Calls for Entry: Experimental Media 2012

Digitalarti Mag — Tue, 31 Jan 2012 16:48:40 +0100

You can now submit your work to Washington project for the Arts, as part of Experimental Media 2012.

Experimental Media 2012 will program an exhibition of interactive installation works, a video screening program, and a series of workshops. It explores recent developments in the field of art and technology, including the growth of open source software and hardware, the emergence of grassroots do-it-yourself hacker communities, and the increasing ubiquity of networked devices in daily life. While highlighting the creative potential of this new technology, Experimental Media 2012 also seeks projects that explore the broader social and cultural implications of these rapid changes.

Interactive Installation Deadline: Friday, January 13, 5pm
Video Screening Deadline: Friday, February 10, 5pm

More here…

Web Art Group

International Festival of Digital Art 2012

Digitalarti Mag — Mon, 30 Jan 2012 12:27:16 +0100

During 2012, Watermans presents an ambitious collections of digital and new media art in London, in collaboration with Goldsmiths, University of London.

A panel of expert judges has selected one installation from each of the five continents together with an additonal installation from the UK, to capture the depth and breadth of creativity working with this exciting art-form.

All six artists have been commissioned to produce work designed to explore the nature of interactivity in digital art. Each installation will only come alive when people interact with it.

More here…

Daytime video art online premiere

Benton-C Bainbridge — Thu, 26 Jan 2012 20:36:46 +0100

Daytime: Video art by Benton-C Bainbridge, V Owen Bush, Steve Nalepa

Announcing the premiere of "Daytime," a new short video and music artwork by Steve Nalepa and Glowing Pictures (V Owen Bush and Benton-C Bainbridge.)

http://www.youtube.com/watch?v=WsjYU32H36Q&feature=colike

Daytime's synth voices and painterly visuals spin a dreamy tale. The Sun cannot pierce through a cloud-wrapped planet and thus wages war with sunbeams. The Clouds fight back with vapors; in the end, life wins.

Daytime's sinuous imagery was hand-crafted with the Rutt/Etra Video Synthesizer, an analog video instrument built in the early 70s. Like a TV from another dimension, the Rutt/Etra gives artists total control of the screen with knobs, oscillators and sound-responsive circuitry. It is a modular analog computer, programmed with patch chords.

The artists dedicate Daytime to the memory of Steve Rutt, co-inventor of the Rutt/Etra. Steve's pioneering work as an engineer and entrepreneur helped create the media culture we now live in.

Music by Steve Nalepa.
Video co-created by Benton-C Bainbridge, V Owen Bush and Steve Nalepa.
Video produced at dvlabs in New York.

http://www.glowingpictures.com
http://www.stevenalepa.com

Elena Heydemann Artworks

Elena — Wed, 25 Jan 2012 17:40:40 +0100

Carnival

Sicret

Venice

Paul

White Queen

Born digital, an exhibition in CAM Raleigh (January 28 to April 30)

Digitalarti Mag — Wed, 25 Jan 2012 10:50:17 +0100

CAM Raleigh proposes an exhibition from January 28 to April 30, Born Digital (Raleigh, USA).

You are invited to explore digital artworks physically and to exercise your creativity.

Featured Designers and Artists
Advanced Media Lab, Jacob Ciocci, R. Luke DuBois, Channel TWo, Brent Green, Ajay Kurian, LoVid, Cole Pierce, Dennis Rosenfeld, Daniel Rozin, Scenocosme, and Karolina Sobecka.

Telcosystem new film, Vexed

Digitalarti Mag — Mon, 23 Jan 2012 19:13:39 +0100

Telcosystem show their new film Vexed for the first time at the 2012 International Film Festival Rotterdam (from January 25th to February 5th).

"While scientists get closer and closer to revealing that one particle that confirms our understanding of the universe, Telcosystems shows a much less unambiguous particle theory: a recalcitrant and unstable digital world that is only visible at speeds faster than light."

Telcosystem were interviewed in MCD special issue on live A/V.

More on Telcosystem

Live A/V group

Video of LSP by Edwin van der Heide

Edwin — Wed, 18 Jan 2012 16:58:47 +0100

LSP is a research trajectory exploring compositional relationships
between sound, space, light and color. Lissajous figures form the
starting point for the developed relations between sound and visual
shape. By combining laser light and fog it becomes possible to project
in space, instead of on a surface. The result is an environment where
the audience is standing inside the work. It's a true sensory experience
in which it's difficult to make a separation between the experience of
the work and the work itself. The work LSP - alveole 14 is one of the
results from the LSP research trajectory.

Live A/V group

Interview of Edwin Van Der Heide in MCD special issue on live A/V

Edwin — Wed, 18 Jan 2012 16:42:49 +0100

This interview of Edwin Van der heide was published in our Live A/V special issue (available on MCD shop online) dedicated to audio-video performances.

Can you tell us about your background, your influences and artistic references?

I have studied Sonology at the Royal Conservatory in The Hague. After the study I have developed a strong interest in expanding the term composition into composing space, composing environ- ments and composing interaction. I’m especially interested in researching and using the spatial properties of diffe- rent (physical) media.

How would you describe the video/audio dimension of your work? How do you go about composing and diffusing your work? Do you consider audio/video performances to be a (new) artistic discipline in their own right?

In LSP I’m taking direct relationships between sound & light (not 2d projec- tion) as starting point. I would call it a performance that establishes a dynamic architecture by means of light and sound. The audience is right in the middle of a transforming space. This new space has both references to physical space and more abstract shapes that refer less to space as we know it. Currently it might seem that A/V performances form a separate discipline. I believe however that there are so many different possible forms that you can not speak about one disci- pline. What is happening now will develop in many different directions.

