Mission : To create, promote and push positive forward-thinking contemporary digital art to a wider audience worldwide through a biennial online event that gathers the best of the best, while embraces the young talents of today’s digital art scene.

30 online pavilions leaded by 30 curators/artists/organisations. More than 300 artists to be featured online during 2 months at

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‘Crystal Violets’ isn’t just a stripper name anymore.

If you’re stuck inside on the Internet on a beautiful spring day, like us, please accept our condolences and this gallery of pictures of crystals induced to grow into beautiful, microscopic flowers. By manipulating the conditions where the crystals were forming, researchers were able to get the crystals to self-assemble as stems, leaves and buds, all on the tinest of scales.

 Wim L. Noorduin, a postdoctoral fellow at the Harvard School of Engineering and Applied Sciences, and his colleagues dissolved barium chloride  (a salt) and sodium silicate (also known as waterglass) into a beaker of water. Carbon dioxide from the air dissolved naturally into the water, fomenting a reaction to form barium carbonate crystals. In response to the crystals the pH of the solution surrounding them lowers, triggering a reaction with the dissolved waterglass, and adding a layer of silica to the growing structure. This reaction uses up acid from the solution and allows the barium carbonate crystals to continue to form.
Read more:

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The Arduino Robot is the first official Arduino on wheels. The robot has two processors, one on each of its two boards. The Motor Board controls the motors, and the Control Board reads sensors and decides how to operate. Each of the boards is a full Arduino board programmable using the Arduino IDE

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La révolution numérique est en passe de s’achever. Miracle d’une interconnexion intégrale aujourd’hui réalisée, reliant virtuellement tout être, chose et lieu, inscrivant la dynamique électronique comme une strate indissociable de l’existence. Nouvelle ère désormais caractérisée par la sophistication ininterrompue de l’intelligence computationnelle, s’offrant comme un organisme cognitif augmenté mis à la disposition de tous. 

Puissance capable de fureter dans les réseaux, de collecter et d’analyser toutes données pertinentes, de cartographier une infinité de situations globales ou locales, et de proposer ou de projeter en temps réel des solutions sécurisantes ou optimales. Robots clairvoyants – à l’instar de ceux à l’œuvre dans le trading automatique –, habilités à prendre des décisions à notre place, contribuant à ce que s’opère une sournoise et expansive délégation de pouvoir aux machines, marginalisant une humanité dont les attributs intellectuels se trouvent pour partie débordés par ses propres créations.

Éric Sadin, dans cet essai incisif et dense, à l’écriture élégante, explore nombre de phénomènes déjà pleinement à l’œuvre et appelés à s’étendre considérablement dans les années à venir, signalant l’émergence troublante d’une sorte d’humanité parallèle, constituée de flux électroniques intelligents voués à administrer « pour le meilleur et le moindre risque » la course du monde du XXIe siècle.

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The first Summer Camp was held in 2011 in Borås Sweden, with 20 experts. This year, the second edition of the eTextiles Summer Camp is planned from 17th to 21st of July in Poncé sur le Loir, France, hosted by Paillard Centre d’Art Contemporain & Résidence d’Artistes.

The E-textile Summer Camp’s 2013 theme will be Soft + Slow Electronics. Many of us as engineers, designers and artists are working with soft materials such as textiles and paper, exploring the potential of soft, malleable and flexible electronics. Our practices often involve techniques that require intensive hand work, often resulting in long production processes. Some of the techniques we employ are almost archaic, but because we see value in making our own materials in our own ways, old-fashioned and slow techniques often come into play. We propose to see these practices as “slow”, rather than “time consuming”.

In today’s society “slowness” has gained positive connotation and acknowledgement through movements like Slow Food, Slow Cities and Slow Design Principles. These movements not only embrace the amounts of physical time consumed in a process, but also the social and cultural impacts resulting from slow processes.

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As one of the leading institutions for contemporary art in Belgium, and one without a permanent collection, WIELS Contemporary Art Centre focuses on presenting temporary exhibitions by national and international artists, both emerging and more established. In addition to regular exhibitions, WIELS houses nine residencies for young artists and an active education program, all of which is housed in a former beer brewery (from thence the name WIELS, short for the Wielman Ceuppen’s beer) originally designed in the 1931 by Belgian architect Adrien Blomme, now a restored and historically classified building. Its vast former brewing hall entrance area (housing a café, bookshop, and ticketing booth alongside the brewery’s restored copper vats), gives way to WIELS’ main exhibition spaces – spread over four floors, their post-industrial scale and details gives a particular character to these display spaces.

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-The Boston Cyberarts Gallery is pleased to present Poetic Codings, straight from its premiere exhibition at the Fellows of Contemporary Art gallery in Los Angeles. The exhibition includes three projections by John Carpenter, Casey Reas and Jeremy Rotsztain as well as 20 original, interactive iPad artworks by 8 artists including John Baldessari, Jason Lewis, Lia, Erik Loyer, Jeremy Rotsztain, Rafaël Rozendaal, Scott Snibbe and Jody Zellen.

This exhibition includes computer projections by three of the finest new media artists on the West Coast. In the wonderfully interactive Dandelion Clock by John Carpenter, the viewer’s proximity blows the seeds of a digitally created dandelion about the wall. Jeremy Rotsztain’s Action Painting is a video projection transferred onto a large canvas in the style of Jackson Pollock. It is composed using data from action movies as material. Casey Reas, one of the inventors of Processing (a computer language for artists), presents Signal to Noise (Software 1), which uses television signals as a raw material distorting contemporary information into new abstract data structures. …

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Inspiré du concept de « Dromologie » (science de la vitesse selon Paul Virilio), vous assisterez pendant 40 minutes au ralentissement et à l’accélération médiatique de l’œuvre. L’expérience se dévoile comme une exploration sur le chemin de l’inertie intégrale, offrant un prétexte pour une performance en direct qui interroge notre relation au progrès.

Présenté par la SAT dans le cadre du festival MUTEK, Dromos est réalisé avec le soutien du Service de Coopération et d’Action Culturelle du Consulat Général de France à Québec.

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Un orgue à patates et une “double plaque chauffantes musicale” (de poche). Un Wiibrator, c’est-à-dire un logiciel pour transformer une manette Wii en vibromasseur. Un Bricophone, un projet de téléphones mobiles “libres” à très bas couts pour téléphoner, gratuitement, en réseau maillé…

Des ateliers pour fabriquer des écrans tactiles “Multitouch“, un transmetteur FM USB, ou encore des circuit bending, du nom donné aux bidouillages (ou “court-circuitages”) de jouets électroniques afin de les transformer en instruments de musiques expérimentaux.

Le premier “Hacker Space Festival (HSF), comme son nom ne l’indique pas, se déroule jusqu’à ce dimanche 22 juin dans un atelier d’artiste, au sous-sol d’un ancien entrepôt de la zone industrielle de Vitry-sur-Seine, en banlieue parisienne (il est aussi plus ou moins retransmis sur justin.tv). …

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Lieux d’exposition
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Trace(s) – festival des arts numériques – Bagnols-sur-Ceze (FR)
Prieuré Saint-Pierre – Pont-Saint-Esprit (FR)
Exposition d’art contemporain Sillages Numériques
15/05/2013 – 08/06/2013
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Galerie H+ – Lyon (FR)
12 avril – 29 mai 2013 :

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C’est la lecture de « Programmer ou être programmé » de Douglas Rushkoff qui m’a donné envie d’écrire cette chronique. Le titre est fort, il fait même peur. Comment initier le public à la programmation alors qu’elle semble complexe et presque hors de portée pour la plupart des gens ? Encore plus quand la majorité des utilisateurs du Net n’en voit pas l’utilité ! Faites le test en demandant autour de vous comment faire un lien hypertexte…

Les nostalgiques se souviennent d’HyperCard, le logiciel de programmation proposé dès 1987 par Apple. A l’heure du Web des services en ligne où taper une ligne de code n’est plus nécessaire pour accéder à des données (et les modifier), et que le mot geek est devenu synonyme d’un mec ou d’une fille qui s’habillent « trop cool », Poptronics se devait de réagir !!!

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« L’humain a toujours fait des bruits, de la musique et imité son environnement avec la bouche. L’enregistrement et la synthèse ont enrichi le paysage sonore durant le 20ème siècle. L’humain s’en est naturellement inspiré en poussant l’organe vocal dans une diversité technique sans doute encore jamais égalée. Depuis la fin des années 1970 à New York, on nomme cet art le « Human Beatbox ».

Au commencement donc était le souffle…nous plongeant à l’endroit même de l’expression non verbale et du rapport passionnel qu’entretient l’humain et la machine. Ne voulant qu’aucun artifice vienne altérer cette musique organique, j’ai continué à transformer, jouer, créer.

