New Media Art

'Free' as in ... ?

by Bill Roberts

Journal of Visual Culture, vol. 11, no. 1, April 2012, pp. 94-99

Exhibition Review, 'Free', New Museum of Contemporary Art, New York Exhibition Review, 'Free', New Museum of Contemporary Art, New York

CFP: International Film and Media Studies Journal: Acta Universitatis Sapientiae

by Ágnes Pethő

The International, peer-reviewed, open access journal of the Sapientia University (Cluj-Napoca, Romania) invites the submission of original, previously unpublished articles written in English. Articles in all areas of film and media studies are welcome. Deadline for the next issue: June 15, 2012. Previous issue available online here: http://www.acta.sapientia.ro/acta-film/, and here: http://issuu.com/actauniversitatissapientiae/docs/film4_2011

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).

Everyone's a Hero in Valhalla

by Tom Penney

Describes and Illustrates an honours project

“I long to be many selves distributed through the networks... I AM many selves... A distribution of consciousness... I... more “I long to be many selves distributed through the networks... I AM many selves... A distribution of consciousness... I want to recognise my potential of being immortal in that sense”. (Roy Ascot, 1998)

Throughout the project Everyone’s a Hero in Valhalla, my intention has been to question techno-utopian postmodernism. Specifically I am interested in the way subjectivities ‘perform’ as entities: lost, confused, split, merged, unwrapped or appropriated by their translation into virtual space.

Using an interdisciplinary approach, I navigate this world as a schizophrenic and shamanic figure. From an irreverent state of precariousness between a system of binaries: the ‘real’ and the ‘not real’, the ‘self’ and the ‘not self’, or the ‘screen’ and ‘the body’ - I play as a liminal trickster, capitalising on a sunny irony and sense of humour.

Using this strategic persona, a technomadic “one person art making machine” (Amerika, 2008); I become many beings, and give birth to even more. By using my own body or clay, I imagine how psychologies contained within these ‘materials’ can be either immortalised or fragmented when subjected to the computer.

My interest lies in the paradoxical nature of the post-digital age. Is the screen beneficial or consuming? Are we empowered or narcissistic? Can spirituality form from a symbiosis with technology, or is this kind of hope lost? When we voraciously consume our own images in the form of profile pictures or video game avatars, are we building a stronger sense of ‘self’ or merely consuming disposable, digitised, projected ‘versions’ of ‘self’?

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.

Media Visualization: Visual Techniques for Exploring Large Media Collections.

by Lev Manovich

The article explains the limitations of current web interfaces and tools for viewing and managing media collections.... more The article explains the limitations of current web interfaces and tools for viewing and managing media collections. We describe new method which we call media visualization - use of high resolution visualizations which show all images in a collection (or key video frames) sorted in different ways to enable discovering patterns and understanding the "shape" or a collection.

Lomo-FI (v.): To Expose the Haecceities that Pose for Your Lomography Camera

by Alexander Monea

Published in 'Rhizomes' Issue 23, 2012

Gilles Deleuze held a rather ambivalent position on whether or not photography could be properly artistic. At times... more Gilles Deleuze held a rather ambivalent position on whether or not photography could be properly artistic. At times Deleuze accepts that there are miraculous instances of artistic photography and cinematography. At most times though, he denounces photography as a purely representative art, which, as such, is ontologically incapable of producing anything new. All photographs, for Deleuze, are ultimately doomed to cliché, and thus are incapable of rising to the level of art or philosophical concepts. This article makes the case that a new school or movement in photography called Lomography is capable breaking free of clichés and representationalism. Lomography as a practice, the Lomo camera as an instrument, and the Lomographer are jointly capable of uncovering a haecceity – which Deleuze alternately refers to as an event – and building refrains that capture a large enough portion of that haecceity’s intensity for the viewer of the Lomograph to experience it as well.