Read more on MCD website…

To know more about audiovisual performances, read the MCD special issue Live A/V.

Live A/V group

Digitalarti Mag #8

Digitalarti Mag — Wed, 18 Jan 2012 13:57:09 +0100

Access interactive online version, download free pdf version. Or order the print version today.
Free iPad version with free Magcloud or pdf lite apps.

EDITORIAL

"THE GEOCITIES OF THINGS"

The “Post Digital ramblings” by Russell Davies at the Strp festival were very inspiring to me. “We can make our own stuff. We can express ourselves. We can build what my friend Andy Huntington calls “The Geocities of Things”. We can add life and connectivity to the things in our lives like we were little Harry Potters”.
I am sharing his enthusiasm, at the beginning of the year 2012, when it comes to "Do It Yourself" prototyping and manufacturing through the development of digitally controlled machines but also acknowledging that since the world can now be found on the internet, the internet is about to invade the world.

We precisely opened our ArtLab in Paris to enable artists to experiment and create prototypes with 3D printers, Arduino, digital milling machines and to print their own electronic circuits. Today, the specificity of Digitalarti is to give artists a central place in these new production processes. We believe that by making new objects using their creativity, artists augment even more this new industrial revolution.

Let us meet in the spring of 2012 for testing the prototypes we are currently manufacturing in our new premises by the Canal Saint Martin.

In this first issue of the year, you will discover new contemporary artists, architects, designers, events not to be missed (exhibitions, festivals, symposiums...), specialized books in this field...

Wishing you an enjoyable read and a great year in 2012!

ANNE-CÉCILE WORMS

FEATURES

03 EDITORIAL 
04 NEWS
Info, blogs and links / digitalarti.com
06 CHRONICLES 
Juliette Volcler, Neil Gaiman, Nicholas Carr... 
08 ODILE DECQ
The Opéra Garnier revisited 
10 TRAFIK 
Led-art, graphic design and public space 
12 BIAN
Montréal’s International Digital Art Biennial 
14 FRANCIS PISANI 
Challenging the concept of innovation 
16 L'OBSERVEUR DU DESIGN (THE DESIGN OBSERVER)
High-tech exhibition at the Cité des Sciences
18 OLGA KISSELEVA
Between art and science
22 FUTUREPERFECT
Performance, visual art, new media...
24 CHARLES CARCOPINO 
Sound bubbles and digital vintage
26 DESIGN 
The post-digital era... 
28 FESTIVALS
Todaysart, Almost Cinema, STRP
29 SCOPITONE
A new departure 
32 AGENDA  
Exhibitions, festivals...

Internet of things

INTIMATE SCIENCE, exhibition in Carnegy Mellon University gallery

Digitalarti Mag — Tue, 17 Jan 2012 11:23:56 +0100

INTIMATE SCIENCE
Jan. 21 – March 4, 2012. Available for touring 2012-2013.
Guest curated by Andrea Grover

Artists: BCL, Center for PostNatural History, Markus Kayser, Allison Kudla, Machine Project, Philip Ross.

Intimate Science features artists who are engaged in non-disciplinary inquiry; they aren’t allied to the customs of any single field, and therefore have license to reach beyond conventions. This kind of practice hinges on up-close observation, experiential learning, and inventing new ways for the public to participate in the process.

More on http://millergallery.cfa.cmu.edu

Picture: Common Flowers, at Kunstverein Dortmund, BCL, 2010

FILE 2012 | CALL FOR ENTRIES

Digitalarti Mag — Tue, 17 Jan 2012 10:51:10 +0100

FILE - Electronic Language International Festival is open for new entries from January 06 to February 29, 2012 to be exhibited in FILE 2012 exhibition. The 13a- edition of FILE in São Paulo will happen between July and August, 2012, in the Art Gallery of FIESP Ruth Cardoso Cultural Center.

Besides exhibition entrance, FILE will receive as well from January 06 to February 29, 2012 proposals for lectures and workshops to participate at FILE Symposium and Workshop 2012. Both events will happen simultaneously during the first week of FILE 2012 exhibition, in São Paulo.

LSP - Edwin van der Heide

Edwin — Mon, 16 Jan 2012 16:55:49 +0100

LSP is a research trajectory exploring the relationship between sound and three dimensional image by means of laser projection. In 1815 Nathaniel Bowditch described a way to produce visual patterns by using a sine wave for the horizontal movement of a point and another sine wave for the vertical movement of that point. The shape of the patterns depends on the frequency and phase relationship of the sine waves. The patterns are known as Lissajous figures, or Bowditch curves.

LSP interprets Bowditch's work as a possible starting point to develop relationships between sound and image. Since sine waves can also be used to produce pure (audible) tones, it is possible to construct a direct relationship between sound and image. Frequency ratios in sound, de-tuning and phase shifts can have a direct visual counterpart.

Although theoretically all sounds can be seen as sums of multiple sine waves, music in general is often too complex to result in interesting visual patterns. The research of LSP focuses on the subject of composing signals that have both a structural musical quality and a time-based structural visual quality. Different relationships between sound and image are used throughout both the performance and the installation form.

By combining audio with visuals the spatial perception of sound is often being reduced because of the two-dimensional nature of the image versus the three-dimensional nature of sound. With laser(s), it is possible to create three-dimensional changing environments that surround the audience. Here, the image is generated by projecting a laser on a thin layer of smoke or fog. Image and sound originate from the same real-time generated source in the computer. This results in a performance where image and sound play equally important roles. The environment challenges the audience to change their perspective continuously.

