gLUTton Fig.1 @ Nuit Blanche Montreal

Matthew Biederman — Wed, 17 Mar 2010 21:34:02 +0100

2010
Generative digital wall drawing
2 HD Projectors, 2 Computers, custom software

Invited by Gallerie PUSH for Nuit Blanche, Montreal.

Following a set of rules for the drawing, perspective is continuously
distorted. The shifting colors either push or pull, and sometimes both.

In Collaboration with Art45

Special Thanks to:
HC Giljie
l'iACT/UdeM institut Arts Cultures Technologies

full video and details here.

Bill Vorn

MCD — Wed, 10 Mar 2010 11:24:40 +0100

Born and living in Montreal, Bill Vorn is active in the field of Robotic Art since 1992. His installation and performance projects involve robotics and motion control, sound, lighting, video and cybernetic processes. He pursues research and creation on Artificial Life and Agent Technologies through artistic work based on the Aesthetics of Artificial Behaviors.

He holds a Ph.D. degree in Communication Studies from UQAM (Montreal) for his thesis on Artificial Life as a Media. He teaches Electronic Arts in the Department of Studio Arts at Concordia University (Intermedia/Cyberarts program) where he holds the rank of Full Professor. He is responsible of the alab, a Robotic Art research-creation lab part of the Hexagram Institute.

His work has been presented in multiple international events, including Ars Electronica, ISEA, DEAF, Sonar, Art Futura, EMAF and Artec. He has been awarded the Life 2.0 award (1999, Madrid), the Leprecon Award for Interactivity (1998, New York), the Prix Ars Electronica Distinction award (1996, Linz) and the International Digital Media Award (1996, Toronto). He has worked in collaboration with many canadian artists (including Edouard Lock, Robert Lepage, Gilles Maheu, LP Demers and Istvan Kantor). He was cofounder of the electronic pop music band Rational Youth with Tracy Howe in 1981.

His next exhibition, Hysterical machines - Les nouveaux monstres, will be in St Nazaire (France), fromjune 17 to august 17 2010.

http://billvorn.concordia.ca

The Angel of History, by Dominique Moulon

MCD — Wed, 10 Mar 2010 11:04:21 +0100

According to Benjamin Weil, the principal curator of Laboral, the Feedforward exhibition is just a “sequel” to Feedback, the inaugural exhibition of the Centre for Art and Industrial Creation in Gijon, Spain. Its organisation was entrusted to Christiane Paul, one of the curators of the Whitney Museum in New York, and to Steve Dietz, the artistic director of the Zero1 biennale of San José, California. The exhibition’s subtitle, “The Angel of History” is making a reference to an essay by Walter Benjamin.

Continue on newmediaart.eu

Image : AES+F, “Last Riot”, 2007.

DORKBOT : HYBRIDATION

MCD — Tue, 09 Mar 2010 09:59:57 +0100

La Générale Nord Est et son Labo Libre invitent DORKBOT PARIS

Date: Jeudi 11 mars
Lieu: La Générale, 14 avenue Parmentier, 75011 Paris, Métro Voltaire.
entrée libre.

18h30 : ouverture des portes
A partir de 19h: Jean-Baptiste Labrune présente le workshop qu'il a conduit à l'ENSAD en février en collaboration avec Dana Gordon, Leah Buckley et Kelly Dobson (MIT Media lab).
puis jusque vers 21h30, les équipes du projet "hybrid materials" de l'ENSAD vous proposeront des démos de leurs prototypes.
http://hybrides.ensad.fr/

Avec les projets de :
- Martin de Bie et Samuel Aden, Flampoule
La Flampoule est un instrument de lumière interactif se basant sur un principe sinesthésique (pensée métaphorique).
Ce projet questionne l'interaction homme objet à travers le rapport son/lumière.
Les utilisateurs, amateurs, musiciens et même personnes sourdes peuvent ainsi expérimenter une nouvelle pratique musicale.
- Bo Pang et J.C. Karich, SO-Q
Le fauteuil prototype réagit au toucher et a la pression, il restitue une empreinte corporelle visible grâce à
une surface qui a une mémoire courte. Les situations peuvent être enregistrées pour des périodes courtes.
- Benjamin Gofette & Alice Aublet, Color Fields
- Bina Baitel & Karine Aboudarham, Heater Dance
- Aurélie Ponsin & Marie Wilhem, Hydrogami
- Boris Gastaldi & Maxime Talan, Play/Ground Sole
Mais aussi: la cuisine hybride de Nick L'étrangère
(restauration expérimentale sur place donc, contribution libre)
Et encore: opendork et autres surprises hybrides...

http://etrangerecuisine.canalblog.com/
http://lagenerale.fr
http://dorkbotparis.org

Le MCD 57 est disponible!

MCD — Mon, 08 Mar 2010 18:18:02 +0100

MCD #57

Le nouveau numéro de MCD de mars-avril est disponible!

Dans ce numéro :

EDUARDO KAC -
BEN NEILL -
PANTHA DU PRINCE -
CLARA MOTO -
LINDSTRØM et CHRISTABELLE -
DR.FLOY et SUMATHI -
[THE USER] -
COMPUTER MUSIC, le grand jeu des softwares -
ART NUMÉRIQUE, le rôle du marché de l'art… -
LUX, scène nationale de Valence -
...

En vente, 3€, sur http://shop.digitalmcd.com/

ONLY VJING @ BATOFAR

MCD — Mon, 08 Mar 2010 14:55:57 +0100

Le mardi 09, à la Cantine du Batofar, Yarkk et Milie volt du
Pole-expe vj crew seront à l'ecran.

