored with Meetali Kutty, published in Convergence: The International Journal of Research into New Media Technologies, 18:2 (May 2012), pp. 165-176.

In this essay, we explore the aesthetic possibilities that are opened up by datamoshing, a practice whereby... more In this essay, we explore the aesthetic possibilities that are opened up by datamoshing, a practice whereby audiovisual artists actively downgrade the quality of digital images in order to render a more ‘raw’ aesthetic on screen. We follow this up by exploring the ways in which datamoshing as a practice (together with ‘glitch art’ more generally) highlights the decay that digital images undergo over time. Because it takes place through the deliberate compression of images, we here argue that the aforementioned loss of quality is an ‘artistic’ form of entropy, which leads us to the possibility for a theory of ‘digital chaos’. However, since the loss of data is reworked by artists in order to create new forms, we argue that this is a form of digital ‘emergence’ of ‘order out of chaos’, or ‘digital complexity’.

Non_sensor

by Raquel Rennó

New New Babylon

by McKenzie Wark

co-authored by Ali Dur.

On Constant's New Babylon, reimagined in New York City. Constant's work grasps the implications of the digital as the... more On Constant's New Babylon, reimagined in New York City. Constant's work grasps the implications of the digital as the architecture of the control society and its negation. His New Babylon proposes a conceptual architecture for realizing Marx and Engels administration of things and Johan Huizinga's homo ludens at the same time. This paper also includes a friendly dialogue with the work of Bernard Stiegler.

The NT2 Hypermedia Art and Literature Directory: A New Knowledge Environment Devoted to the Valorization of Screen Culture

by Paule Mackrous

Art After New Media: Exploring Black Boxes, Tactics and Archaeologies (LEA)

by Garnet Hertz

forthcoming in Leonardo Electronic Almanac, MIT Press

This paper discusses three methodological themes employed by contemporary media artists who reuse obsolete information... more This paper discusses three methodological themes employed by contemporary media artists who reuse obsolete information technology hardware in their work. Methodologies include the exploration of the hidden “blackboxed” layer of technology by circuit bending artists like Reed Ghazala, the tactical use of technologies to bring social change by artists like Natalie Jeremijenko, and the archaeological use of outdated technologies to intervene in history by artists like Tom Jennings. These themes are presented as useful tools to construct a language of reuse which serves a valuable function in a culture increasingly confronted by electronic waste and assists in critiquing assumptions of obsolescence, technological progress and understanding digital culture primarily within the framework of “new media.”

Virtual Progression: the High Line as Verdant Infoscape

by Aja Martin

VIRTUAL PROGRESSION: THE HIGH LINE
AS VERDANT INFOSCAPE


  Abstract
more VIRTUAL PROGRESSION: THE HIGH LINE
AS VERDANT INFOSCAPE


  Abstract

The phrase ‘green space’ has new currency in contemporary society.  The High Line park, as a complex example of green space stitched over the existing urban fabric, places the city of New York at the forefront of global efforts to repair the urban landscape.  Local goals to refurbish and enhance the city reflect larger questions about the environment, sustainability and our cultural understanding of ‘nature.’
The High Line park, as open-air art space, urban garden and busy promenade, functions within and in spite of the city below.  The site, in all its complexity, dictates that the careful reader consider themes in landscape architectural history and practice, art history, as well as the design field.  These discourses help to carefully untangle the choreography inscribed by and in the site.  Landscape architecture firm James Corner Filed Operations and architecture firm Diller Scofidio + Renfro organize art installations, innovative landscape design, and space for diverse cultural events, coaxing the High Line into an alternative relationship with the city and the populous.  This minimalist garden offers the sort of ‘blinkered’ history of the city that allows the viewer to initiate and cultivate her own narrative.  In the study that follows, the High Line is shown to operate as a space couched in landscape urbanism, a practice dedicated to the contemporary urban subject.  Working from the formal visage of the site, this thesis assesses the industrial, virtual, and biologic data path that is the High Line park in a manner that also proposes the fluidity between design and art.