Invited Artist

Evolving Spark Network

Edwin — Mon, 16 Jan 2012 16:52:25 +0100

The installation Evolving Spark Network consists of a grid of electric spark bridges that traverses the whole exhibition space. Together the bridges form a plane with a height of about 3 meters above the floor. The sparks are a metaphor for the electrical impulses by which our nerves communicate information. Just like neurons that form networks in our body, the spark bridges also form an interconnected network. There is no hierarchical process that determines the patterns of the cells but they are the result from relationships between the individual cells of the network.

The movements of the visitors in the installation are being detected by means of radio frequent movement detection sensors and used as input for the network. The visitors activate the network and are being invited for a spatial dialog with the network. The behavior of the spark bridges is a form of artificial life with the physical world as input. The installation therefore represents a form of interaction with artificial life.

Evolving Spark Network is a sound and light installation. The sparks produce both sound and light. The generated patterns have a distinct visual and a distinct sounding quality. The use of sound makes it possible to perceive the space as a whole. With our eyes we’re always focusing on something (while not focusing on the rest) but with our ears we always listen around us. With sound we can hear movements that for example come from behind us, travel over us and move in front of us.

In this installation the electric spark represents beauty, purity and simplicity. A spark is one of the most elementary forms of light generation. The arc lamp is an example of this. The impulse that is being produced is the shortest imaginable sound. Composing with these impulses can be seen as one of the most fundamental forms of composition in time and space.

Spatial Sounds

Edwin — Mon, 16 Jan 2012 16:20:21 +0100

Spatial Sounds (100dB at 100km/h) is an interactive audio installation by Marnix de Nijs and Edwin van der Heide. In this engine-powered installation, a speaker is mounted onto a rotating arm that is several meters long.

Like a watchdog, the machine scans the surrounding space for visitors. Closer investigation would be tempting fate, with the rotating arm swinging so powerfully round. You hear the impressive sound of the mighty motor revving up, turning faster and faster. You can feel the displacement of air as the speaker whizzes past you, and you had better step back, out of reach. The machine slows down and, when the shock wears off, you start exploring the space, with your movements manipulating the sound it produces. Just don't get too close! Spatial Sounds (100dB at 100km/h) builds up a physically tangible relationship with the visitor, since it is the game of attracting and repelling between machine and visitor that determines its sound and movement.

Invited Artist

Edwin van der Heide bio

Edwin — Mon, 16 Jan 2012 16:17:07 +0100

Edwin van der Heide is an artist and researcher in the field of sound, space and interaction. He extends the terms composition and musical language into spatial, interactive and interdisciplinary directions. His work comprises installations, performances and environments. The audience is placed in the middle of the work and challenged to actively explore, interact and relate themselves to the work.

He has presented his work at renown museums and festivals as SMAK - Ghent, Ars Electronica Festival - Linz, Stedelijk Museum - Amsterdam, V2_'s DEAF - Rotterdam, ICC - Tokyo, NAMOC - Beijing, Transmediale - Berlin, SONAR - Barcelona, Taipei Fine Arts Museum, SFMOMA, FILE - Brazil and SONAMBIENTE - Berlin.

Beside’s running his own studio he is part-time assistant professor at Leiden University (LIACS / Media Technology MSc programme) and heading the Spatial Interaction Lab at the ArtScience Interfaculty of the Royal Conservatoire and Arts Academy in The Hague. He was Edgard Varèse guest professor at the Technische Universität Berlin (2009) and won the Witteveen+Bos Art+Technology Award 2009 for his entire body of work.

Invited Artist

Exclusive article from MCD #65: Hacktivists repaint the town green

MCD — Mon, 16 Jan 2012 11:16:58 +0100

Exclusive article from MCD #65 « The culture of green tech » !!

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Hacktivists repaint the town green

Going well beyond the society of the spectacle, artists are reappropriating urban spaces by enchanting cities, alerting us to irresponsible behavior and publicly exposing the contradictions of an environment damaged by humans. Above ground, their works contrast with gray reality. Poetic and political, environmental hacktivism is an international phenomenon. Out in the streets, they’re repainting the town green.

A little blue globe immersed in the darkness of the universe. This gripping image, titled “Earthrise”, was taken during NASA’s Apollo 8 mission in 1968. For the first time, humanity saw the whole Earth, and thus became collectively aware of its fragility. This photograph catalyzed the emergence of the environmental movement. More than 40 years later, as the planet counts its 7 billionth citizen and more than half of the world’s population is concentrated in cities, producing images that can impact the public and change behaviors is ever more a challenge. Ecological issues are at the heart of numerous interventions in public space, where urban art, activism and innovation converge. Emblematic of such genre-mixing, the Yes Men and their resounding online hoaxes revisit the antics of Greenpeace for the Internet age. The NGO that reinvented the militantism of the 1970s with its “mind bombs” (shock images meant to replace an old cliché with a new vision, such as the inequal fight between a dinghy and a whaler), has inspired myriad irreverent actions. Take, for example, the World Naked Bike Ride, a human-powered protest on wheels against our dependence on oil. In Paris, the “Dégonflés” nailed down 4x4 vehicles, imitated by the “Raplaplas” in Lyon, the “Mous de la roue” in Lille and the “Flagadas” in Brussels. Some are ready to go even further to rescue the planet, such as Fuck for Forest, a young Norwegian couple who copulates on the Web in exchange for donations to save the rainforest.