Puis finalement, je me suis pris au jeu de ce que m’ offrent les technologies de notre temps. Décomplexé de transformer ce souffle, c’est de manière passionnée, presque effrénée, que je me suis mis en quête de créer l’outil qui nous permette d’un geste, de nous démultiplier, de modeler la matière sonore mais aussi lumineuse et de la déplacer dans l’espace où baigne la foule. »   Ezra 

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Perte de Signal est un centre d’artistes montréalais dont le mandat est de promouvoir le renforcement et le rayonnement des arts numériques et l’innovation artistique liée à la technologie. De la performance audio à la projection vidéo en passant par l’installation mécanique/robotique et l’intervention publique, le travail des membres de l’organisme se décline à travers différents médiums et à travers l’exploration d’une variété d’approches plastiques et formelles. Les activités de Perte de Signal favorisent principalement :

1) le rayonnement du travail de ses membres sur la scène nationale comme internationale;
2) le soutien à la recherche-création et à l’expérimentation artistique;
3) l’élaboration d’une réflexion critique sur les arts numériques; et
4) la médiation auprès des différents publics.

Enfin et surtout, Perte de Signal se veut un lieu de rencontre qui favorise les initiatives, les collaborations, les échanges et la transmission des savoir-faire au sein de la communauté artistique dans son ensemble.

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The New Media Art and Video Festival TRANSITIO_MX is one of the most important stages for expression and analysis of contemporary artistic practices by technology and digital culture. The event’s main objective is to support, recognize and disseminate current research and production around artistic media technology, through an exposition, a contest, a symposium and workshops, the first edition was held in 2005, since then every festival has had a specific theme, in 2013 the festival will address the issue of Biomediaciones.

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Our reporter builds a handcrafted cellphone using widely available parts and online instructions

SUDDENLY, my phone rings. It chirps out a tinny version of what sounds like the Christmas carol Angels We Have Heard on High. I am giddy with amazement.

On the fifth floor of the MIT Media Lab in Cambridge, Massachusetts, David Mellis has just plugged in the mobile phone I spent all afternoon soldering together. That’s right: I just built a cellphone. By hand.

Mellis is a graduate student in the High-Low Tech lab, a group of engineering evangelists trying to bring technology know-how to people who perhaps thought it was out of reach. In 2005, he helped found Arduino, a company that makes easy-to-program microprocessors and sells them on simple circuit boards. The idea is to help people make electronic products without needing a degree in computer science.

They’re popular among hobbyists, hackers and the sort of people who end up working at the Media Lab but they’re hardly mainstream. Mellis wondered if he could take the idea further.

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Nous le demandions depuis 2006, il arrivera au deuxième trimestre 2013, le nouveau mélangeur vidéo de Roland V-4EX. 4 canaux intégrant des entrées et sorties HDMI, ENFIN. Cette nouvelle bestiole possède un écran tactile multiviewer pour le retour vidéo, un port USB pour le streaming, prend en charge le HDCP idéal pour récupérer des sources venues de Blu-rays ou de console de jeux, les classiques effects et transitions, sans oublier la célèbre T-Bar. L’Output pourra sortir jusqu’en 1920×1200 pixels ou encore du 1080/50p.

Sortie prévue de la V-4EX deuxièmes trimestres 2013. 1995 $ la bestiole.

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Cette fois-ci, en ce premier jour de l’an, c’est la finalisation des tutoriels en Français que nous annonçons (accessibles ici et là) . Exemple provenant du tutoriel. Source: AdaFruit Autorisation: AdaFruit Industries.

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The Digital Now is an exhibition series exploring international current art practices in relation to the contemporary media and digital framework. “Drones/Birds: princes of ubiquity”, the first chapter of the series, took place in Brussels one month ago, from April 10 to April 21, 2013. This is the report of the exhibition, one the most interesting and challenging in Europe in this first part of 2013. Thanks to Nicolas Wierinck. With Honor Harger, Zimoun Studio Zimoun Paolo Cirio Erica Scourti….

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Cet article est tiré du Digitalarti Mag 13, à lire en ligne gratuitement.

Avec son exposition “Art Cinétique – Art Numérique”, la galerie parisienne Denise René propose un exercice de rapprochement entre art cinétique et art numérique qui tombe sous le sens. Celui du mouvement et de l’interaction révélée à travers des oeuvres où le spectateur reste plus que jamais au centre du processus artistique.

Exposition Julio Le Parc au Palais de Tokyo, présentation de pièces de Jesús-Rafael Soto dans les murs du Musée national d’art moderne au Centre Pompidou, sans oublier deux rétrospectives plus discrètes mais tout aussi essentielles de ces deux artistes-phares au sein des deux espaces – Rue Charlot et Boulevard Saint-Germain – de la galerie Denise René, l’art cinétique a démarré l’année 2013 avec une visibilité qui n’échappera pas au grand public. Preuve en est avec la manifestation monumentale Lumineux! Dynamique! Espace et vision dans l’art, de nos jours à 1913 qui vient tout juste d’investir le Grand Palais et qui, surtout, ne s’arrête pas à la seule volonté de dresser une rétrospective des oeuvres de ses grands maîtres.

Dans ce contexte, la Galerie Denise René témoigne de sa spécificité avant-gardiste, fer de lance de l’art cinétique, dont elle est le lieu dédié le plus ancien d’Europe — créée par Denise René et sa soeur Lucienne en 1944 pour faire connaître les dessins et des compositions graphiques de Victor Vasarely, avant de produire l’exposition Le Mouvement, réalisée avec Pontus Hulten, et marquant la naissance de l’art cinétique proprement-dit en 1955…

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La cybernétique est une industrie en pleine expansion. Pour cause, les robots font de plus en plus partie de notre quotidien et devraient sous peu, par mimétisme, se comporter comme les humains.

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This book is has been commissionned by PACKT PUBLISHING to Julien Bayle, author and digital artist.

You can read one of the official first post about the book here.You can read an official interview by Arduino Blog here

“C Programming for Arduino will open new fields of knowledge by looking at input and output concept, communication and networking, sound synthesis and reactive systems design. Readers will learn the necessary skills to be able to continue their travel by looking at the modern world differently, not only as a user, but also as a real maker” – Julien Bayle

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Now in its fifth year MuseumNext looks to bring together the leading themes, trends and related best practice with the aim of providing a clear insight into how innovation and technology are shaping our institutions and the world around us.

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bitforms gallery is devoted to emerging and established artists who embrace new media and contemporary art practice.

Connect with us:

facebook.com/bitforms
twitter.com/bitforms
bitforms.tumblr.com

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After the blog post about the policies for Open Design, with this blog post I continue the series of posts about the role of policies in enabling Open Design, Digital Fabrication and FabLabs. This time is about the policies for Digital Fabrication.

And manufacturing left the country

Most of the policies regarding digital fabrication addresses (and try to revert) the phenomena of manufacturing industries leaving countries like USA or UK and moving to China. Let’s then start our research with an overview of the phenomena. …

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Entrepreneurs individuels et petites producteurs, les grands bénéficiaires de la révolution numérique qui s’ignorent encore

Alors qu’ailleurs les nuages s’amoncellent, les conditions favorables continuent à s’accumuler pour l’entrepreneur “unipersonnel mais multinational”. Les prospectivistes comme Joël de Rosnay – qui a inventé la formule – avaient vu dès les débuts de l’Internet la révolution à l’horizon. Les coûts allaient chuter, les possibilités d’interrelations offertes par le Web 2.0 se multiplier, l’Internet 3.0, celui des objets qui communiquent entre eux, se mettre en marche. A chaque étape, les “petits” accèdent, dans les mêmes conditions que les “gros”, à un espace mondial.

Ils ont aujourd’hui l’opportunité de développer une aire qui n’appartiendra qu’à eux, car les géants ne savent s’y mouvoir, l’hyper-proximité. Le numérique réduit l’immensité du temps comme de l’espace. Les petits producteurs sont les mieux placés pour tirer profit de son égale capacité à mailler l’infiniment proche. Le monsieur du 3e étage ignorait que son voisin fabriquait des clés à pipe avec son imprimante 3D. Demain, il les lui achètera en direct au lieu d’aller perdre un après-midi dans les embouteillages. …

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par le Studio Objet Augmenté de l’École nationale supérieure des Arts Décoratifs

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Sometimes innovation is about coming up with new ways to do the same old chore. For example, if you need to access files from your portable Hard Drive and transfer them to a USB key, then you need to route it through the Laptop or PC. Without PC is a device that eliminates this step; it features a touchscreen that facilitates easy transfer of files from the Hard Drive to the USB.

Without PC is a 2013 iF design award

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UDOO vient d’apparaître sur le site de financement Kickstarter. Qu’est-ce que c’est ? : Un mini-PC basé sur un circuit imprimé Arduino avec un processeur Freescale i.MX 6 ARM Cortex-A9 double-coeur cadencé à 1 GHz.