For An Art Against the Cartography of Everyday Life

by Ryan Griffis

For An Art Against the Cartography of Everyday Life

The research firm Strategy Analytics estimates that... more For An Art Against the Cartography of Everyday Life

The research firm Strategy Analytics estimates that over 18 million Global Position System (GPS) devices, including those built into cell phones, cars and handheld computers, were sold worldwide in 2005 (http://www.nwanews.com/adg/Business/162138/). They predict that number to grow to 88 million by 2010. Such devices, along with popular web services linking photographic representations of the earth with the mathematical grid of latitudes and longitudes, like Google Earth and Yahoo! maps, have helped enable a growing form of amateur cartography. As spatial annotation techniques - linking information to geospatial coordinates - develop parallel to the growing trend in amateur media production and distribution tools, naturalistic forms of representation find new value in their ability to be objectively located.

What role does the expansion of cartography into the "everyday" of the wired classes in the Global North mean? If the history of maps, delineating colonial conquests, bombing targets and redlined real estate, can be all too easily identified as one of Walter Benjamin's "documents of barbarism," what can we make of the present cartography of the everyday? What is being archived in the vast databases of the documented movements and minutiae of the GPS-enabled masses?

The artist and writer Alan Sekula, discussing the politics of photographic archives, once wrote that archives need to be read "from below, from a position of solidarity with those displaced, deformed, silenced, or made invisible by the machineries of profit and progress." This paper seeks to read the technologies and methods found in contemporary, popular cartography through the critical discourse surrounding archives and documentary modes of representation, as well as explore the work of artists and activists creating mapping "from below" to produce "counter-cartographies."

netart latino database

by lila pagola

NODE.London: Getting Organised Openly?

by Marc Garrett

By Marc Garrett & Ruth Catlow. This copy of the article is on (eipcp) European Institute for Progressive Cultural Policies. But was also published on the Furtherfield.org web site & Node.london web site.

The first NODE.London Season of Media Arts in 2008 was conceived as an experiment in tools and structures of... more The first NODE.London Season of Media Arts in 2008 was conceived as an experiment in tools and structures of cooperation as invented or adapted by artists, technologists, and activists, many of whom were committed to ideas of social change through their practice. It was to be an experiment in radical openness. Not just to be confined to participatory artistic processes and events but also applied to the method of organisation.

This text by Ruth Catlow and Marc Garrett is a reflection on the NODE.London "experiment", its context, its cultures and the make up of its events, infrastructure and organisation. It points to some earlier grassroots media arts festivals in London and gives a bare­bones description of the components of the NODE.London 2006 season. Taking Felix Stalder's analysis of the difference between Open Source and Open Culture, this text looks at how different ideas and approaches to networks and openness were played out in the first season. With a focus on organisational matters, it further makes some judgements about where these were fruitful and where they were problematic. Finally it looks at the work of OpenOrganizations as one example of alternative frameworks for grassroots organisations and suggests that by directly addressing the particular problem of organisation, it might be possible and worthwhile to support the development of grassroots media arts infrastructure in London, including the possible iterations of a NODE.London season.

Revisiting the Curious World of Art & Hacktivism.

by Marc Garrett

published as an article on Furtherfield March 10th 2012.

Revisiting the Curious World of Art & Hacktivism, is the first of a series of articles exploring how contemporary... more Revisiting the Curious World of Art & Hacktivism, is the first of a series of articles exploring how contemporary artists engaged with technology and activism are transcending established art behaviours. Crossing over into territories that reflect not only social and political contexts, but new dialogues of experiencing and understanding art. The politics of today becomes the background, the material and canvas of imaginative and critical play.

MAVIE/MYLIFE: AN ONLINE ‘NET ART’ RELATIONAL GAME ABOUT DAILY LIFE

by Geneviève Gilbert-Quach

Thesis requested as part of requirement a Master's degree in Communication

This work of Net Art is a relational art performance in which a player (or interactor) engages in a dialogue with the... more This work of Net Art is a relational art performance in which a player (or interactor) engages in a dialogue with the interface. This game is available online at http://kastorfakto.com/game. Its interactive journey is a social experience through simple daily life activities.