The Yes Men impostors

Far from being just for fun, environmental protest has taken an artistic turn with the dadaist performances of the Yes Men, precursors of the eco-hacktivist wave. Using false websites, these aces of media imposture have impersonated representatives of McDonald’s, the World Trade Organization and even Exxon Mobile, proceeding by what they call “identity correction”. During a conference dedicated to “black gold” professionals held in Calgary in 2007, they assured industry leaders that they could prosper by transforming the human flesh of billions of victims of natural disasters... into petroleum. Then they invited the attendants to light commemorative candles sculpted from this promising material: “vivoleum”! Wearing protective “Survival Balls”, supposed to allow rich people to survive a climate catastrophe, they unfurled across the United States, the cradle of car culture, to raise awareness among citizens still addicted to gasoline. Between militant artists and creative activists, operating both online and in the street, the Yes Men are emblematic of the international disobedience that emerged in the mid-1990s, in the era of globalization and the announced ecological apocalypse. They embody the resistance to savage financial capitalism and its consequences on nature, but also on employment, human relations and on life itself. So it was only logical to find them in the frontlines in 2004, commemorating the 20th anniversary of the Bhopal catastrophe by announcing live on BBC World a compensation for its 15,000 victims... just as today they stand behind the indignant “99%” occupying Wall Street.

From spectacular to imperceptible

The first challenge of eco-urban hacktivists is to mobilize the public around themes as unappetizing as pollution, waste and recycling without succumbing to simplistic moralizing. It’s a tour de force achieved by HeHe, whose Green Cloud follows the fluctuating shape of steam from a coal plant in Helsinki or an incinerator in Ivry near Paris (see page 20). Here, the esthetics are open to interpretation, as is the street painted in blue by the artist Henk Hofstra in Drachten, Netherlands, in April 2007. The 8-meter-wide, 1-kilometer-long strip of paint covering the asphalt could be seen, as well as read, from Google Earth: “Water is leven” (Water is life). On the street, the most spectacular action rubs elbows with the most imperceptible gesture, the most low-tech contraption with the most sophisticated installation. A few graffiti artists have put down their spray cans to go green, such as the Brazilian Alexandre Orion, who transformed a tunnel into a boneyard. The gallery of skulls was not painted but in a way hollowed out by scraping the layer of soot deposited from vehicle exhaust, using the “reverse graffiti” or “clean graffiti” technique (which has since been claimed by eco-friendly ad campaigns). These “catacombs to show the people of São Paulo the tragedy of pollution that is affecting the city” were a grisly reminder of what we try to forget –or what we don’t see...

Like the “electrosmog” that we live in every day. Students from the school of architecture and design in Oslo set out to reveal the invisible landscape of Wi-Fi networks by carrying a giant stick equipped with LEDs and a Wi-Fi antenna measuring the signal’s intensity and photographing it with long exposures (Light Painting WiFi). Already in 2004, the artist Usman Haque had visualized this hertzian space with Sky Ear, a cloud made of helium balloons, sensors and LEDs that changed color according to the electromagnetic atmosphere created by storms, cell phones, ambulance and police radios, Tv shows...

The artist Gordan Savicic took the experience even further, if only for the sake of feeling our intangible digital architecture “in the flesh”. He walks through electromagnetic wave-saturated cities wearing a techno-enhanced corset that tightens when it detects a closed encrypted wireless network. It’s this refused access that constricts –what Savicic calls the “pain of information society”. As electronic neo-bondage, Constraint City: The pain of everyday life shows us the concept of the city as suffered.

Eco-tags

Eco-urban interventions also come in the form of artists and modest citizens spontaneously “greenifying” the city by recycling its waste and infiltrating nature into the asphalt, opting for interference rather than explosion. If you listen, you may be surprised to hear... crickets (the solar- activated, but not so eco, audio graffiti of Sound Tossing, see page 55). You might also see common plastic bags tied to sidewalk vents suddenly transforming into polar bears (by Joshua Allen Harris), dusty fur coats returning to their original forms of foxes, stags and bears (Neozoon’s fur graffiti), or rabbits and deer made of moss, a fragile bestiary growing on the city walls like wild anomalies inviting urban dwellers to pet them, care for them and renew their bond with nature. Hungarian artist Edina Tokodi, author of these eco-tags: “If everyone had a garden of their own to cultivate, we would have a much more balanced relation to our territories”.

As gardens in the city are rare, a whole armada of amateurs is now digging and ploughing abandoned spaces, wastelands, curbs and cracks in the pavement capable of hosting one or two tulip bulbs. All illegally, of course. Since 2004, “guerilla gardening” has been scattering and sowing within cities around the world. Launched in England by Richard Reynolds, the movement has been propagating through forums and blogs. “The goal is to make the cityscape more fun, but it is also a form of expression and reappropriation of public space confiscated by the commercial areas.”

This friendly flower-power is also claimed by other terra-rists such as Coloco, a group of Parisian landscape artists who catapult their “green bombs” of seeds into urban areas in an effort to reintroduce biodiversity. Protesting the paucity of green spaces in Madrid, Luz Interruptus created their own miniature gardens by implanting 15 tiny ecosystems in glass spheres, lit like glowing advertisements. Those without green thumbs can still climb the trees on International Climbing Day, which falls on the last Sunday in March since 2003. It’s an innocent and subversive gesture that allows us to reconnect with the natural environment by reindulging in this childhood pleasure and breaking with the social conditioning that prevents us from climbing trees all the other days of the year.