Pile-poil dans l’esprit Do It Yourself (DIY) pour vos projets personnels ou pour l’apprentissage de l’électronique.

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You’ve seen these bizarre images made of text characters. Most of them are inane and amateurish, but some ASII art is absolutely stunning and complex. What exactly is this bizarre art form? And how do people make ASCII art?

Creating and displaying ASCII text art is not difficult. With a few minutes of practice and experimentation, and using CTRL-C / CTRL-V to copy-paste, you should be a beginning ASCII artist within 30 minuntes!

Question: What Is ‘ASCII Text Art’? How Do I Make ASCII Art?

Answer: ‘ASCII art’ is also known as computer text art. It involves the clever placement of typed characters to form a visual shape spread over multiple lines of text. You will see these ASCII text art pictures in email signatures, online discussion forums, and online game chat. …

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Ce ne serait pas la première fois que la science-fiction deviendrait réalité. A en croire des scientifiques de plus en plus nombreux, les robots vont nous rattraper, nous dépasser et nous dominer. Terminator comme Matrix pourraient bien être un aperçu terrifiant du destin de l’humanité. Certains scientifiques estiment même aujourd’hui que la singularité, le point à partir duquel l’intelligence artificielle égale celle de l’homme, sera atteint dans moins de 20 ans.

Dans son livre très controversé, «The Singularity is Near: When Humans Transcend Biology» (La singularité est proche: quand les humains transcendent la biologie) publié en 2005, le célèbre futurologiste Ray Kurzweil prédisait que les ordinateurs seraient aussi intelligents que les humains en 2029 et que d’ici 2045: «les ordinateurs seraient des milliards de fois plus puissants que l’intelligence humaine seule». …

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1. couple of days ago i saw this post. The author says: “But this seems to be a bit harder as QC doesn’t support Animated GIFs either.” i started to think about that but after i needed to do other stuff. But fortunately i was not alone with this problem.

2. that afternoon lov from coge, wrote me, he had a strict idea about how to solve this problem and he made a small presentation. Let me paste the video here. (and he used my gifs-thanks:)

3. after that i was thinking about the frames. Because animated gif contains frames, but these frames are more like images with time delay. Here you find more information about gif.

So my question was (and lov gave me the answer to that question as well): is it possible to import gif files to quartz composer, but as a sequence of frames (structure)? Here is the default solution …

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In the simplest case re-activity is about the relation between two conditions. In this perspective re- activity is just the >natural< way to introduce change inside a given >system<, and it is sensitive to environmental phenomena as human presence or cosmic radiation.

It re-acts, so I am.

To reflect reactivity is a question of understanding environment, but also a strategy of definition of the observing/acting subject. The technological and commercial development strategy of making things smart is working on the ongoing renewed definition of a subject/player able to see her/his self in a data-made context. Data-based diagnostic already upgraded the metaphoric dimension of the mirror as far as we recognize >intermediated< realities–about us and the space around us–as realities we can move through, as realities we belong to.

re-active platform tries to reflect the fascination for >intermediation< of reality on a minimalistic, somehow abstract level, on the level of the diagram,

we could say.

The visualization of relationships, the construction of simple systems made by correlated elements, were the leading idea the platform applied for

the set-up in MOCA Taipei (2011). The set-up was organized in modules, dedicated to functional ideas as self-regulation; reception; amplification; navigation; coincidence (detection of). And the gesture of >intermediation< itself.

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Évènement culturel pluridisciplinaire autour des cultures digitales et unique rendez-vous d’art numérique en Champagne-Ardenne, la nuitnumérique fête sa 10ème édition sur le thème de la lumière, le samedi 25 mai 2013, de 18h à 01h.

Associée à l’image, au son, ou encore au texte, la lumière est un élément récurrent des installations numériques. Son action directe, avec et sur le corps des spectateurs, mais aussi dans l’espace, devient un vecteur de message, de langage et d’émotion.

FB event :

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Nous vous invitons au lancement du artpress2 n°29 consacré aux arts numériques
au Centre des arts d’Enghien-les-Bains
Mardi 4 juin – 20H

Nouvelles définitions de l’œuvre et nouvelles frontières du monde de l’art à l’ère du tout numérique

Discussion animée par Catherine Millet et Norbert Hillaire, avec les auteurs du numéro.

Durée : 1h30
Les rencontres se concluront autour d’un verre.

Espace bar-restauration ouvert dès 19H

Informations et réservations :
01 30 10 85 59 accueilcda@cdarts.enghien95.fr
12-16 rue de la Libération 95880 Enghien-les-Bains

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Le Laboratoire NT2 se refait une beauté sur les réseaux sociaux!

Nous vous invitons à aimer massivement notre nouvelle page Facebook (qui vient remplacer l’ancien «groupe»).

Depuis 2005, le NT2 a pour mission de promouvoir l’étude, la création et l’archivage de nouvelles formes de texte et d’œuvres hypermédiatiques. Afin de répondre à cette mission, le NT2 poursuit trois objectifs de recherche :

Développer des stratégies inédites de recherche en arts et littératures;Témoigner des manifestations d’une culture de l’écran;Animer les activités de recherche de la communauté de chercheurs de Figura, le Centre de recherche sur le texte et l’imaginaire (regroupement stratégique FQRSC, 2008-2014).

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CMSday, le premier événement français et européen consacré à la gestion de contenu open source. La rencontre du meilleur des CMS open source. Le 25 juin 2013 à Paris

Le CMSday a rencontré un réel succès lors de sa 1ère édition en 2012. Près de 600 participants étaient présents pour une journée riche de conférences, de tables rondes et de rencontres. L’événement sera cette année encore marqué par de nombreux temps forts, avec des prises de parole d’experts, des conférences et des tables rondes.

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The music section of the Chrome Web Store has amplified quite a bit since its initial rollout of 23 apps. In addition to offerings from heavy hitters like MOG, Rdio, and Pandora, it’s also home to a wide selection of apps and extensions from smaller developers from off the beaten trail.

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Newer, faster, thinner … better? One technology follows another in dizzying cycles. But how is it that something that was once an amazing engineering marvel ceases to be so? If it really works as a musical instrument, how could it be less of a musical instrument than it was before?

Palm Sounds’ Ashley Elsdon was talking about music making in the palm of your hand before anyone had ever seen an iPhone. So I had to smile when I saw him connecting an old Palm to our MeeBlip synth. It wasn’t just a novelty – the synth was ticking along with this vintage technology in a way that looked generally cool, drool-worthy – somehow, new. …

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The Synth & Midi Museum is a compilation of products specific to our field of electronic music. Many are mainstream but be sure to check out the “oddities”.The companies listed on this site were true innovators and pioneers. The individual product descriptions were compiled from our NAMM reports, product pages, and other sources. I hope you find them useful and fun to browse!

After nearly 22 years Synthony Music closed it’s doors in early 2004. I wish to thank all those that chose to patronize Synthony, and to all my fellow co-workers who called it a home away from home. It was quite a ride and a pleasure to serve.

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It informs on historical and on contemporary positions choosen by an advisory panel.

It exhibits the work of leading Artists in this field since 1956. [DAM] is an on-line museum with a comprehensive exhibition of Digital Art supported by a wide range of background information including biographies, articles, a bibliography and interviews.

[DAM] also includes an Essays section with articles by artists and theorists specially selected to place the works in context (many of them by special arrangement with Leonardo journal). A History section lists key events and technologies in date order.

[DAM] is intended for the enjoyment of all visitors, curators and collectors, scholars of art, and for an emerging generation of digital artists wishing to understand a 50-year heritage of innovation and experimentation.

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Charlie Schmidt et Orlando Torres sont les créateurs respectifs de deux des plus célèbres mèmes de l’histoire d’Internet, à savoir le Keyboard Cat et le Nyan Cat, . Ils ont attaqué en justice la semaine dernière Warner Bros et 5th Cell pour avoir fait apparaître leurs créations comme des personnages dans le jeu vidéo Scribblenauts.

L’auteur du Nyan Cat explique sa décision par le fait qu’il n’est pas d’accord avec l’usage commercial qui a été fait de sa création :

Je n’ai jamais tenté d’empêcher les gens de faire des créations qui contribuent artistiquement et ne sont pas à but lucratif. Mais il s’agit d’un usage commercial, et ces entreprises elles-mêmes sont les protectrices de leur propre propriété intellectuell…

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The On Line Festival for Digital Arts reaches its 9th edition under the paradigm shift and renewal. Centered on the Space for Arts, Media & Performance, aims to celebrate the 50 years of video art by intervention projects in unconventional spaces and experimenting with new languages ??and forms of presentation of digital arts. In these 50 years, video art has evolved into supporting bracket, from television monitors to the projections on large building facades, through several different surfaces and supports, in which mixture of different arts elements make video a kind of chameleon that is transformed according to the location and the surface on which it stands.