Pour les accompagner, Neliointhemix,
Lyes et dj Ushde.

www.myspace.com/pole-expe

Playmobile a festival dedicated to micromusic, retrogaming, do it yourself and gameart

zabarvers — Mon, 08 Mar 2010 13:25:10 +0100

This week-end, the collective Freesson, organised once again at la Gare in Coustellet, a charming little village from the south of france with a very good organic wine, Playmobile, a micromusic festival featuring installations, performances or videos by artists like Debeul Alex (big up), Monsieur Moo (big up too!), Dardex Mort2faim, Archeopterix... And with giggs of Meneo Mobile (big up big up!), Jankenpopp and Confipop among many others.

It was simply great as the whole event was absolutely coherent and qualitative. The artworks were the result of a one week residencies at la Gare and during the day of the 6 march, workshops of tuning, circuit bending and 8bit music were given. The day began with a very good and funny performance by Mr. Moo and its Gateau Blaster. The gateau blaster was a ball built in ghetto blasters, speakers and a battery, playing 80' music like Grandmasterflash. Mr Moo's idea was to roll the ball till the dump besides the Gare. We followed him and its gateau till the ball broke and there was this very particular moment when evrything was broken and where no music was playing anymore... but Mr Moo took an electric wire and puted it on the battery and the music played again, it was great!

Check the video on Youtube at this adress :

http://www.youtube.com/watch?v=Pm7FnObzJ24

Then the exhibit opened and my favorite installation (hard to say as I enjoyed everything but...) is the work created by Debeul Axel: Playmobile. A musical instrument created with Playmobiles toys, from the sequencer, to the boomer till the dragoon turntable. This piece was at the same time ludic, poetic and very funny. There was also some bauhaus influence in the way he built the whole mecanism.

The other installation was conceived by Archeopterix, a figure from Marseille as he is known as an archologist of games, old computers and synthetisers. Ludic, funny and entertaining!

At least but not last, a very deep and meaningfull (!) video created for the occasion by Dardex Mort2faim featuring Donkeykong... they played a lot with animated gifs to produce this video!! The video was screened on a wall outside the gare for the eyes of outside partytimers!

Then the music began and I discovered the music of Meneo Mobile and super enjoyed his scenic style and his music. Of course I also really liked the music of Confipop and Jankenpopp. This event was well organised, the atmosphere was "bon enfant" easygoing and pleasant. Congratulations to all the participants and organisers!

Cheers Isabelle

RIAM 07 LOW-TECH

MCD — Wed, 03 Mar 2010 12:39:16 +0100

Technè presents
RIAM 07 LOW-TECH 25 february to 6 march 2010 - Marseille
http://www.riam.info/07/

| wednesday 3th of march in Daki Ling at 7:00 pm
45A rue d’Aubagne 13001 Marseille
Artkillart • Presented by Kevin Bartoli, one of the label founders
CHDH (Artkillart), “Vivarium” • A/V performance
Prices : 4 € + 2€ membership card to Daki Ling
+ informations http://www.riam.info/07/mercredi-03-mars.html

| saturday 6th of march in Petit Théâtre de la Friche de la Belle de Mai at 6:00 pm...
41, rue Jobin 13003 Marseille
Bruno Natal, “Dub echoes” • documentary, 75 minutes VOSTF
Projection and roundtable conference.

| ... and at 10:00 pm "BASS CULTURE" party in Cabaret Aléatoire
41, rue Jobin 13003 Marseille
Lena (FR : Quatermass, Bruit Clair) • Live
Disrupt et MC Soom T (DE/UK : Jahtari) • Live
Kode 9 (UK : Hyperdub) • Dj set
MC2 (FR) • Live
20 Kw Funktion One.

Prices : 16 € at the entry, 14 € in presales on http://www.digitick.com/soiree-bass-culture-electro-cabaret-aleatoire-ma... and on http://www.espaceculture.net/04_billetterie/detail_rech_billetterie.php?....
+ 1 € membership card to Cabaret Aléatoire
+ informations http://www.riam.info/07/samedi-06-mars.html

Technè with: Le Conseil Général des Bouches-du-Rhônes ⎢Le ministère de la culture et de la communication, CNC/Dicream ⎢ La Ville de Marseille ⎢La direction Régionales des Affaires Culturelles PACA ⎢ Le magazine Mouvement ⎢Le magazine ARTPRESS ⎢La revue MCD ⎢Marseille expos ⎢Radio Nova ⎢Radio Grenouille ⎢Vibrations ⎢Tsugi ⎢Ventilo ⎢ L’Embobineuse ⎢GRIM, scéne musical de Montévidéo ⎢Galerie Buy-sellf Art-Club ⎢Le Daki ling ⎢la Compagnie ⎢Le Cabaret Aléatoire ⎢Upgrade! Paris ⎢Alphabetville ⎢Espace Culture ⎢Système Friche Théâtre ⎢Micromusic festival.

The ESTATES GenerOUs of VIDEO ART

MCD — Wed, 03 Mar 2010 12:24:50 +0100

LES INSTANTS VIDEO Numériques et poétiques are preparing
The ESTATES GenerOUs of VIDEO ART
2013 - 50th anniversary of video art
In 1963, Nam June Paik made a founding act, with the exhibition of thirteen distorted TV sets (Music/Electronic Television) in the gallery Parnass in Wuppertal, Germany
We will celebrate the event by organising the Estates GenerOUs of Video Art
Where does video art come from ?
What about video art today ?
Where is video art going ?