This friendly flower-power is also claimed by other terra-rists such as Coloco, a group of Parisian landscape artists who catapult their “green bombs”of seeds into urban areas in an effort to reintroduce biodiversity. Protesting the paucity of green spaces in Madrid, Luz Interruptus created their own miniature gardens by implanting 15 tiny ecosystems in glass spheres, lit like glowing advertisements. Those without green thumbs can still climb the trees on International Climbing Day, which falls on the last Sunday in March since 2003. It’s an innocent and subversive gesture that allows us to reconnect with the natural environment by reindulging in this childhood pleasure and breaking with the social conditioning that prevents us from climbing trees all the other days of the year.

Occupy the streets

This reconquest of urban space allotted to the automobile is also expressed in PARK(ing) DAYS, launched in 2005 by the American activist John Bela. The idea is to occupy a parking space by feeding the meter a few coins and setting up, if only for an hour or two, a little green corner, bar or play area, in order to create mini leisure spaces in the dense and overworked city. But why settle for a few square meters when you can transform the entire city into a playground? The French Service Sauvage d’Aménagement Urbain et Rural (Wild Service of Urban and Rural Planning) hacks urban installations to improvise a sidewalk-table kit here or a ticket-dispenser- cum-bottle-opener there.

The common characteristic of all these actions is that they are designed as tools, which the general public can reappropriate, whether it’s an idea, a technology or a method (Yes Lab). More than an audience, the artists are searching for users to take their acts further. Most of the projects are open source, the manual is published on the Web to involve the viewers, and the role of the artist has become more complex, collaborative and social. Whether it’s using pigeons equipped with sensors to record air quality (Beatriz Da Costa’s Pigeon Blog), growing vegetables in your apartment (Re-farm, see page 19) or reducing energy consumption (Green Cloud), dependent city-dwellers are incited to be more autonomous –to produce their own energy with organic waste (Supergas, by the Danish group Superflex) or with algae-sourced hydrogen (DIY Bioreactor, by the Californian Futurefarmers), to identify edible urban plants (Irational’s Food for Free), to manufacture their own objects as needed in fablabs, or even to establish alternative communication systems in case the Internet goes down by creating peer-to-peer networks in physical space by way of USB sticks cemented in the walls, where anyone can upload and download files (Aram Bartholl’s Dead Drops).

If the Whole Earth Catalog, 1968 bible of the techno-hippies, aimed to make a wide variety of tools accessible to back-to-the-land communities (see page 105), today’s artists are supplying weapons for survival in the urban environment. The ultimate proof can be found in the emerging theme of digital art festivals: survival kit.

Marie Lechner

MORE IN MCD@65 available on www.digitalmcd.com

Our 2011 year in pictures…

Digitalarti Mag — Thu, 12 Jan 2012 11:09:54 +0100

OUR MAIN EVENTS…

The exhibition for Accenture, in Futur en Seine : CAPTURE, Symposium "What Market For Digital art?",

exhibition, prototypes' presentation - E-window by Electronic Shadow and Capture -, Open your web by Systaime.

The exhibition at Amusement creative shop of Gaîté Lyrique during the FIAC, SFR Player conference, Le Web.

INTERNATIONAL FESTIVALS COVERED BY OUR MEDIAS…

Transmediale, Bains Numériques, Ars Electronica

STRP, Biennale 01SJ, Scopitone…

Invited Artist Group

Digitalarti Community — Wed, 11 Jan 2012 16:48:25 +0100

Every single Invited Artist are now available in one group: http://www.digitalarti.com/en/group/invited_artist

The most recent invited artist is Visual System

Dimanche Rouge #12 @Petit Bain!

Dimanche Rouge — Wed, 11 Jan 2012 14:34:01 +0100

Dimanche Rouge #12
@ Petit Bain, JANUARY 15 2012, 5pm-11pm

Experimental Performances
Multimedia, dance, video, sound, performance art, spoken word, installations.

FREE ENTRANCE

For this 12th edition, Dimanche Rouge invites you to discover an experimental performance event and an after-party DJ this January 15 from 5pm to 11pm. We are happy to announce that our 12th edition (and first anniversary!) is happening at the Petit Bain. Since our creation in february 2011, Dimanche Rouge has been the host of eleven unique editions, with more than 300 artists from 50 countries.

PROGRAM:

►PERFORMANCES OF DETERMINED LENGTH

5-7pm
Pauline Lavogez (dance, France)
DITHERNOISE (sound, UK)
Yulia Danga + Hektor Kafka (painting performance/sound, France/Russia)
Année Angevin-Djian (performance, France)
Electrologues (multimedia, France)
Vacuum: Charlotte Hébert + Laurent Prost (performance art, France)
Tamara Erde (dance/video, Israel)
Magy Ganiko (body performer, France/Argentina)

7-9pm
Riccardo Attanasio (interdisciplinary performance, Italy/UK)
Aj Dirtystein, presentation of Accords Perdus (theatrical performance, France)
Daniel Gaudard + Méryll Ampe (video/sound, France/Brazil)
The Other Colors (Marie Möör + Laurent Chambert) (sound, UP UP UP / New Album, France)

9pm
DJ AFTER PARTY
++ BOIS NOIRS DJ ++

11:00
Kinobus Projection (live cinema production, France)

►PERFORMANCES OF UNDETERMINED LENGTH AND INSTALLATIONS
Yohanna Bouvetier (installation, France)
Kinobus (live cinema production, France)

+ Where : at Petit Bain, Paris 13è

+ How to get there : Métro line 6, station Quai de la Gare. Line 14 et RER C, station Bibliothèque François Mitterrand.