Video art is undoubtedly the great art of this century, on this new era that begins full of transformeed potential, challenging new ways for society. The multiplicity of forms which video art contains demonstrates the versatility of this artistic medium , adapting to the location and time in there particular way of being: the same piece seems to change when it is presented in different places and in different contexts.
The same paradigm lives digital art, including Web art that, while captive by the screen of a computer,it is transformed into new forms.
It is this versatility that FONLAD Festival aims to present through a number of initiatives in several unconventional spaces, ranging from the common room to the monumental space of a museum, the public space to a private garden.

To test new ways of presentation of video art, photography and digital art in he’s new headquarters space, trying to bring the “street” these new forms of art.

In 2013 we will continue to invest in training and performing artist residencies, exhibitions and international video interventions in unconventional spaces, supported by partnerships with some of the most important international festivals in Europe.

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Sofian Audry holds a bachelor’s degree in Computer Sciences and Mathematics and a master’s degree in Computer Science from the University of Montreal. Since 2004, he creates installations and web projects, both individually and collectively. He joined the artist-run center Perte de Signal in 2005 and sits on the Board of Directors since 2011 as president. Having completed a master’s degree in Communication (Interactive Media) at UQAM in 2010, he currently studies at the Ph. D. Humanities program at Concordia University. His work has been presented in Canada, Europe and Asia in many festivals and venues.

Influenced by an education in information processing and an interest in language modeling, Sofian Audry works in a niche that mixes new technologies with the social and cognitive mechanisms of the human being. His works are built using complex algorithms and process data generated by ingenious interfaces. He thus diverts the achievements of his scientific training by pursuing projects whose inventiveness explores issues related to the networking of defined entities and the management of dynamics caused by the passage of data.

His works take the form of interactive montages, showing a research on the transformation of devices through time and the behaviors they generate. The dialogic nature of interactivity is thwarted because the artist focuses more on the imprint left in the work by the visitor. By moving, the later creates a dynamic and makes so that images, words, networks of association accumulate in a temporal evolution. In his recent work, Sofian Audry focuses on electronic interventions, this time incorporating technological objects in the natural environment to create new kinds of interactivity. The work enters a real life dynamic and takes place in its own position, thus distracting, if not modifying the order of things.

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Les 9 et 10 juin prochain, la Gaîté Lyrique accueillera une manifestation dédiée à la création numérique parisienne : le festival Parizone@Dream. Un programme éclectique animé par de nombreux intervenants, artistes et professionnels, rythmés par la création d’œuvres participatives, des projections de films, un grand concert d’electro, et bien plus encore n’attend donc que vous! On lève le rideau sur ce qui vous attend ?

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Coup de coeur pour un projet digne des plus grands films de science-fiction ! À partir d’aujourd’hui vous n’oserez plus jamais cracher dans la rue car c’est grâce à votre crachat/salive que l’artiste Heather Dewey-Hagborg réalise ses oeuvres ! En effet, à peine sorti de votre bouche, elle s’empresse de le récupérer à l’aide d’une sorte de gomme puis grâce à une analyse ADN, une impression 3D de votre visage est générée… Non ca serait trop beau , une impression réaliste certes mais pas assez fidèle pour que les passants se reconnaissent quelques jours après leur acte de malveillance en passant devant la galerie… Je vous laisse découvrir ce projet ainsi que de plus amples explications de l’artiste :

So I extract the DNA in the lab and then I amplify certain regions of it using a technique called PCR – Polymerase Chain Reaction. This allows me to study certain regions of the genome that tend to vary person to person, what are called SNPs or Single Nucleotide Polymorphisms.

I send the results of my PCR reactions off to a lab for sequencing and what I get back are basically text files filled with sequences of As, Ts, Cs, and Gs, the nucleotides that compose DNA. I align these using a bioinformatics program and determine what allele is present for a particular SNP on each sample. …

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L’ENTREPRISE D’OPTIMISATION DU RÉEL (EOR) ET LE B.P.S.22 //// ORGANISENT DEUX SOIRÉES ÉVÈNEMENTIELLES AFIN DE VOUS FAIRE DÉCOUVRIR GRATUITEMENT OPTIMUM PARK™, UN PRODUIT CULTUREL D’UN GENRE NOUVEAU. VENEZ ET PARTICIPEZ À UNE EXPÉRIENCE ÉTONNANTE QUI VOUS PERMETTRA D’OPTIMISER VOTRE ÉPANOUISSEMENT PERSONNEL AINSI QUE VOTRE RELATION À AUTRUI. GÉRÉE PAR UN SYSTÈME TECHNOLOGIQUE INNOVANT, CETTE EXPÉRIENCE TOTALE ET TOUT PUBLIC VISE L’AMÉLIORATION DE VOS PERFORMANCES.

Le collectif d’artistes EOR (Entreprise d’Optimisation du Réel) présente, au B.P.S.22, les 13 et 14 juin, le projet OPTIMUM PARK™ : un dispositif plastique interactif dans lequel les visiteurs sont sollicités par un système informatique qui les enjoint d’accomplir une série d’actions. La difficulté et le caractère incongru des actions demandées et des messages adressés progressent, au fur et à mesure de la performance, obligeant le visiteur-participant à redéfinir sa position vis-à-vis de l’œuvre, de l’artiste et de l’institution. La performance est découpée en trois séquences correspondant à trois niveaux d’implication des visiteurs. Elle dure environ 90 minutes.

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Modular art&&archive project serving multiple goals

it’s been developed as an open port for anyone anywhere to submit glitch art worx that can be represented by a URL( i.e. video, images, sound, web )initially the 0P3NR3P0 served as a remote submission system for the 2112 GLI.TC/H festival/conference/gathering in Chicago.the last IRL exhibition was held on March 19 at the Museum of Contemporary Art in Chicagothe next IRL exhibition will be held at Furtherfield Gallery in London, from June 8 – July 28at present the 0P3NR3P0’s archives are undergoing some maintenence, but in the future it will be perpetually open for submissions && perpetually available for curators intersted in exhibiting glitch worx from the archive.

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Si l’informatique “à la papa”, celle des bons vieux programmes COBOL qui automatisaient les fiches de paie, semble dominée par le paradigme du contrôle, de l’absence de créativité ou de l’ambiguïté, cela fait bien longtemps maintenant que les informaticiens ont compris que le caractère rigoureux de la programmation informatique n’interdit pas pour autant la surprise ! De fait, l’ordinateur est depuis bien longtemps l’outil favori des explorateurs de la complexité.

Mais d’abord, la complexité qu’est-ce que c’est ? Difficile à dire, car il en existe plusieurs définitions, chacune liée à une théorie particulière. Si par exemple vous référez au chaos, vous définirez la complexité comme la sensibilité extrême aux conditions initiales : autrement dit, pour employer la fameuse expression, c’est ce battement d’ailes de papillon à Melbourne qui finit par déclencher un ouragan à Montréal. D’autres – en s’inspirant des mathématiques fractales – vous diront que la complexité est produite au sein de systèmes autosimilaires (composés de versions d’eux-mêmes). Les adeptes de la théorie des réseaux vous parleront des petits mondes, de l’importance des liens “faibles”, de la connectivité d’un système, etc. …

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Pour le créateur de l’informatique, Alan Turing, l’intelligence artificielle triompherait lorsqu’un programme informatique réussirait à convaincre un interlocuteur qu’il était humain. C’est le fameux “test de Turing” qu’aucune machine n’a réussi à passer depuis – même si plusieurs “agents conversationnels” s’en sont approchés. C’est dire si la reconnaissance et la pratique du “langage naturel” sont une discipline clé de l’intelligence artificielle. Mais c’est aussi une de celle qui avance avec le plus de difficultés. Pourtant, ces derniers mois ont été riches en avancées qui laisseraient à penser que le problème serait en phase de résolution. Stephen Wolfram à créé un « moteur de connaissances » interrogeable en langage naturel, WolframAlpha. Apple a beaucoup communiqué sur son assistant personnel Siri (même si les avis des consommateurs sur son efficacité restent assez partagés). Et pour la première fois un ordinateur s’est révélé meilleur que des humains au Jeopardy (un jeu qui n’a pas la noblesse des échecs, mais qui présuppose de la part du joueur une compréhension correcte du langage, non seulement en terme de syntaxe et de vocabulaire, mais surtout la capacité de comprendre le contexte d’un indice, bref, le sens des mots). …

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L’arme, testée avec succès, tire des balles réélles. Son fabricant veut diffuser ses plans de fabrication sur internet, gratuitement.