Exploring the interactive game (Chevassu, 1995, p.136), the interactor gets to know the protagonists and watches them perform three routine activities. In an entertaining and engaging spirit, the interactor can get involved and listen as I speak to three different persons. They can mix with ‘Simon’,‘Pascale’or ‘Patrick’ and watch as these participants groom themselves and wait before eventually meeting me. These ordinary activities lead to a fun and spontaneous exchange. The protagonists agreed to be the guinea pigs in my exploration of the operative process of desire in daily life. When entering the game, the interactors can select a scene. They collect points by manipulating visual and audio elements, and discover videos hidden behind some of the artefacts. They are able to experiment with the game either to improve their score, or just for the pleasure of exploring the three stages.

This interactive online work results from several developmental versions, and has been tested by various control groups. A research report has been conducted and the target audience age ranges between 13 and 33 years old.

KEYWORDS : INTERNET – NET ART – WEB ART – GAME – GAME SOFTWARE – COMMUNICATION – INTERACTION – INDIE – RELATIONAL – ART – PERFORMANCE – DAILY LIFE – MULTIMEDIA – DESIGN – VIDEO.

MAVIE/MYLIFE: UN JEU NET ART RELATIONNEL SUR LE THÉÂTRE DU QUOTIDIEN

by Geneviève Gilbert-Quach

Mémoire présenté comme exigence partielle de la maîtrise en communication, Université du Québec à Montréal

RESUME
Cette oeuvre d’art web (Net Art), est une performance d’art relationnel où un joueur ou interacteur entre... more RESUME
Cette oeuvre d’art web (Net Art), est une performance d’art relationnel où un joueur ou interacteur entre dans un dialogue, par le jeu, avec l’interface. Mon dispositif enligne est accessible sur le site http://www.genevievegilbert.com. Ce jeu-parcours interactif se veut être une expérience sociale à partir de certaines actions de la vie quotidienne.

En explorant ce téléjeu (Chevassu, 1995, p.136), l’interacteur apprend à connaître les participants à des performances filmées pendant trois rituels banals de la vie de tous les jours. Dans un esprit ludique et participatif, l’interacteur peut choisir d’interagir et d’écouter les rencontres entre les trois protagonistes et moi-même. Il côtoie Pascale, Patrick ou Simon et les observe passer par des étapes d'attente, de toilettage et enfin, de rendez-vous : des actions banales qui mènent à un échange souvent drôle, spontané et inattendu. Les participants ont accepté d’être les cobayes de mon investigation sur les processus opératifs du désir dans le quotidien. Au sein du ludiciel, l’interacteur peut choisir dans quel ordre franchir les scènes. Il accumule des points en manipulant
des éléments visuels et sonores, et découvre quelques vignettes vidéo cachées derrière un certain nombre d’artefacts. Il peut donc expérimenter le jeu dans le but d’accumuler des points ou simplement en déambulant de manière exploratoire dans chacun des trois mondes.

Cette oeuvre interactive utilisant les techniques et supports reliés à l’Internet à été précédée de plusieurs prototypes, et testée par des groupes témoins. Un rapport d’enquête a été mené à terme et le public cible de choix se trouve âgé de treize à trente-trois ans.

MOTS-CLEFS: INTERNET, NET ART, WEBART, JEU, LUDICIEL,
COMMUNICATION, INTERACTION, PARTICIPATION, RELATION, ART,PERFORMANCE, THÉÂTRE QUOTIDIEN, MULTIMÉDIA, DESIGN, VIDÉO.

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.

Reflexões sobre imagem e imaginário nos processos de criação em mídias digitais

by Lucia Leao

Publicado em: XX Encontro Nacional da Compós, 2011, Porto Alegre. XX Encontro Nacional da Compós, 2011.