2013 - Marseille - European Capital of Culture
The 2 schedules shall give the event the magnitude it deserves. As collage technique replaced oil paint, the cathode-ray tube will replace the canvas. (Nam June Paik) Did such a revolution Paik predicted happen to take place ?
CALL
We are inviting all the video and multimedia artists, all the curators, all the festival directors (and the other spaces of exhibition), all the video art historians (and the other observers), all the distributors, all the teachers, all the students, all the thinkers, all the passers-by, all the friends, all the john does, all the specta(c)tors, all the youngs and the olds, all the poets of the verb, of the image, of the sound, of the gesture, of the seeing... to send us their happy, surprising, activist, utopian, serious suggestions.
We are looking for texts, photos, films, testimonies, sound recordings, manifesto, catalogues...to tell the story (the stories) of worldwide video art (1963-2013)
contact : 1963-2013@instantsvideo.com

http://www.instantsvideo.com/

Green Light: Toward an Art of Evolution, par George Gessert

MCD — Tue, 02 Mar 2010 12:06:01 +0100

Green Light: Toward an Art of Evolution by George Gessert

Humans have bred plants and animals with an eye to aesthetics for centuries: flowers are selected for colorful blossoms or luxuriant foliage; racehorses are bred for the elegance of their frames. Hybridized plants were first exhibited as fine art in 1936, when the Museum of Modern Art in New York showed Edward Steichen's hybrid delphiniums. Since then, bio art has become a genre; artists work with a variety of living things, including plants, animals, bacteria, slime molds, and fungi. Many commentators have addressed the social and political concerns raised by making art out of living material. In Green Light, however, George Gessert examines the role that aesthetic perception has played in bio art and other interventions in evolution.

Gessert looks at a variety of life forms that humans have helped shape, focusing on plants—the most widely domesticated form of life and the one that has been crucial to his own work as an artist. We learn about Onagadori chickens, bred to have tail feathers twenty or more feet long; pleasure gardens of the Aztecs, cultivated for intoxicating fragrance; Darwin's relationship to the arts; the rise and fall of eugenics; the aesthetic standards promoted by national plant societies; a daffodil that looks like a rose; and praise for weeds and wildflowers. Gessert surveys recent bio art and its accompanying philosophical problems, the "slow art" of plant breeding, and how to create new life that takes into account what we know about ecology, aesthetics, and ourselves.

About the Author

George Gessert is an artist whose work focuses on the overlap between art and genetics. His exhibits often involve plants he has hybridized or documentation of breeding projects. His writings have appeared inLeonardo, Art Papers, Design Issues, Massachusetts Review, Hortus, Best American Essays 2007, Pushcart Prize XXX, and other publications.

http://leonardo.info/isast/leobooks/books/gessert.html

April 2010
The MIT Press
A Leonardo Book
ISBN: 0-262-01414-9
192 pp., 30 illus.

Art in the age of pervasive data

MCD — Thu, 25 Feb 2010 16:28:50 +0100

Deadline: Abstracts due 1 June 2010  

Art in the age of pervasive data is a call for papers and artworks for a new issue of the Leonardo Electronic Almanac edited by FutureEverything.

  This issue of LEA will seek cross disciplinary thinking on art in the age of pervasive data.   

LEA is soliciting texts and artworks by artists, researchers, and scholars involved in the exploration of themes including:  

The networked city 

Data visualisation 

Open data 

Hyperlocal data and the interpretation of proximity 

Community use and generation of data

 Novel means of navigating the data terrain.  

Cities today are vast repositories of information, endlessly collecting and archiving data. The growth and proliferation of databases and libraries that we access and update in the course of our every day lives, and new techniques of accessing, visualising and using that data, leads to new forms of representation and social interaction. The vast scale of these databases brings us to a tipping point, entering an era that is increasingly data-driven. This poses new challenges, such as the demands of making sense of a million different data sources, issues of provenance, interoperability, trust and accountability.  

The potential for more innovative and novel interpretations of this landscape by creative invention, social innovation and scientific intervention is there to be explored.  Linked activity exploring the Art in the age of pervasive data theme is being led by FutureEverything and its OpenData Cities project  The Leonardo Electronic Almanac (LEA) will produce an online and print on demand paper and gallery issue edited by FutureEverthing, as well as host curated images and videos online.  

The FutureEverything editorial group consists of Karen Gaskill, Drew Hemment, Michelle Hirschhorn, Michelle Kasprzak, Julian Tait, Kate Taylor.   

Proposals to:

lea@futureeverything.org

info@leoalmanac.org   

HORS D'OEUVRE / SHANGHAI (CHINE)

MCD — Thu, 25 Feb 2010 15:20:17 +0100

VIDEOFORMES ON TOUR

12/03 > 18H

The young Première Exposition Internationale de Vidéo à Baoshan festival calls upon Videoformes to present a selection of videos.

Patrick Bergeron (Canada) - Robert Croma (UK) - Clorinde Durand (France) - Mihai Grecu (France) - Vicent Gisbert Soler (Espagne) - Max Hattler (UK) - Maix Mayer (Allemagne) - HeeWon Navi Lee (France) - Lorenzo Oggiano (Italie) - Reynold Reynolds (USA) - Vladimir Todorovic (Singapour) - François Vogel (France)

Festival : 6>13 mars 2010
Projection / screening : 12/03 / 18h (6PM)
Shanghai, Baoshan quarter, 701 SongPu Lu
Free access

incite/ pre-premiering parts of dualicites @ Rote Flora Hamburg (with video)

incite — Sat, 20 Feb 2010 16:58:06 +0100

We´ve uploaded an excerpt of incite/ performing some tracks from the new liveset dualicities for the first time on February 6th at Rote Flora Hamburg. The two tracks featured in this excerpt are city secrets and psychopath. (recorded with a [\[¢$#-old camera...)

http://www.digitalarti.com/en/video/incite_live_rote_flora_feb_2010

The official premiere will be at the Némo in Paris on April 10th.