Chacun pourra-t-il demain devenir fabricant d’arme? C’est en tout cas l’objectif avoué de Defense Distributed, un groupe américain à but non lucratif qui a testé avec succès la première arme à feu créée avec une imprimante 3D, selon le magazine Forbes.

L‘objet, baptisé le «Liberator», tire même des balles réelles. Il s’agit en fait d’un assemblage de composants en plastique dur – utilisé notamment pour la confection d’instruments de musique – réalisés grâce à une imprimante 3D achetée 8000 dollars sur internet. Seule l’une des seize pièces peut être détectée par un portique de sécurité, ce qui rend l’arme légale aux États-Unis, indique le site de la chaîne américaine Fox News.

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The selected choreographer will create a  work of  20 to 25 minutes for group of 10 dancers.

The residency takes place within the framework of a professional contemporary dance training program (DEC) « Danse-Interpretation ».   The creation period is programmed into the school calendar for a total of 70 hours. At the end, a series of four shows will be presented in a professional theatre. The shows are an integral part of the students’ evaluation.

apply on

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Dear Isadora Users,
TroikaTronix will host a series of free mini-workshops – as well as a three-day workshop intensive for artists –taught by Isadora’s creator Mark Coniglio this May and June in Berlin, Germany. If you’re not in the area, but know someone who might be interested, please feel free to pass this on.

Workshop attendance is limited to 15 participants maximum. If you wish to attend, please send us a mail using this form. (Link to this page:

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sa·fa·ri [suh-fahr-ee] Show IPA noun, plural sa·fa·ris, verb, sa·fa·ried, sa·fa·ri·ing.
noun
1. a journey or expedition, for hunting, exploration, or investigation
2. the hunters, guides, vehicles, equipment, etc., forming such an expedition.
3. any long or adventurous journey or expedition.
verb (used without object)
4. to go on a safari.
Origin: 1885–90; < Swahili < Arabic safar journey

The Super Modern Art Museum is pleased to release its third collection of works, curated by LaTurbo Avedon and Systaime Alias Michaël Borras. SAFARI reaches into the possibilities of virtual landscape and uncharted space, showcasing the works of over fifty artists from around the world.

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Cette installation numérique est visible, rue Chartran, jusqu’au 25 mai. Chacun peut y contribuer via son smartphone. Vendredi soir, Carcassonne est entrée de plain-pied dans l’ère du numérique, avec l’inauguration du festival “Mai numérique”, qui se déroule jusqu’au 3 juin (lire encadré). C’est l’installation mise en place dans la vitrine du magasin Gazaniol, rue Chartran, qui a donné le ton de cette manifestation où les nouvelles technologies se mettent au service de l’art, et même de la poésie. “Words City”, œuvre du duo “HP Process”, propose une cartographie de la ville de Carcassonne, à travers les contributions de ses habitants et visiteurs.

Par le biais d’une application smartphone et de QR codes, chacun peut indiquer où il se trouve et écrire ce que lui inspire ce lieu. Ainsi, se dessine sur l’écran un plan interactif et évolutif de Carcassonne ! “Words City illustre une nouvelle relation au corps, à l’espace et au temps, explique l’artiste Philippe Boisnard, concepteurs du projet avec Hortense Gauthier. Nous avons voulu travailler sur l’affect autour de la ville, sur ce qui nous lie à une ville”. Jusqu’au 25 mai, les passants de la rue Chartran pourront ainsi voir évoluer ce plan de Carcassonne, dicté par le nombre de communications émises dans ses différents quartiers. “Ce sont les mots que les gens vont s’échanger qui vont constituer l’œuvre. Celle-ci repose uniquement sur la participation des gens”, poursuit Philippe Boisnard, qui compare sa création à “un encéphalogramme de la ville”.

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En 2013, le Centre culturel Jacques Franck fêtera ses 40 ans d’existence. Les festivités auront lieu à la rentrée de saison 2013-2014 en septembre 2013. A cette occasion, le CCJF organisera une exposition sous le titre « 40 œuvres pour le temps futur» avec pour objectif de favoriser l’émergence de nouveaux talents sur le territoire de la Belgique. Le CCJF lance donc un appel à candidatures auprès des artistes explorant tous les domaines d’activité des arts plastiques : arts numériques, dessin, gravure, installation, peinture, performance, photographie, sculpture, vidéographie, …

Ceux-ci doivent exercer leur activité artistique en Belgique, être âgés de 20 ans minimum et ne pas avoir atteint l’âge de 40 ans au 31 décembre 2013. Une commission composée des membres de l’équipe du CCJF et d’experts invités examinera et sélectionnera les 40 œuvres qui feront l’objet de cette exposition collective qui sera présentée au Centre culturel Jacques Franck du 13 septembre au 3 novembre 2013. Cette exposition devrait faire l’objet d’un catalogue.

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Plink is a multiplayer music experience with a super intuitive user interface. Simply by clicking and moving your mouse you create music in real time. You can play by yourself or together with three friends (or strangers). No hassle, just plain fun music creation.

New feature! Type #roomName after the Plink url to create a private room. You wished, we complied!

This is how you’d create a private room called myRoom – labs.dinahmoe.com/plink#myRoom – ready to share with your best friends! The max number of players in a private room is 6.

Plink is a Chrome experiment. It’s built with HTML5 and the Web Audio API. Because of this you need to use the latest version of Chrome.

(Or click here to watch a video if you’re a tad lazy.)

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La lecture de la semaine, il s’agit de la dernière production du chercheur biélorusse Evgueny Morozov, elle est parue dans le Wall Street Journal il y a quelques jours et s’intitule “les objets intelligents nous rendent-ils bêtes ?”, un texte qui fait écho, de manière très critique à l’émission que nous avons consacrée il y a trois semaines à l’internet des objets.

Morozov prend pour commencer l’exemple d’une poubelle intelligente créée par un groupe de designers britanniques et allemands. A chaque fois que vous en ouvrez et refermez le couvercle, cette poubelle prend une photo qui permet l’analyse de vos déchets, et elle partage cette photo avec vos amis Facebook. L’idée étant, évidemment, de vous rendre vigilant en matière de recyclage de vos déchets et de gaspillage alimentaire et, le cas échéant, d’influer sur vos comportements. Morozov voit là la convergence de deux tendances qui travaillent en profondeur le monde qui nous entoure. Tout d’abord la prolifération d’objets connectés – ce qu’on appelle l’internet des objets -, d’objets qui ne sont plus bêtes et passifs, mais qui, avec l’aide d’un peu d’intelligence artificielle, peuvent distinguer un comportement responsable d’un comportement irresponsable, et même punir le comportement irresponsable et valoriser le comportement responsable, ceci en temps réel. La seconde tendance, c’est la possibilité, via Facebook et Google, de socialiser cette nouvelle interaction avec l’objet, de la rendre visible à nos amis. Ce sont là les ingrédients essentiels de ce qu’on appelle les technologies intelligentes.

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With the focus of exploring contemporary art, culture, and electronic music, NFF13 will take place from September 12-15, 2013 in Vancouver BC. The festival will again be held at the Centre for Digital Media, as well as other locations around Vancouver. The 4 day festival will involve performances, installations, talks, and conferences.

New Forms Media Society is a non-profit society and media arts organization founded in 2000 that nurtures and connects local and international artists, thinkers, practitioners, and the public through the annual New Forms Festival.

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LABMIS is a space dedicated to the research and production of contemporary practices in digital media, acting in the intersection of art, science, technology andsociety.

An environment focused on the discussion and experimentation around thepossibilities generated by technology, LABMIS encourages free collaboration, as ameeting point for artists, curators, technicians, programmers, researchers, studentsand the general public.

Besides the infra- structure, the laboratory studio offers bothpractical and theoretical support for the development of projects that answer to thestandards of innovation, quality and social interest.

Every year, a selected jury elects 4 projects inscribed by public application for thenational residence program. The space then is shared, providing it a character andrhythm of its own and avoiding an accommodation or reduction of the culturaldynamism in the environment. It is a physical space where social networks connectin a continuous flow of information, through the exchange of multidisciplinaryexperiences.

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BERG Cloud moves the smarts of products onto the internet. We think of it as the nervous system for connected products.

BERG Cloud is the world’s friendliest and most complete platform for connected products; secure, stable and extendable.

We are making the same technology, tools and user interface that we used to deliver Little Printer available for you to use in your own products. The fastest and easiest way for anyone to prototype and produce connected products for the home and business.

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For this fifth edition of Sight & Sound, we are inviting the public to join us on an unparalleled experience. For the first time ever, in the aims of highlighting the Eastern Bloc’s and Sight & Sound’s five years of existence, we have expanded the festival programming to span nearly a month. We see this important change in the structure and content of the festival as a necessary step in our ongoing mission to present innovative, experimental, experience-based and provocative work. More so than ever, we have assembled a program this year of exceptional artists whose work will challenge our expectations of festival programming. The thirty invited artists and theorists are representative of a new generation of practitioners in digital art. This fifth edition of Sight & Sound promises to deliver our most exciting and extensive program of work – by local and international artists – that is not only stunning and engaging on an aesthetic level, but also critical of contemporary digital culture and decisive of our technological future.