For more info go to dimancherouge.org and petitbain.org

Web Art Group

HumanSculpture

jefta — Tue, 10 Jan 2012 13:00:22 +0100

french artist jefta has created a project which melds his interest in photography, painting and digital art in 'humansculpture'.
he developed a processing program that allows, from a flux video, one to visualize the body in movement from different angles
then condensed from a set of images into a single, multi-layered print. the shapes formed by human action creates a sculptural
effect in the final image. 'humansculpture' is a study into the invisible impressions the movement the human body has upon
the space in which it resides.

'in between body restrictions and movements urge the body is used as a brush, using itself as a way of managing complex shapes.
the moving objects are multiplied. tilling the space with images between
the emptiness and the fullness, the human sculpture takes
more and more space. the repetition of the different people that intertwine and overlap allows to perceive the path of the fix
movements in the space.' -jefta

the entirety of a dance may be captured in a single image.

HumanSculpture v1.3 from jefta Hoekendijk on Vimeo.

HumanSculpture Backstage Live performance from jefta Hoekendijk on Vimeo.

Web Link : www.jefta.be

Digitalarti @ le Web, interview…

Digitalarti Mag — Mon, 09 Jan 2012 16:43:19 +0100

Digitalarti had this year a booth @ LeWeb,
international forum for web, innovation and digital. On the booth,
Digitalarti presented a selection of the best digital art creation. This is an interview of Malo Girod de l'Ain, co-founder of Digitalarti with Anne-Cécile Worms.

Seen on http://armdevices.net/2011/12/16/digitalarti-com-at-leweb-2011/

New still shots of CORE

Ironbridge Gorge Museums — Mon, 09 Jan 2012 14:19:09 +0100

At last we finally have some new still shots of CORE off Kurt Hentschläger which we can use in our promotional material!

Three fantastic images that you just can't stop looking at and seeing different things each time you take another look.

I cannot wait to see these as large projections in a blacked out room accompanied by sound as the humanoid figures keep moving, their movements never repeated!

If a few images are so captivating then there might be no getting me out of the exhibition itself!!

I visited ZEE, Hentschläger's immersive installation, with a colleague in November at FACT in Liverpool, it was amazing. The only way I can describe it is as like being inside a kaleidoscope. Truly amazing.

I hope everyone who visits CORE has an experience that they can go away and talk about. Everyone will have an opinion whether they love it or hate it and for us as a Museum we cannot wait to start getting that feedback and hearing those reactions. Take a look at this new still shot and let us know what you think.

SFR Player & Digitalarti

Digitalarti Services — Thu, 05 Jan 2012 17:32:22 +0100

Since June 2008, SFR has been presenting its whole universe in its Studio in rue Tronchet, in Paris. Aside its commercial space, it includes a venue and an “apartment”. A teenage target has been quickly reached thanks to private concerts. The second target is more specific.
It comprises followers of new technologies in all fields of experimentation, with the launch, in 2009, of SFR Player, a yearly event focused on innovation and creation. Digitalarti was in charge of the artistic direction of this second event.

The SFR Studio could look like many concept stores if it wasn’t for its hidden side. The store, with its glass fade and its high-tech design, conceals a more cosy space divided in two environments and accessible by invitation only.
The venue is on the ground floor, several exhibition and meeting spaces are located in the private mansion. For this year’s SFR Player event, three rooms are hosting three digital installations; the following ones
are focusing on the last innovations from the French telecommunication company. They encourage the spectator to experience the edge between reality and virtuality.

Two installations have been developed around augmented reality software, manipulating image and sound. It is about living a new reality in real time, a slightly modified reality in which virtual elements blend into film footages.
Shadow Monster (2005) by Philip Worthington reactivates Chinese shadows. Like its ancestor, the shadow outlines another reality. But with this playful installation, this new reality is augmented with details and
sonorities. The visitor, positioned between two units, one with the screen the other with sensors, turns into multiple beings emitting noises directly drawn from children’s fairy tales.

The Messa di Voce installation (2003)
by the TMEMA collective, (among whom Golan Levin and Zach Lieberman), invites participants to draw with their voice and try out the possibilities between sounds and shapes. Just like for Shadow Monster, the public is needed to activate the piece.
Provided with a microphone, members of the audience sing, speak, make noises, as long as shapes appear on the screen facing them. We are far from Pissenlit by Edmond Couchot and Michel Bret, whose interaction abilities
were limited. But this was in 1989, and poetry was nevertheless part of it, even without all these options. With Messa di Voce the experiment is similar.

Our breath produces an action on the screen in front of us.
Interesting when handled by professionals, it vaguely recalls karaoke when run by amateurs. When performers appropriate this technology, the screen located behind them becomes a decor they can control in real time. Clouds of bubbles leave their head, swirls come out of their mouths, waves encircle the top of their body. Some go as far as painting with their voice and their creations resemble lyric abstraction or action painting. The title of the installation is quite clever. Indeed, The messa di voce is a musical technique used by numerous singers but
mastered by very few of them. Technology is thus an instrument at the disposal of talent.

The third installation selected by Digitalarti makes it possible to hear live sounds from all over the world. Locus Stream is a visual and sonic device connected to the world via the Internet that enable you to listen to a stream of sounds recorded by microphones in Colombia, Iceland, Japan, England… Through this kind of projects, Locus Sonus, a French audio art research laboratory seeks to define sound art. Though this project it is experimenting networked sound spaces and sound spatialisation. There too, reality and virtuality meet. The virtual world is a network, a means, allowing the real world to be perceived in real time from one end of the planet to
another.
And just as in both previous installations, the spectator is required for the substantiation of these soundscapes. Without him they do not
exist.