There´s three ore pre-premieres planned for March:

18.03. Exineo @ LeZoo, Geneève, CH

19.03. VideoArtFestival @ Old Abbatoirs, Casablanca, Morocco,

26.03. B-Seite/ Jetztkultur @ Zeitraumexit Mannheim, DE

Hope to see you on any of these occasions!

best wishes from Hamburg,

Kera + André

Test_Lab: Tools for Propaganda

V2_ — Fri, 19 Feb 2010 13:39:56 +0100

Experience how new media
technologies direct, divert, distract and manipulate your gaze on the world.

The increased accessibility and affordability of contemporary media
technologies has greatly expanded possibilities for the dissemination of
independent and grassroots information. At the same time, these developments
have also greatly increased the opportunities for (mis)use of media
technologies as powerful and effective tools for political and commercial
propaganda. Although many theorists, artists, and activists have addressed the
latter perspective on contemporary media technologies, critical debates have
rarely relied on concrete demonstrations to prove their point. This edition of
Test_Lab will therefore investigate the face of propaganda in the digital age
by means of live artistic demonstrations, and will allow the audience to test
hands-on how new media technologies can be applied as effective tools for propaganda.

How does Google determine which website shows up first and which one on page
2.480.133 of a search? Does a photograph only represent its own reality? How
does social tagging affect the meaning of an online image? Why is spam
persuasive and profitable? Is Uncyclopedia perhaps the true Wikipedia? What
would the world look like if all advertisements were covered with artworks? And
can Google's Street View be a stage for artistic intervention?

Test_Lab: Tools for Propaganda allows you to experience and test for
yourself how new media technologies can be (mis)used to direct, divert,
distract and manipulate your gaze on the world.

Subvertr.com and streetwithaview.com are screened with kind permission of
the artists, Les Liens Invisibles, and Robin Hewlett and Ben Kinsley,
respectively.

This event will be streamed live at www.v2.nl

Test_Lab: Tools for Propaganda

March, 11 2010

20:00-23:00

V2_, Eendrachtsstraat 10 Rotterdam, Netherlands

Yibin Tian: Our New York

Chelsea Art Museum — Mon, 15 Feb 2010 21:56:28 +0100

Yibin Tian: Our New York

March 5-April 17, 2010

Docent Tour Free with museum admission: Every Saturday, 4pm

“Tian’s main concern is individual psychology operant in a collective society with an eye for the indomitable nature of the human spirit.” – Dr. Thalia Vrachopoulos, from Yibin Tian:

All for One and One for All.

The Chelsea Art Museum, Home of the Miotte Foundation, is pleased to present Yibin Tian:Our New York.
Yibin Tian’s multi-media installation comprises C print photographs,
threedimensional sculptures, and video installation. Tian’s goal is to capture the effects that authoritarian Songun-ism (Military First) has on its
citizenry. Tian uses color film and casual observation as his methodologies.
Aside from his aesthetic contributions, Tian’s work holds relevance in its
timely cultural and social value especially given the recent political crisis
resulting from North Korean nuclear testing and Jongil Kim’s refusal to
cooperate with international disarmament policy.

Our New York by Yibin Tian (a.k.a. Lao Liu or Old Six)
is an installation that continues his last year’s series All
for One and One for All. His work is a result of being reared in a
totalitarian government in Bejing, China. This rigid environment provoked him
to explore the contrary lifestyle of individualism. Many of the works express
the North Korean Songun (military first) politics, yet simultaneously touch
upon democratic values as they combine western figures and ideas. Tian’s
photographs and sculptures of North Korean military authoritarianism (Songun)
where a nation is at the service of its leader Jong-Il Kim, are metaphors for
power. Juche is akin to a religious philosophy that espouses worship of a charismatic leader and is
informed by Confucianist values advocating the notion of filial piety and
familial hierarchy. While exhibiting the last series in New York the artist
enacted a pre-set visual dialogue between western and eastern militarism by
posing together North Korean officers juxtaposed against New York uniformed
policemen.

Call for entries « RÉSEAUX DE VEILLE » – WORKSHOP

MCD — Mon, 15 Feb 2010 17:37:21 +0100

Bandits-Mages send out an invitation for the opening of the Plateforme des Arts Médiatiques (Media Arts Platform) and its first workshop about networks and their practices.
Deadline : february, the 15th 2010.

Dates : March, from the 3rd to the 5th 2010

Place : le Haïdouc, Bandits-Mages, Friche Culturelle l'Antre-peaux, Bourges

Inscriptions / Participation :

The workshop is open to art student, artists, researcher, practitioner, and to public. The entry is free and the number of entries is limited to 20.

For more autonomy during the workshop, participant who have computer are invited to bring it with them.

More details on : Bandits-Mages

Botanicals

junjunsa — Mon, 15 Feb 2010 02:20:16 +0100

Same idea of replication as with the unconventional portraits, but this time by using the outline of the human body to form the plants.

Botanical 1

Botanical 4

MA Sound Design for sensitive environment with Pure Data and more

TheSAD aka Marco Donnarumma — Sat, 13 Feb 2010 11:45:24 +0100

File under: puredata, FLOSS, university, sound design, sensitive environment, interaction design, real-time synthesis

Physical and Virtual Places: Brescia, Academy of Fine Arts, Italy.

Read it here http://www.thesaddj.com/ma-sound-design-with-pure-data-and-more/

MMIX by nicolas clauss

MCD — Wed, 10 Feb 2010 18:32:32 +0100

Coproduction L'espal

MMIX* is a timeless work in four interactive tableaus, where each
visitor is invited to follow with his eyes and ears what his mouse
gestures reveal. At each caress, sound and visual elements get randomly
muddled up on the screen creating always new combinations. A work
travelling between real and surreal, dream and mind, rage and fright,
where humour and drama are cruelly mixed to suggest the sad patterns of
our contemporary reality.