Under the heading “Black Market,” this edition of Sight & Sound seeks to explore the rhizomatic and permeating structures of society’s concealed systems. We ask ourselves how we can demystify the black market and its perceived impenetrability. Whether we can actually succeed in unpacking the mechanisms embedded within global – and localized – clandestine networks. In today’s connected world, does the black market retain its (seemingly) dark aura? These and other questions compel us to reveal a grander mythology at play – one in which the illicit, enigmatic aspects of the black market are peeled away, suggesting parallel economic and technological systems, which we are made to believe function in overt ways. These systems govern the global markets; they determine what information appears in our search results; they manufacture the “like” commodity; they sustain a cashless economy. These are systems that are anchored in contemporary sociopolitical discourse.

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A few weeks ago i was in Brussels for The Digital Now, the first thematic exhibition of a series produced by Cimatics, that explores relevant artifacts within the current artistic context and media art related discourse.

The first chapter in this series, ‘Drones / Birds: Princes of Ubiquity’, looks into autonomous technology through the lens of birds as objects reflecting our contemporary relation with technology.

The bird has long been seen as a symbol of freedom, communication, transborder mobility but also as an indicator of environmental change. However, much of the bird physical and spiritual significance has been lost on the way to and from the industrial revolution. But according to Bram Crevits, curator of ‘Drones / Birds: Princes of Ubiquity’, digital culture has brought birds back to the fore. Or maybe it’s the birds which have forced their way into our techno-mediated world. Think Twitter of course. And birds incorporating ringtones into their repertoire so effortlessly that Richard Schneider of the NABU bird conservation centre in Germany suggested that, in the interests of ecology, mobile phone users convert their tones to pop songs which are too complex to be mimicked by the birds. Woodpeckers attacking CCTV cameras. Or confused birds trapped into the twin columns of light shot into the sky each year on September 11 in New York. The bright memorial short circuits some of the cues that birds use when they are migrating at night. And then there’s drone watching as the new bird watching. And drones counting birds. …

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Vincent & Emily are two self-willed robots who are in a conflict between each other and their surroundings, designed to explore solitude of a partner relationship and their impulses.

The robots are designed to explore solitude of a partner relationship and their impulses. Mimicking humans, using sounds and gestures, the robots have speakers motions controlled by their motors. In addition, the creatures capture sounds and movements via sensors and react on those signals with own expressions.

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The latest from HfK Bremen Infovis (@hfkb_infovis). Tweeting the infovis courses by Moritz Stefaner @moritz_stefaner at HfK Bremen (2011 and 2013). Bremen

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The two-year, international Master program of Digita Media expands and deepens the Bachelor’s knowledge. It provides a bridge towards academic work and the topics of current scientific research. Here, students from dozens of nations work in an international and intercultural community.

Digital Media has appeared in nearly all fields of our private and economic lifes, but it is also emerging as a scientific discipline -
a field of research that goes further than just combining the knowledge of designers and computer scientists: It also takes their different communities seriously, taking their respective approaches and attitudes into account. The comprehensive international Master of Digital Media program of study in Bremen seeks for excellence in design, informatics and media theory alike.

To achieve this, our two-year program is jointly offered by the University of the Arts Bremen (HfK) and the University of Bremen (UNI). The language of instruction is English.

The students enrolled at the HfK study with a focus on media design. They take relevant informatics courses at the UNI. They receive the degree of “Master of Arts” (M.A.) upon successful completion of the program. The UNI students of the Digital Media program receive the degree of “Master of Science” (M.Sc.). They in turn focus on media informatics and take relevant design courses at the HfK.

For more information about the Digital Media program:

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Motion work creating non-objects, ie objects that have neo-physical qualities

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Music brought to you in brilliant Technitone! Create, collaborate, and share your musical creations.

Technitone draws inspiration from André Michelle’s well-loved (and sadly, non-functional at the moment) Tone Matrix. Technitone provides a grid on which you and your cohorts can place instrument sounds on various notes. Like Plink, it automatically hooks you up with buddies to jam with, and it doesn’t take much musical know-how to get up and running. Technitone packs a few neat extras, too, such as a solo mode for those who like more control, and a gallery where you can publish your masterpieces, whether made on your own or with a group.

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Sequences is an independent biennial, established in Reykjavík in 2006. The aim of the ten-day festival is to produce and present progressive visual art with special focus on time-based mediums, such as performance, sonic works, video and public interventions. An offspring of the dynamic art scene that thrives in Reykjavik, Sequences is the first art festival in Iceland to focus on visual art alone. New artistic directors are hired to reshape each edition of Sequences according to their vision, making it unique and different every time.

Founding members are the Icelandic Art Center, the Living Art Museum, Dwarf Gallery, Kling & Bang gallery and Gallery Bananananas (the last one closed early 2007). Each institute has a representative on the board, but all the major venues and cultural institutions in the Greater-Reykjavík area have worked with the festival in one way or another. Over three hundred artists from around the world have participated in the festival. The first editions, 2006-8, were annual but in 2009 it was decided to slow the pace and hold the festival every other year. Sequences is funded with generous support of various domestic and foreign funds.

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L’Observatoire des Mondes Numériques en Sciences Humaines (OMNSH) est une association française de loi 1901.

L’observatoire a pour objet d’étude la technologie numérique, c’est-à-dire des environnements et outils technologiques reposant sur l’informatique et offrant une interactivité avec leurs utilisateurs et ce, tous supports techniques confondus, présents et à venir.

Cette association a pour but de constituer une plate-forme d’information, de réflexion et d’échange entre la recherche universitaire, les professionnels, la presse et le public, tous quatre liés par cette technologie.

L’OMNSH s’inscrit dans la perspective de partage et d’accès libre à la littérature scientifique sur Internet telle qu’elle est encouragée par la déclaration de Berlin (octobre 2003).

voir la rubrique voir Sciences de l’Art :  a pour vocation d’accueillir des analyses relevant des sciences de l’art (18ème section Arts) appliquées au mondes numériques : recherche création, analyse de dispositifs artistiques ou d’appropriation créative, études portant sur les musées et les produits culturels interactifs, recherches en création, articles de critique…

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Lab212 is a multimedia collective, founded in 2008 by some friends.
The collective is now made of 10 members whose skills in different fields allow them to deal with artistic, pedagogic or even commercial projects.

From UX design to graphic design, programming, electronics and technical design, Lab212 is able to take care of most of the aspects required by innovative interactive projects.

By its sensible, poetic and tangible approach of interactive design, Lab212’s projects try to empower users and cast a different light on the technology surrounding our daily life.

Through its creations, Lab212 invite people to think about our relation with the world we live in and the people we live with. …

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In the framework of the European Park in progress and the next edition of the international festival of sound art City Sonic, proposed in September 2013 Mons, Transcultures, Centre of digital and sound arts, launches a call for projects/residences for the realizationof small forms/formats (performances, installations, concerts…) inter or multidisciplinary with a sound dimension.

Start of the residency period : August 28, 2013End of the residency period : September  5, 2013Place of the residence : Mons – BelgiumPublic presentation to the Nuit Européenne de la Jeune Création (European night of the young création) :  September 6, 2013 in Jardin du Beffroy (garden of the belfry – in the evening).

Park in progress is a European mobility programme (supported by the European Commission -culture programme) which brings together young artists and young creative professionals involved in the various stages of production of an artistic work around a commonproject that seeks transdisciplinarity, A Rich creative experience with artistic creation as means of exchanges and encounters. It is supported by 6 cosignatories on a 3-year period (1st May 2010 – 31st December 2013) : the Arts Council England East-Midland(Nottingham, United-Kingdom), Transcultures (Mons, Belgium), Luxembourgeoise d’Action Culturelle (Luxembourg), ARTos Foundation (Cyprus)  and the Pépinières européennes pour jeunes artistes (Saint-Cloud, France). Park In Progress moves around 6 differentplaces in 6 different countries. At every very stop of this itinerary, the artists and young professionals from the creative world take hold of a park or a Green urban zone to create a site specific artistic itinerary , « PARKINPROGRESS », nourished by differentartistic propositions to share with the public. This creation nourishes itself from new proposals established on the encounter with artists and professionals from the hosting country, at every stage of the project.

Transcultures, Interdisciplinary Center for Sound and Electronic Cultures, created in 1996 (Mons – Belgium), organizes festivals, events, workshops, meetings… in Federation Wallonia-Brussels and internationally. The project we are looking for City Sonic mustbe related (openly) with sound. Mons is a beautiful city with the cultural heritage center. It will be the European Capital of Culture in 2015, located near the French border, 45 minutes by train or car from Brussels, 2 hours 30 minutes from Paris and 1 hourfrom Lille.