Resumo: A proliferação de imagens e banco de dados que permeia os processos comunicacionais digitais em rede incita... more Resumo: A proliferação de imagens e banco de dados que permeia os processos comunicacionais digitais em rede incita questionamentos sobre projetos criativos que se apropriam de tais elementos. Objetiva-se neste artigo analisar processos de criação em mídias digitais a partir de um diálogo com teorias da imagem e do imaginário. Partindo de projetos que operam atualizações de imagens oriundas de banco de dados digitais online, coloca-se em discussão práticas processuais coletivas e geração de imaginários compartilhados. A reflexão sobre as teorias da imagem adota a abordagem antropológica que articula imagens, meios e corpos, desenvolvida por Hans Belting. Os processos de criação são estudados a partir da perspectiva de redes da criação (Salles); partilha do sensível (Rancière) e passagens do imaginário (Leão).

Palavras-Chave: Processos de criação nas mídias 1. Teorias da imagem, 2. Imaginário 3.

IN THE MIDDLES OF URBAN SPACE. The case of Critical City Upload

by Federica Timeto

Paper delivered at the ECREA temporary working group "Media & The city" workshop, Feb. 2012, unpublished. Please do not quote without permission.

Per una teoria del cyberfemminismo oggi. Dall'utopia tecnoscientifica alla critica situata del cyberspazio

by Federica Timeto

Studi Culturali, n. 3, dicembre 2009, pp. 453-478

La nozione di tecnosocialità elaborata nell’ambito dei social studies of technology (STS),  e ampiamente... more La nozione di tecnosocialità elaborata nell’ambito dei social studies of technology (STS),  e ampiamente dibattuta all’interno della riflessione tecnofemminista, porta in primo piano la costruzione sociale del genere e della tecnologia, e la necessità di considerare congiuntamente le tecnologie di genere e l’ingenerarsi delle tecnologie. Questo saggio analizza l’apporto teorico e pratico del cyberfemminismo al dibattito, analizzando la fase utopica e quella critica del cyberfemminismo per soffermarsi sull’incontro fra il cyberfemminismo, il pensiero postcoloniale e il femminismo transculturale. Ritornando alla radice politica del pensiero di Donna Haraway sul cyborg e sui saperi situati, il cyberfemminismo situato e transculturale recupera la dimensione incarnata delle nuove tecnologie, e adopera e analizza le nuove tecnologie di informazione e comunicazione considerandone gli effetti materiali e simbolici in relazione alle dinamiche della produzione e del consumo, della collocazione e della mobilità, per rivendicare un agire femminista che scaturisce dai contesti e dalle storie in cui l’intreccio fra corpi e tecnologie fa differenza.

Keywords: ICTs - cyberfemminismo - Donna Haraway - studi postcoloniali - femminismo transculturale

Arte femminista e nuove tecnologie: una prospettiva situata

by Federica Timeto

In "Culture della differenza. Femminismo, visualità e studi postcoloniali", a cura di Federica Timeto, Utet, Torino, 2008, pp. 158-73.

Parallel space

by Avi Rosen

presented at:  The Ninth International World Wide Web Conference (WWW9) Amsterdam 2000..and  Consciousness Reframed 2000 Conference Centre for Advanecd Inquiry in the Interactive Arts (CAiiA), University of Wales College, Newport

Performance/installation refers to the functioning and creation/consumption process in the Internet and mass media... more Performance/installation refers to the functioning and creation/consumption process in the Internet and mass media era. It simultaneously occupies several, spaces: real, the local and remote physical site. Virtual space created locally by the artist as in VR_BODY*, and others via the Internet, spiritual*** distributed and local space all linked together creating a junction of distributed space, reflected in the private space, as in 'Free Art'** site.

Man-Machine

by Avi Rosen

Fourth International Symposium on Electronic Art.
Minneapolis, Minnesota USA, 1993.

Man machune interacrion in art from Futurism to Andy Warhol and new media art Man machune interacrion in art from Futurism to Andy Warhol and new media art