These works are part of Nicolas Clauss' virtual gallery, flyingpuppet, a collection of digital tableaus started in 2001.

MMIX is currently exhibited at Japan Media Art Festival, National Art Center, Tokyo

* Roman numerals for 2009

http://www.flyingpuppet.com/shock/2009/

living wall

MCD — Wed, 10 Feb 2010 17:25:38 +0100

Run your hand across this wallpaper to turn on a lamp, play music, or control your toaster. This interactive wallpaper can be programmed to monitor its environment and control other electronic devices, serving as a beautiful and unobtrusive way to enrich environments with computation. The wallpaper is flat, constructed entirely from paper and paint and can be paired with our paper computing kit whose pieces serve as sensors, lamps, network interfaces, and interactive decorations.

http://hlt.media.mit.edu/living_wall/index.html

VIRAGE Public Presentation

MCD — Wed, 10 Feb 2010 15:48:15 +0100

iMAL - interactive Media Art Laboratory
vendredi 19 février 2010, à 10:00
A research project on authoring and controlling interactive scenarios for music, performing and installation art

Presentations * Demo * Workshop * Performances * Exhibition
-------------------------------------------------------
with
Yannick Antoine, Pascale Barret, Laura Colmenares, Yacine Sebti
(chantiers iMAL), Renaud Rubiano, Georges Gagnerez, Loïs Drouglazet
(didascalie.net), Mathieu Chamagne, Charles Bascou, Pascal Balthazar,
Théo de la Hogue (GMEA), Raphaël Marczak (laBRI), Guilherme Carvalho
(CICM),...
-------------------------------------------------------

Check the program: http://imal.org/virage
More about Virage: http://www.plateforme-virage.org

Charter of the RAN

RAN — Mon, 08 Feb 2010 09:26:52 +0100

A. DÉFINITION
The RAN aims to foster the development of digital arts via artistic, scientific and technical research, production, dissemination and mediation, training and education.

B. COMPOSITION
The RAN is comprised of artistic, scientific and industry research, training, production and dissemination structures working in the domain of digital creation.

C. CODE OF ETHICS
The RAN does not defend any specific artistic or scientific school of thought. The RAN recognizes the different environments inherent to each of its members and respects the identity, objectives, functioning, artistic policies and means of each member. The aim is to leverage the elements that bring the partners together while preserving their distinguishing characteristics.

D. COMMITMENTS
The members of the RAN undertake to:
Promote the intersection between research – production – dissemination – training / art – science – industry by:
1. Increasing cooperation between production, training, research and dissemination structures in the field of digital arts
2. Strengthening ties between art, science and industry
3. Promoting the circulation of knowledge developed in the artistic, scientific and technical realms
4. Fostering ties, exchanges of information and collaborative endeavors between cultural, scientific and industry players

Increase the sharing of resources between structures by:
5. Facilitating technical and artistic experimentation, exchanges and the sharing of methods and expertise
6. Organizing host studios and joint residencies
7. Developing the co-productions of works
8. Facilitating the joint dissemination of works
9. Forging sustainable ties between the network’s participants
10. Informing other members of projects

Help support projects by:
11. Providing follow-up and support to artists, technicians and researchers for the development of their projects and
research
12. Planning interdisciplinary exchanges
13. Organizing experimental workshops
14. Promoting the mobility of artists and works

Communicate and serve as a mediator by:
15. Supporting training and awareness-raising actions: workshops, meetings, master classes, etc.
16. Disseminating and printing the communication documents and reflection material of the member structures
17. Supporting the development of dedicated events and sites
18. Lobbying institutions for the protection and development of digital arts

Digitalarti Mag Issue #1 Free download

Digitalarti Mag — Fri, 05 Feb 2010 20:50:25 +0100

You will find enclosed the free pdf files of the number 1 issue of the Digitalarti magazine. It is bellow as en enclosure in low resolution (for faster download) and high resolution (for better image quality). The summary of this issue No 1 is there.

Enjoy it and let us know your comments, questions, wishes… by commenting this post or by email at: info at digitalartimag.com

Echoppe : Cherise Fong.

Nicolas Frespech — Thu, 04 Feb 2010 21:32:04 +0100

For the 6th anniversary of the Echoppe photographique, why not a selection
of 6 images? As a database, the Echoppe invites you to play with it, to
sample, cross-reference and remix its elements. As a curator, I decided
to reverse the relationship between image and text. In the Echoppe, the
photographs are inspired by words; here, the words are inspired by the
photos -- captions, subtitles, associative thoughts that have been subsequently
sewn into a semblance of a narrative. It's not easy to tell a story in
6 images. But here is a simple one, from among an infinite number of others
possible.

Download the Cherise kit now !
http://www.frespech.com/echoppe/kit.php

INTERVIEW OF NICOLAS FRESPECH IN THE SPECIAL ISSUE OF MCD : WJ-SPOTS#1

Nicolas Frespech — Thu, 04 Feb 2010 18:44:10 +0100

Who are you? Can you tell us in a few words what you have been doing these last few years?
/ I studied fine arts at the Internet Editorial. I’ve had a computer
since I was 11. I’ve always done art. I remember, as a child, I loved
to send decorated envelopes: it was mail art. My practice was radically
modified by multimedia and especially the net; I dropped my brushes and
my color crayons to throw myself into code, the art of making links.
I also directed videos, but the practice that has stayed with me is photography.
In 1996, I got some help putting my first artistic creation on the net,
La Maison des Immondes Pourceaux (The House of the Gross Pigs), and
I’ve been hooked ever since… I’ve never stopped. Hypertext was an
absolute revelation. I was part of a public procurement operation, when
the Languedoc-Roussillon FRAC (Regional Contemporary Art Fund) decided
to acquire my Je suis ton ami(e)… tu peux me dire tes secrets (I’m your
friend… you can tell me your secrets) before it got censored; which it
still is today. In retrospect, I think that event was actually helpful
for me. My current practice is exclusively connected; I can no longer
create anything without conceiving of it in the framework of its
relationship with the Internet… and with others.