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Le du-touch est un nouvel instrument de musique que nous avons développé, destiné tant aux professionnels de la musique qu’aux amateurs ou aux non-musiciens. Il est doté d’une nouvelle disposition des notes appelée principe dualo. 

Cette disposition, très intuitive, permet de mieux voir et de mieux comprendre la musique. Plus besoin de connaitre le solfège pour jouer de la musique ! Sur un clavier dualo les notes qui sonnent bien entre elles, au sens de l’harmonie, sont placées les unes à côté des autres, ce qui fait qu’elles tombent directement sous les doigts et que l’on peut se faire plaisir très rapidement. En fait, les objets musicaux, comme les accords et les gammes, sont représentés par des formes simples facilement mémorisables.

Le clavier dualo est très visuel et très rapide à prendre en main. Toutes les musiques peuvent être jouées sur ce clavier, avec virtuosité et facilité. …

La méthode sera présentée en avant-première lors du festival Futur En Seine, à Paris, du 13 au 16 juin 2013.

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Festival d’Arts Numériques en Terre d’Aude : mappings, projections, installations, performances, vidéos, mix… organisé par le G.R.A.Ph-Centre Méditerranéen de l’Image…

A la découverte d’une nouvelle forme artistique qui met en scène des créations dynamiques et variées avec pour support le numérique: mappings, projections, installations, performances, vidéos… Cette manifestation propose une programmation sur divers lieux du territoire audois: Carcassonne, Château de Malves-en-Minervois, Saint-Papoul ou encore Limoux. Cette année, le thème du festival est le nomadisme culturel et la mobilité.

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Created along with the english indie band The xx, Matt Mets, Aramique Krauthamer and Kyle McDonald created an exhibit that incorporates the band’s music into a room full of stepper motor controlled speakers that pivot to follow listeners as they move through the space.

Missing is part of Coexist, an exhibition cycle at the Sonos Studio in Los Angeles that attempts to explore the “relationship between man and machine.” The Missing part of that exhibit, on display through Dec. 23, uses 50 speakers, two hacked Kinect 3-D cameras, and a whole lot of code and robotics to create an environment where people are moving through the music and interacting with the speakers, without even trying. – writes Wired.

Development took about 6 weeks from accepted pitch to opening night. Matt Mets developed a system that uses stepper motors with potentiometers (in place of servos) in combination with a custom pcb that is a modified version of an old open source makerbot stepper driver (Matt used to work for makerbot). After a lot of laser cutting and machining used to fabricate the mounts, the pcb on each mount is powered and controlled by a single ethernet cable which is daisy chained along the ceiling of the installation. These are controlled by a single ethernet cable connected to a teensy plugged into the Mac Mini which is also connected to two Kinects that follow the visitor through the space. …

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born as a place of research and creation of contemporary arts such as
performing arts, theater, site specific, music, videos and installations.
It is a place that strives to build a network with groups and individuals of young artists of all nationalities who need a space for creation.

IL PAGLIAIO propose to accommodate projects and activities, with the propensity to reduce the distances between the boundaries between diverse disciplines.

The space also has the features needed to create exhibitions, workshops, seminars, photo shooting, and performances.

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Christina Agapakis thought that her interest in art would always be separate from her pursuit of science, especially once she had decided to do postgraduate studies in biology.

But she found ways to meld the two. While earning her PhD in biomedical sciences at Harvard University in Cambridge, Massachusetts, Agapakis joined a social experiment called Synthetic Aesthetics. A joint project of the University of Edinburgh, UK, and Stanford University in California, funded by the US National Science Foundation (NSF) and the UK Engineering and Physical Sciences Research Council, Synthetic Aesthetics teamed artists and designers with synthetic biologists and encouraged them to come up with interdisciplinary ideas and projects. Agapakis worked with Sissel Tolaas, a researcher and scent artist resident in Berlin. Together, they made cheese — using starter cultures made of bacteria isolated from the human body. They wanted to make the unseen biological world perceptible to the senses, and to call attention to how synthetic biology might alter microbial communities. “The creativity of designing, rather than studying, biology is really exciting for me,” says Agapakis.

Now a postdoc in synthetic biology at the University of California, Los Angeles (UCLA), Agapakis continues to collaborate with designers, incorporating principles of balance and scale — in this case, being mindful of microbial relationships and interactions — into the design of microbial communities that could, for example, yield new fertilizers or biofuels. She is convinced that artists and designers stoke scientists’ creativity. …

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We’re an innovative, digitally oriented global media company whose reach is rapidly expanding.

MIT Technology Review identifies important new technologies – deciphering their practical impact and revealing how they will change our lives.

Our mission is to identify important new technologies—deciphering their practical impact and revealing how they will change our lives.

Founded at MIT in 1899, MIT Technology Review derives its authority from the world’s foremost technology institution and from our editors’ deep technical knowledge, economic realism, and unequaled access to the world’s preeminent innovators.

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The UDOO is a ARM based Linux board like the Raspberry Pi, with a second ARM processor onboard to mimic the Arduino Due, that is now raising money on Kickstarter.Read the full article on MAKE

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Le studio britannique Universal Everything a capturé le mouvement d’un danseur pour en faire une animation, qui est projetée sur un écran haute résolution. La chorégraphie du danseur contemporain, se déroule dans un studio de capture de mouvements. C’est alors que la technologie déploie vraiment ses ailes et transforme les données de mouvement en une sculpture numérique, formée par les traînées du corps humain. …

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“Whether you believe that art imitates life or that life imitates art (or both), there’s one thing we can all agree on—the advent of the Internet has changed the process of art-making and art’s reception forever. In many cases, artists use their work to critique the aesthetic and impact of the digital age, using screenshots, collage, and an extreme combination of mediums to comment on the way we relate to the Internet. While many are skeptical about the place of this art beyond the world wide web, it’s undoubtedly an important new lane in art history. Make sure you remember these 25 Internet Artists You Need to Know and their work next time you’re thinking about your own Internet consumption.”

An Xiao, Penelope Umbrico, Peter Stemmler, Rafaël Rozendaal, Tabor Robak, Ryder Ripps, Lorna Mills, Michael Manning, Jonas Lund, Guthrie Lonergan, Rollin Leonard, Oliver Laric, Parker Ito, Joel Holmberg, Martijn Hendriks, Joe Hamilton, Alexandra Gorczynski, Constant Dullaart, Aleksandra Domanovic, Petra Cortright, Jennifer Chan, Mark Callahan, John Michael Boling, Michael Bell-Smith, Anthony Antonellis.

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Après les designers, les ingénieurs et les prothésistes, c’est au tour des artistes d’explorer le potentiel de l’impression 3D. A New-York, la galerie Winkleman présente actuellement le travail de Shane Hope, un plasticien qui incorpore à ses tableaux des micro-éléménts conçus par ordinateur. Pour comprendre le principe, ne vous fiez pas à l’atmosphère de joyeux fouillis qui se dégage des toiles. Cette nouvelle façon de faire de l’art, baptisée « nanofacture » par son créateur, est en effet d’une précision bluffante.

Grâce à PyMol, un logiciel de modélisation 3D, Shane Hope dessine la structure moléculaire, puis la forme, de milliers de petits élements. Ces derniers deviennent ensuite réalité grâce à des imprimantes RepRap capables de créer des objets à partir de fichiers numériques et de poudre de résine. L’artiste colle enfin ses micro-créations sur des toiles, qui deviennent le support d’une étonnante rencontre entre peinture acrylique et sculpture 2.0. …

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The 9th edition of the Mapping festival will take place in Geneva from May 2nd to 12th. 10 days of audiovisual experimentations and discoveries! The Mapping Festival is a multidisciplinary festival dedicated to audiovisual arts and digital cultures which offers audiovisual performances, installations, clubbing parties, live performances, architectural mapping, as well as workshops and conferences.

Thanks to this unique diversity aspect, the festival is recognised throughout the world as a major event, a real experimental meeting space, for creation and exchange with its innovative thinking in the field of audiovisual arts. Now in its ninth edition, the Mapping Festival has steadily grown and has become one of the leading events of its kind in Europe. …

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Humans are able stick their arms into cluttered areas like a refrigerator or reach across a table set for dinner without knocking anything over. Robots aren’t so good at that. In fact, until now, researchers generally design robots to not touch anything except for the object for which they’re reaching.

However, a robotic arm developed by a team lead by Charlie Kemp, associate professor at Georgia Institute of Technology, has sensors that cover its entire “arm,” helping it touch other objects gently, while reaching for a specific item. The technique gives robots a more effective and realistic method for dealing with real-world circumstances, where obstacles and clutter are usually an issue.