In the fourth room of this 3200 square-feet building, everyone can pretend to be Luc Skywalker. The only difference with the Star Wars hero being that the objects moved with the sole power of the mind are
virtual ones. A cerebral helmet, which looks far from a work of art, is put on the head of the visitor who then focuses on an object on the screen. A dream for video games addicts, the border between reality and
virtuality, themselves and their avatar thus becomes increasingly thin.
Beyond the playful aspect, this cerebral interface can have daily life uses in the case of motor disabilities.
EPOC by Emotiv enables to control via thoughts all that can be connected to a computer: a wheel-chair, the light, an e-mail box. This is a puzzling object, just like the 3D printer which leads us to dream of
world in which we could produce objects on demand, thus avoiding cluttering.
To reach a little further, lectures and activities have been organized for the young ones. The children tried out robots to play with, Etch A Sketch 4.0 and discovered the “3D Kids” animated short films. A series of lectures was also held in the SFR Studio alongside reflections by the artists whose work was exhibited. The first one was focused on the relationship between the social factor and the digital one. The digital world, a chance for solidarity? was a theme questioning the role of digital facilities for social organisations actions.

The second lecture, FABLABS, manufacture your future objects, examined the gathering of engineers and designers who create and share with the public all types of innovative objects. The third lecture was
dedicated to video games amateurs, trying to review the current situation in this field. The last meeting was centred on intelligent objects. Interactive design: from communicating objects to living objects proposed a prospective vision, roughly optimistic, on the objects of tomorrow and how we will relate to them. Before leaving this hall of trade, exhibitions, concerts, conferences and workshops, the visitor could discover a few digital gadgets thanks to the Amusement magazine in charge of the Player Store: Monotron for professional
musicians, USB key in Lego, robots, night-vision glasses … so many possibilities.

Aude de Bourbon Parme

Published in the Digitalarti Mag #5.

Digital Art exhibition during the FIAC

Digitalarti Mag — Thu, 05 Jan 2012 14:44:47 +0100

From October 19 to 22, Digitalarti organized a digital Art exhibition during the FIAC, International Contemporary Art Fair.

In partnership with the new Parisian temple of digital creation at la Gaite Lyrique,
the Amusement Creative Shop, this exhibition has entice visitors to
discover these new art forms that play, use and divert with new
technologies.

Exhibited artworks are some examples of the diversity in digital Art :

Radio 2067 by David Guez that backs in time,
Bei Dai He by Luc Courchesne offers you a moment of zen
Artworks by France Cadet explore senses and robots
Ideal city with I.P.C. by Reynald Drouhin
Life novel on Google by Albertine Meunier
Massive distraction arms by collectif Fur
Out of the web by Systaime

And many surprises thanks to invited artists such as : Hugo Verlinde with its artwork Univers-iles, Eric Vernhes and its "Nuits blanches", and Pascal Bauer with The rhythm and Gregory Chatonsky.

Digital Art catalog of Digitalarti proposes an exclusive selection of international artists' unique items and limited series.

Digital Art exhibition for Accenture HappenSpace

Digitalarti Services — Thu, 05 Jan 2012 14:31:08 +0100

Digitalarti presents Immersions Digitales, a Digital Art exhibition for Accenture HappenSpace, in june 2011.

Digitalarti wishes you a happy new year 2012

Digitalarti Mag — Wed, 04 Jan 2012 11:31:19 +0100

Digitalarti wishes you a happy new year 2012 !

Me and my shadow by Joseph Hyde commissioned in the framework of the European project MADE

Digitalarti Mag — Tue, 03 Jan 2012 12:28:57 +0100

Me and my shadow by UK Artist Joseph Hyde, commissioned in the framework of the European project MADE (Mobility for Digital Arts) in April 2012, is now benefiting from 4 successive residencies hosted by the MADE partners (CDA Enghien-les-Bains, Bodig, body>data>space, Transcultures) in each of their countries.

In London, body>data>space developed a co-producing partnership with the National Theatre. The National Theatre Studio will host Joseph Hyde and his programmer Philipp Tew for a 2 weeks residency in collaboration with London based programmers/hackers and dancers .

Me and my shadow is a multisite telepresence project consisting of a virtual environment experienced in four installations (one in each city), which act as portals to an online space. The user will be invited to interact creatively with a 3D environment, available equally and synchronously to all four portals (in all four cities) and viewable in realtime on the project documentation website. me and my shadow uses and expands the kinect technology to allow a new form of interaction with collaborative 3D space. In London, Me and my shadow will be accessible from the National Theatre Foyer.

http://madeshadow.wordpress.com
http://www.bodydataspace.net/

How ever did we get to 2012 already?

Ironbridge Gorge Museums — Tue, 03 Jan 2012 12:07:18 +0100

Back to work and back to CORE in what promises to be one of the most exciting years ever for the Ironbridge Gorge Museum.

With just 11 and a half weeks until the launch of CORE there is a lot to do and not a lot of time to do it in! This month will, as I previously blogged, see the technicalities behind the venue of CORE (a wonderful Victorian Engine Shop) being thrashed out to ensure that the space is properly blacked-out and the inter-linked projections will all be able to work.

We now also need to focus our attention on getting people to a point where they are so interested in CORE that they just have to come and see it. This is one of our real challenges as most of our visitors just will not expect a digital art exhibition to have appeared in the middle of the Ironbridge Gorge World Heritage Site. Tips and advice on how to win these visitors over and how to attract those who just would never have even thought about visiting what can often be perceived as some 'boring industrial museums' (which the Ironbridge Gorge Museums definitely are not!!) would be most gratefully received.