Complete interview :
http://www.digitalarti.com/en/blog/wjspots/wj_spots_1_nicolas_frespech

WJ-SPOTS 1 NICOLAS FRESPECH

WJSPOTS — Thu, 04 Feb 2010 16:47:25 +0100

INTERVIEW OF NICOLAS FRESPECH IN THE SPECIAL ISSUE OF MCD : WJ-SPOTS#1

/ Who are you? Can you tell us in a few words what you have been doing these last few years?
/ I studied fine arts at the Internet Editorial. I’ve had a computer since I was 11. I’ve always done art. I remember, as a child, I loved to send decorated envelopes: it was mail art. My practice was radically modified by multimedia and especially the net; I dropped my brushes and my color crayons to throw myself into code, the art of making links.
I also directed videos, but the practice that has stayed with me is photography.
In 1996, I got some help putting my first artistic creation on the net, La Maison des Immondes Pourceaux (The House of the Gross Pigs), and I’ve been hooked ever since… I’ve never stopped. Hypertext was an
absolute revelation. I was part of a public procurement operation, when the Languedoc-Roussillon FRAC (Regional Contemporary Art Fund) decided to acquire my Je suis ton ami(e)… tu peux me dire tes secrets (I’m your friend… you can tell me your secrets) before it got censored; which it still is today. In retrospect, I think that event was actually helpful for me. My current practice is exclusively connected; I can no longer create anything without conceiving of it in the framework of its relationship with the Internet… and with others.

// You have been involved in network activities or netbased projects for many years. From an artistic perspective, what has been happening in this field?
What have you witnessed or found interesting about the internet? What is your experience and feeling about the birth and the adolescence of the internet?
// Artistically speaking, I’ve been lucky enough to see unbelievable works of art that have inspired and compelled me. The potential and
the technical progress of software programs have grown extremely quickly, powerfully spurring the production of artistic projects.
Currently, for example, I’m particularly interested in mobility. I’d also like to do an art piece on what’s being called invisible Internet,
off-network, so to speak. I grew up with the web, and I thought that mainstream Internet was invented just for me. I knew of forums where they imagined the net while it was happening, that is a cultural net open to experimentation. You hardly mentioned e-business. Services improved, the connections as well, and people started to get connected… The lack of critical thinking on the part of mass media, still fascinated by the biz, is unfortunate. There probably aren’t enough true Internet critics, but things are changing; I really believe in a cultural Internet, with artistic creation and information sharing. Let’s talk about Google, for example, whose hegemony serves as practically our unique guide on the net and tells us what we can (or can’t) see on the Internet, or FlickR, which stores our photographs, our memory, without any guaranties.
The privatization of personal details is currently a trend for sites that ”offer” a service without ever saying exactly what they get in return. Nobody forces people to use Google, nobody gives it a second thought, but when do we finally get that famous, publicly owned,
powerful, European search engine? Let’s also talk about preservation; how do we guarantee, for example, the permanence of art work on the net?

/// From a social, political, artistic or philosophical point of view, what is the impact of the concept of the network? How has the Internet and the idea of the network modified your attitude and practice, your relation to space and time, and the way we behave, work, think, share, exchange, collaborate, create…?
/// The idea of networks makes me think that what’s changed is that things are on a different scale. You’re in networks at school; you’re in knowledge exchange fellowships, with your girlfriend’s buddies because you’re looking for a top executive position. The scale of things, and dematerialization, have never stopped increasing.
Internet is a super tool. To make it an artistic one, you just have to understand its grammar, and then get used to it. On the other hand, it seems that some practices on the net are changing people’s behavior: for example, people on dating sights behave like serious segregationists when they’re profiling, but they deny it! There’s something extremely fascinating about the dematerialization
and digitalization of all this information. But to get back to art, the net has changed the rules of the game with the dematerialization and
circulation of cultural products. As for what we called net art, that’s different: it’s art that was designed to be seen via a connection; some people in the art world are really interested in the net, others couldn’t care less and only want to be able to see the price of physical world artists in “real time” on the net!
What’s interesting about my art work is that the net is the tool I use for inspiration, creation, promotion, collaboration and dissemination… It’s quite coherent… It’s also important for me to have as much autonomy as possible when I’m creating pages: to know how to write HTML, PHP, etc… to be able to understand the material and know how to make it “creative.”

//// In the future, do you think internet will still be an interesting territory to explore ? Do you think it can be a fertile space for creation? Do you think it will produce interesting, mutating, hybrid artistic forms where the physical world and the virtual world can mutate, merge, fuse or collide?
//// Telephony, connected objects, captors, geolocalization… the net that accesses the physical world is already here. In Spain, you can
already “microchip” your body. Next, as artists, we have to figure out what to do with it all, with the cell phones connected to the net, with the nanotechnology, etc… and produce art work that, if possible, has meaning, critically and artistically.

///// What are, for you, the most important, emblematic, essential, exemplary websites of the last 15 years?