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L’Ososphère développe une plateforme de création, production, diffusion et de mise en relation avec les publics concernant les nouvelles formes artistiques – notamment celles qui interrogent les nouvelles technologies et usages de la création numérique. Cette plateforme intègre la relation au territoire d’implantation du projet et les enjeux de construction et de rayonnement européens et internationaux. Elle développe une activité de mise en réseau dans le cadre de co-construction de projets avec des partenaires nationaux et internationaux.

Au cœur de cette action, l’Ososphère, temps de diffusion international, intégrant une politique de commande artistique et de diffusion des projets produits par la plateforme, se déploie dans le temps et dans l’espace public sur l’ensemble du territoire strasbourgeois. La programmation musicale du Festival découle en droite ligne du travail effectué tout au long de la saison, qui fait de La Laiterie une des places fortes du développement des musiques électroniques en France, et anticipent les attentes des publics spécialisés.

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Create an Accident is an open ongoing platform about the performing and visual arts and theoretical research, based in Athens, Greece.

Create an Accident operates as a non stop lab and open field for experimental, provocative projects and non-existing landscapes.

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Flightradar24 is a flight tracking service that provides you with real-time info about thousands of aircraft around the world. Our service is currently available online and for your iOS (iPhone, iPad, iPod Touch) or Android device plus for Windows 8 and your Mac OS computer. Read more about our flight tracking apps.

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An intervention @ Urban Spree Gallery (S/U Warschauer Straße, Revaler Straße 99, 10245 Berlin), 5 May 2013, starts at 17, free entry.
with: Birgitta Jónsdóttir (Iceland), Andy Müller Maguhn (Germany), John Goetz(USA)

Moderated by Diani Barreto (USA), Introduced by Tatiana Bazzichelli.

On April 5, 2010, the Internet leak website WikiLeaks, published a video titled Collateral Murder, where a United States Apache helicopter fired on civilians in New Baghdad in 2007. The video shows American military personnel shooting and killing 11 individuals whose cameras were ostensibly mistaken for weapons. Two children were also gravely wounded on the scene. Two of those people killed were war correspondents for Reuters, the 22-year-old Reuters’ photojournalist Namir Noor-Eldeen and his driver, 40-year-old Saeed Chmagh.

After demands by Reuters, the incident was investigated and the U.S. military concluded that the actions of the soldiers were in accordance with the law of armed conflict and its own “Rules of Engagement”. Birgitta Jónsdóttir, MP in Iceland, co-produced the video in 2010 with encrypted footage that had been leaked to WikiLeaks by an unnamed source, now revealed as Pfc. Bradley Manning.

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Meanwhile, in Fukushima … Des sons enregistrés/capturés au Japon, en France, sur les réseaux, des sons amis… Merci à tous ceux qui se sont prêtés au jeu de l’entretien ou qui ont apporté leur utile et précieuse contribution à ce projet.

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“feelSpace” is a research project undertaken by students at the University of Osnabrück’s Institute of Cognitive Science, supervised by Prof.Dr. Peter König. The project is based on the fascinating notion that the human brain is flexible enough to ‘learn’ a new sense.

The work conducted by the team at Osnabrück relies on the familiarity gained by long-term exposure to an artificial stimulus. To become assimilated into perceptual experience, the sensations provided by this stimulus need to relate in some way to the way we engage with our environment. For their experiments, they therefore chose to focus on navigation and in particular the orientation of the body with respect to the Earth’s magnetic field.

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A range of new forms of contemporary art – many of which are found in this portfolio – are largely invisible to the general public. As a culture we tend to equate art with the products of film, television, and popular music. While these are well known, new areas for expression in art have greatly expanded in the past few decades.

Classically, we tend to think of art as consisting of drawing, painting, prinkmaking, sculpture and more recently photography. In the modern world, we might also including the production of film and television. The developments of computer graphics have brought digitally-based art to the general public through modern filmmaking. However, there are many novel art forms arising from digital and physical medium which are still largely unknown and relatively invisibile, but which have been in production from many decades now. Some fields of New Media Art include kinetic sculpture, information art, organic and algorithmic art, interactive art, machinima and game design. Yet many forms of new media remain relatively unknown. I believe this is largely due to a lack of context and general theory in New Media Arts. …

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La Fédération Wallonie-Bruxelles a réalisé un livre présentant les oeuvres de 51 artistes soutenus par la commission arts numériques dont le titre est “Création numérique en Fédération Wallonie-Bruxelles Soutiens 2006-2010”. Ce livre a été réalisé par La Villa Hermosa

Le collectif Requiem4tv, dont je fais partie, a reçu un soutien pour son projet “Triple Play” en 2009 et se trouve donc représenté dans ce livre. (p. 110 & p. 111)

Chaque projet présenté s’est vu affublé d’un QR code afin de faciliter au lecteur la visite d’une adresse web liée au projet. Fait intéressant, ces QR codes pointent tous vers une adresse courte de type

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The British Library Sound Archive holds many sound and video recordings, with over a million discs and thousands of tapes. Its collections come from all over the world and cover the entire range of recorded sound from music, drama and literature, to oral history and wildlife sounds. Formats range from cylinders made in the late 19th century to the latest digital media.

In addition to copies of commercial recordings issued within the United Kingdom, the Sound Archive keeps selected commercial recordings from overseas, radio broadcasts and many privately-made recordings.

The catalogue includes entries for millions of recordings held in the Sound Archive and is updated daily. It is one of the largest catalogues of its kind anywhere in the world, covering both published and unpublished recordings.

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We report here trends in the usage of “mood” words, that is, words carrying emotional content, in 20th century English language books, using the data set provided by Google that includes word frequencies in roughly 4% of all books published up to the year 2008. We find evidence for distinct historical periods of positive and negative moods, underlain by a general decrease in the use of emotion-related words through time. Finally, we show that, in books, American English has become decidedly more “emotional” than British English in the last half-century, as a part of a more general increase of the stylistic divergence between the two variants of English language.

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An internationally-spread Orwellian surveillance system uncovered by RT has been linked to a software company that collects the GPS coordinates of cell phone users in over 100 major cities.

The discovery of the TrapWire risk mitigation program last year and its ability to match human faces caught on camera against massive databases of intelligence led to an outcry from privacy advocates around the world. Now once again the burgeoning preponderance of Big Brother is being put into perspective.

In late 2011, members of the loose-knit hacktivist group Anonymous pilfered data from the servers of private intelligence firm Stratfor that were in turn handed over to the whistleblower website WikiLeaks for dissemination. When internal emails alluding to a service called TrapWire surfaced in the leak, an investigation uncovered a program that, according to the company’s founder, “can collect information about people and vehicles that is more accurate than facial recognition. …

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In late 2012 I was interviewed by artist, critic, and editor of Neural magazine, Alessandro Ludovico. We discussed my early net pieces through my latest, WoodEar.

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As a centre of expertise, PACKED vzw means to play a central part in Flanders in centring the development of knowledge, experience and expertise regarding digitisation and digital archiving, and in spreading the acquired knowledge, experience and expertise. In this way, the centre of expertise means to improve and guard the quality and efficiency of actions in regard to digitisation and digital archiving within the broader field of cultural heritage.

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Sonospheres est un dispositif de restitution et d’enregistrement sonore géo-localisé créé par kom.post et Orbe. Ce média particulier permet à ses auditeurs d’accéder à un environnement augmenté mais surtout évolutif que l’on pourrait nommer: réseau social sonore situé. En effet, la valeur participative du dispositif est une invitation à l’appropriation d’un milieu ainsi qu’ à la mise en dialogue de ses différents « acteurs ».

Sonospheres a été activé à l’occasion du Festival Futur en Seine 2012 au 104.

“Sonospheres permet de capter et de restituer les voix d’un lieu à travers le temps. Installé dans le 104 pour 4 jours, il permettra de traverser l’archipel des innovations, les ateliers et les rencontres d’une manière différente. Ce média particulier permet à ses auditeurs d’accéder à un environnement augmenté mais surtout évolutif que l’on pourrait nommer: réseau social sonore situé. En effet, la valeur participative du dispositif est une invitation à l’appropriation d’un milieu ainsi qu’ à la mise en dialogue de ses différents « acteurs ».

Du visiteur au résident, de l’artiste exposant au technicien, sonospheres propose durant le festival Futur en Seine 2012 de rendre compte de la diversité et de la transversalité des discours et des projets.”

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The Digital R&D Fund for the Arts is a £7 million fund to support collaboration between organisations with arts projects, technology providers, and researchers. 
 
We want to see projects that use digital technology to enhance audience reach and/or develop new business models for the arts sector. With a dedicated researcher or research team as part of the three-way collaboration, learning from the project can be captured and disseminated to the wider arts sector.

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