If you're reading this blog and you have some brainwave ideas, advice or even want to know more about the exhibition or our Museums then please feel free to contact me :)

A very happy New Year to you all from everyone at the Ironbridge Gorge Museums!

Cymatics by Suguru Goto

Digitalarti Mag — Mon, 02 Jan 2012 16:28:51 +0100

Cymatics by Suguru Goto, produced by Action Sharing, at Watermans
Saturday 7 January - Sunday 19 February 2012
Daily 12 noon – 9 pm, Free

Cymatics is a kinetic sound sculpture that expresses the artist’s vision of nature through a series of symbolic elements that are used harmoniously in a technological context.

Cymatics creates real spaces that are metaphysical and spiritual at the same time. A place where art is a bridge between the material and the spiritual, between technology and nature, and between the humanities and science. The result is a harmonic vision of the elements of nature, demonstrating the morphogenic effect of sound waves (cymatics).

The creative process involved building a synergy between music to be seen and images to be heard, so as to create a sensorial performance for the complexity of human perception.

Goto’s works have been performed at major festivals. In 1998, he was invited to perform at Sonar, Barcelona; in 2003, he gave a concert at the Pompidou Centre, in Paris; in 2011 performed at Share Festival and in 2009 his ’Robotic Music’ was shown at the 53rd Venice Biennale in Italy.

Cymatics is the second project to be produced by Action Sharing, an initiative proudly sponsored by the Torino Chamber of Commerce.

More

DIGITAL NOISES IN THE RUMOURS OF A STRONGROOM

Tad Bisaha — Sun, 01 Jan 2012 01:17:18 +0100

Sitan & Tad: Rock-Art2noise / Tübingen summer 2011

Two French artists, Sitan Adele K and Tad Bisaha have chosen the crowdfunding with the French platform Mutuzz to organise an artistic residency followed by three concerts in the strongroom of Kunstamt in Tübingen (Germany) from the 16th to 18th March.

The concerts are open for ten persons by session only
but you can subscribe (250 persons) to share this experience since your own
computer.

In addition to our original meeting, subscribe to our artistic proposal (painting, digital music) is a full act of co-production

~ AN ARTISTIC EXPERIMENT ~

We invite our audience to live a singular experience of noises and rumours. The experience is intended physical and sensory. The sounds come from the outside of the strongroom (vault). The obscure surrounding wall becomes our cave, our cavern or the belly within which we shall receive only the filtered echo from an imaginary world, an uncontrolled fusion, an irradiating magma. I (Tad) use Pure Data for the digital processing and sound synthesis in real time, by focusing, for my digital instrument, to sounds generators and "filters" based on Audience (spatialization extension for Pure data). Approached and designed as a tool, pure data allows me to act in real time in a dialogue with the acoustic response and sound characteristics of this area so special that contains the vault of Kunstamt.

~ ORIGINS OF THE PROJECT ~

The strong room, the vault, our auditorium, our encounter, the darkness, its acoustical qualities, its silence, mislay us in a psychical space near the cave.

~ Spring, 2012, Fukushima, one 1 year already, sad celebration or proclamation of hope of an asserted, worthy and programmed exit of our nuclear, civil and military afflictions? ~

Rock Art, graffiti, writings, logarithms, signs, symbols, drawn expressions, so many messages of which we do not perceive the deep sense... Is there really a second meaning, a message to (...) or are we simply in front of a dedicated signaletic to the users, a little like our current rules with our symbols and our signs everywhere? The pictorial material of Rock-art2noise explores the signs and symbols of the ancients (parietal) up to our epoch (street-art and graffiti).
The musical material of Japan#s¥ndrome probe the abstractions of the nuclear physics, our contemporary mysteries.

By a mirror effect, we meet in intimacy of a present past, to evoke, by the sensitive approach, the enigma which poses to our humanity, at the moment definite, this material in fusion in the depths of Fukushima, in its cavern and inert and alive traces of the parietal signs from our prehistoric caves.

~ TRESORRAUM DESCRIPTION ~

Volume: 162 m³ Mass of the door 500 Kg ~ wall thickness> 50 cm reinforced concrete
~ Length: 8.75 m / Width: 5.85 m / Height: 2.80 m ~ electrical equipment 240 & 400 Volts 16 amps.

Residency from 1 to 21 March 2012
Mixed Music (electroacoustic)
Sitan Adele K: stained glass painting on windshield ~~~ Tad: Laptop (Pure data) & Tresorraum
CONCERTS: 16th/17th/18th March, 2012
Duration: 3 hours in two sessions.
First session: Rock-art2noise (mixed music)
Second Session: Japan#s¥ndrome (Laptop & Tresorraum / noise)
Location: Tübinger Tresorraum für Elektrische Kunst~ Kunstamt~ Tübingen Germany

~~ ~~~ ~~~ ~~ ~~~ How subscribe and when ? ~~~ ~~ ~~~ ~~~ ~~

If you want to join us in the strongroom of Kunstamt in Tübingen the March 16th, 17th and 18th, 2012,

please reach this Web page to subscribe now:

http://www.mutuzz.com/projet/276/concerts-dans-le-coffre-fort-du-kunstamt-t-bingen

All of you who wish to support our project and participate without being able to come in Kunstamt, follow this link please to subscribe now:

http://www.mutuzz.com/projet/283/digital-noises-in-the-rumours-of-a-strongroom

~~ ~~~ ~~~ ~~ ~~~ See you soon ! ~~~ ~~ ~~~ ~~~ ~~