< http://www.madoff.ch >
< http://www.thing.net/~nicolas/index2.html >
< http://joy.nujus.net/w/?page=lascaux2.org >
< http://www.synesthesie.com/syn09/creations/identite/ >
< http://www.magasin-cnac.org/archives/closky/with/frespech/ >
< http://www.poptronics.fr >
< http://www.sfr.fr/Nokia-N95 >
< http://pages.ebay.fr/dssdd >
< http://www.amazon.fr/gp/product/275441112578 >
< http://www.walmart.com/catalog/product.do?product_id=14558716 >
< http://www.barnesandnoble.com/booksearch/noresults.asp?SAT=1&SRH=17&SZE=... >
< http://www.priceminister.com/nav/Hifi_camera/f1/Jemecherche >
< http://www.cdiscount.com/search/je+me+cherche/sa-10.html >
< http://www.kelkoo.fr/b430-Philips >
< http://store.apple.com/fr/browse/home/shop_ipod/faily/ipod_nano?mco=hyuh... >
< http://www.pixmania.com/fr/fr/r/jemecherche >
< http://www.eveiletjeux.com/Produit-127/tente-princesse-pop-up.htm >
< http://www.laredoute.fr/Error_Pages/ProductNotFound.aspx?apperr=2&pg=pro... >
< http://www.3suisses.fr/FrontOfficePortail/r/jemecherche >
< http://www.madeindesign.com/com.expershop.lite.ExperSHOP >
< http://www.yves-rocher.fr/control/keywordsearch >

WJ-SPOTS #1 extract

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The digital project l'Echoppe (The Stall) celebrates six years of online presence in February.

Nicolas Frespech — Wed, 03 Feb 2010 19:02:12 +0100

The digital project l'Echoppe (The Stall) celebrates six years of online presence in February. Nearly 1000 photographs have been taken, and they are yours for the taking!

Commande 1782 Consumérisme : représenter la valeur ajoutée du plaisir symbolique présent dans tout achat.
Commandée le 13-09-2008 par zmudska et reçue le 13-09-200. Licence Art Libre

The project is going full steam ahead more than ever, and I invite you to make orders and to wait for the photograph that fits them, here: http://www.frespech.com/echoppe/order.php

Commande 2076 Un marteau,une faucille et une étoile rouge sur un sapin pour noëlCommandée le 27-06-2009 par lunama et reçue le 28-12-2009. Licence Art Libre

To mark this anniversay, you will shortly be able to download, for free, new curator kits from http://www.frespech.com/echoppe/kit.phpThe images are downloadable as a .rar file. Zipped images are high-resolution and can be printed, inserted into a digital photo frame or uploaded onto your phone. Or stick them on your blog; they are free under a creative commons licence.

Commande 2099 une super prof! Commandée le 14-09-2009 par didine et reçue le 28-12-200. Licence Art Libre

You can even exhibit them in your flat and organize an opening for your friends! L'Echoppe is also available on your phone or iPhone: http://www.frespech.com/echoppe/To see the project presented from an educational perspective: http://www.digitalarti.com/fr/video/mcdates11_3_loeil_monde_nicolas_frespech_netartThis year will focus on two principle projects: the continuation of the RSS journal of an artist in flux:http://frespech.com/rss/and an attempt to make the on-line documentary "how to make a documentary": http://www.frespech.com/documentairethese are undertaken in the context of a residency at Lux, Valence's theatre: http://www.lux-valence.com/programme/and in partnership with Poptronics: http://www.poptronics.fr As for my artistic practice, here is a little cut-and-paste from my Wikipedia page: Nicolas Frespech is a French artist born in 1971. He has worked with the World Wide Web since 1996, and taught net art at Paul Valéry University between 2002-2005. Since 2009, he has taught digital practice at the Ecole des Beaux-Arts in Lyons. His varied projects combine to form a work that touches as much on identity and its virtual and commercial standardisation, as on the concepts and phenomena of intimacy, Webcams and digital surveillance, media, games, or fiction. His best-known online work remains "Je suis ton ami(e)...tu peux me dire tes secrets" (I'm your friend; you can tell me your secrets), which was the first work of Net Art to be acquired by a public institution (FRAC Languedoc-Roussillon), in 1998. However, access to the project has been forbidden since 2001, provoking a debate on the presence of contemporary net art in the virtual and public space of the internet. In "I'm your friend," you could scroll through secrets sent in by internet users or gathered from public artistic projects (Contemporary Art Days organised by the Ministry of Culture and Communication). Frespech chooses to explore the internet because of its interpersonal and artistic qualities, playing with the paradoxes of the network and creating micro-creations that criticise the commercialisation of the internet. He continually questions net art by creating ever new experimentations, particularly in the realm of mobile telephony. For the rest, go to: http://fr.wikipedia.org/wiki/Nicolas_FrespechWebsite : http://www.frespech.com

Thanks to Rose for the translation

Social Object: Sculpture and Software by Michael Rees

Chelsea Art Museum — Wed, 03 Feb 2010 15:36:21 +0100

January 21st, 2010 6:00pm - 8:00pm

A brief talk about the project by Michael Rees with Don Guarnieri.

Social Object: Sculpture and Software is an interactive software installation that includes correlated physical objects with virtual objects. Interacting with this artist authored software creates screen based experiences that construct virtual objects from which physical objects can be derived. The work explores the relationship between language and form and creates a framework for virtual and physical play.

The exhibition includes the Sculptural User Interface (SUI) application, along with objects made from the SUI using contemporary automated sculpting processes. The SUI is a language to form synthesizer, a concrete poetry machine. The software generates 3D forms by merely typing letters on the keyboard. Many letters, words, sentences, turn into many kinds of shapes can be combined in many ways to create a rich user experience. It can also export to physical objects through CAD (computer aided design) CAM (computer aided machining) processes.

Social Object and The Sculptural User Interface are inspired by Joseph Beuys' ideas about Social Sculpture, Duchamp's readymades recapitulated by Joseph Kosuth as the readymade made ready and how that might relate to the open source software movement. It is also inspired by truism that "code is poetry".

Produced by Don Guarnierri. Alphabets from: Anj Ferrara, Adam Nowicki, Geoff Flash, Randy Illum, Sarah Menchise, Pablo Morillo, Michael Rees, James Stewart, Alex Vicenzi, and Ray Vikete.

Michael Rees' work traverses a wide range of activities and efforts. He has shown at the Whitney Museum in the 1995 Biennial and again in 2001 in the exhibition BitStreams. He has had numerous exhibitions both in the United States, Germany, Turkey, and Spain. His work has been exhibited in New York galleries and in private and public collections. It has also been exhibited in museums and university galleries throughout the United States. Rees works in a broad continuum of sculptural practice. His work utilizes performance, animation, video, installation, sculptural objects, computer software programs, and interactivity.

Social Object: Software and Sculpture is made possible by grants from the National Foundation for the Arts, the Creative Capital Foundation and the Tribeca Film Institute's Media Arts Fellowships. Special thanks to Chris Burnett, Donald Guarnierri and Kristofer Schlachter.

The exhibition was curated by Nina Colosi.

About Chelsea Art Museum

Chelsea Art Museum — Wed, 03 Feb 2010 15:27:03 +0100

Mission

The Chelsea Art Museum, Home of the Miotte Foundation, is committed to an exploration of “art within a context.” This approach favors a program of exhibitions which reflect contemporary human experience across a broad spectrum of cultural, social, environmental and geographical contexts. CAM’s exhibitions, each supported by a rich series of related cultural events and educational programs, seek to support in both its artists and audiences a sense of creativity, community and cultural exchange. Co-founder and president, Dorothea Keeser, describes CAM’s curatorial vision as, “a commitment to art as a living entity which reacts and interacts with us and changes the way one continues to live one’s daily life ”.

In collaboration with a network of museums and visual arts institutions both national and international, The Chelsea Art Museum seeks to present important, but relatively unexplored dimensions of 20th and 21st Century art, particularly focusing on artists that have been less exposed in the United States than in their home countries. The museum, a 30,000 sq foot renovated historic building in the heart of Chelsea, is located opposite the piers which served as entry for the arrival and assimilation of foreign cultures into New York. This location provides a powerful symbol of the museum’s mission: to be a meeting point, a destination for exhibitions and works from Europe, the Americas and Asia and returning CAM generated exhibitions to those partners both overseas and within the United States.

CAM also serves as the home of the Jean Miotte Foundation which is dedicated to archiving, preserving, presenting and making available for exhibitions the work of Jean Miotte. Rotating selections of Miotte’s work are shown on a regular basis, as are selections from the permanent collection which includes rare holdings of such artists as Pol Bury, Mimmo Rotella, and J.P. Riopelle.

The Museum also presents film, performance and frequent artist talks and round-tables which seek to foster cross cultural and interdisciplinary debate.

Miotte Foundation

The Chelsea Art Museum is also the Home of the Miotte Foundation, which is dedicated to archiving and conserving the oeuvre of Jean Miotte and providing new scholarship and research on L’Informel. Miotte’s extensive collected works are preserved as a legacy for New York, where he has had a studio in SoHo since 1978.

The art of Informel (or Informal Art) had an important role in the European and American post-war art scene, and Miotte was an early proponent. Meaning “formless,” or “away from form,” Informel is related to Abstract Expressionism, but seeks to strip away all reference to representation, and to become a new kind of international language.

Miotte (b.1926) has exhibited regularly since 1952. He first arrived in New York in 1961 with a Ford Foundation cultural exchange grant, and after a period of work and travel throughout the U.S. he had his first New York one-man show in 1962 at Alexander Iolas. Later his work was exhibited by the Martha Jackson and Gimpel & Weitzenhoffer galleries.

Miotte describes abstract painting as “a voyage through the 20th century”—revealing at once an experience of alienation and yet breaking through barriers of nationalism to create a wholly international language. Within his framework of gestural abstraction, Miotte continues to grow, fighting repetition, pushing at the boundaries of the gestural mark of paint on canvas. Miotte is represented in the collections of the Guggenheim Museum, MoMA, and numerous other major museums in the U.S., Europe and Asia. In 1980 he was the first Western painter invited to exhibit in post-Mao Bejing.

Permanent Collection

The collection of the Chelsea Art Museum includes many European abstract artists often labeled as Informel, including Corpora, Lakner, Kirkeby, Millares, Miotte, Santomaso, Schumacher, Stöhrer, Thieler, Vedova. The collection also holds American abstract artists Francis, LaNoue, Mitchell, Motherwell, Riopelle; a large body of works by the Affichiste Mimmo Rotella; and works by Jean Arp, Olivier Debré, Jean Fautrier, and Ellen Levy. Sculptors in the collection include Bernar Venet, Pol Bury, Kanter, Jeff Beer, Johannsen and Zadkine. The collection also has an important selection of rare books and works on paper. Growing the collection is an important priority for the Museum.

CYNETART Competition 2010 || entry deadline 28.02.2010

TMA Hellerau — Tue, 02 Feb 2010 16:25:04 +0100

Call for entries for the 14th festival of computer-based art CYNETART

TMA Hellerau hosts this international competition of CYNETART, inviting artists and art groups to present their projects, every two years. They can apply with projects that fully utilise digital technologies in their conceptual, creative and performing processes, thereby opening up opportunities for digital performance and their relationship to factors such as time, space, physical presence and social encounters. An international jury with representatives from well-established media culture institutions and experienced scientists with a background in media art history will decide about the winner of the CYNETART-award and the sponsorship award. It will also decide on the award of the artist-in-residence grant funded by the Saxon Ministry of Science and the Fine Arts.

Further information/ Entry form: http://t-m-a.de/cynetart/wettbewerb?lang=eng