Bruce Sterling recent speakings
Bruce Sterling speakings
at O'Reilly Emerging Technologies conference and
at South by Southwest, listen here.
link worldchanging.com
entry gallery2006 ciro museres
CIRO MUSERES
Born in Buenos Aires, Argentina 1981.
Studies Visual Arts in the National University Institute of Art IUNA. Bs As, Argentina. His works include different media, video, net art projects, installations.
UNTITLE DOCUMENT
Untitledocument It's a conceptualization of the same media. It's a process of exploration, appropriation and transformation about the codes and sentences that compose the net.
Untitledocument es una conceptualización del mismo medio. Es un proceso de exploración, apropiación y transformación sobre de los códigos y sentencias que componen la red.
EMPLEOAR --- -EMPLEO EN NEGRO
http://empleoar.museres-ciro.com.ar
Empleoar es un proyecto de net art concebido como una intervención artística de carácter social. Tomando la red como espacio de activismo intento reflexionar sobre la relación actual en la argentina entre los empleados y los empleadores, el trabajo en Negro y la búsqueda laboral.
view all entries gallery2006
new entry gallery2006 GARRETT LYNCH
GARRETT LYNCH
project 1 System for Multiple Compositions on a Theme
System for Multiple Compositions on a Theme is a series of videos shot and edited on analog equipment in 1995 for the sole purpose of experimenting with editing video to create audio compositions. Rather than the norm of composing a video, the image, into a sequence, here the audio was composed and the accompanying image became incidental, secondary.
The re-presentation of the video experiments on the internet not alone document and expose them to a wider audience than the original analog cassettes but also serves as a means to progress the early video experiments as a website experiment.
The network provides a means to reconfigure the way the work is viewed by changing the artist's (sole author of the art work) relationship with his audience.
The artist, rather than defining a narrative, defines a framework for the art to work within. Experimentation with methods of sending, retrieving and presenting information on the internet, such as the use of html forms and server side scripting allows him to this time construct a system for controlling / viewing the art work rather than an art work that is simply to be viewed. The spectacle of cinema and its audience is replaced by individual user's, separated and distributed across many spaces / places, each as co-author's / contributor's with the artist to their viewing and interpretation of his work.
The composition creation interface on the website, allows users to actively participate in the composition of the experiments and experience an approximation of the act of originally editing these experiments by the artist. It consists of a grid of nine positions, three across and three down, where any position on the grid can be occupied by any of the nine videos any number of
times. This gives a possible 2318107019760 combinations, where...
18 + 182 + 183 + 184 + 185 + 186 + 187 + 188 = 2318107019760
Videos can be given a parameter to loop, loop back and forth (palindrome) or not loop. Lag, download speed on the internet, as well as video duration is used as a means to offset how the videos will sound / display within the website creating an overlap that is never quite the same.
References
Mike Figgis - Timecode (2000)
Christian Marclay
Peter Horvath
no-org.net - video / net / art
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project 2 - Things to Forget
Prior to the invention of the printing press, ideas were embodied in stories passed from generation to generation because of the lack or inadequacy of permanent formats. Due to this they could and often did change, distort or evolve over time. With the introduction of printing it was possible to massproduce the representation of ideas (often misinterpreted as the mass production of ideas). This created a complete shift in documentation. Now if there were enough documented copies of an idea in circulation the idea became eternal, indestructible, culminating in such extremes as the 'power of the press'. The arrival of the electronic age has further popularised this theory since reproduction can now take a fraction of a second in the form of copying and pasting, saving or batching files. Yet from one extreme to the other, ideas are now hard to discern or even lost within the amount of information that exists.
Visualising or noting any mental process, feelings, sentiments, emotions, memories, thoughts, ideas or concepts in a sense makes them physical. It externalises them, preserves them so that they can be recalled to memory and developed at a later date. By making the illusive physical however, it also makes it more vulnerable. The representation can be physically destroyed, discarded or lost. If you destroy all representations of an idea, do you destroy the idea, or
does it continue to exist for as long as someone can recall it precisely?
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Garrett Lynch (IRL) is a net.artist / new media artist, lecturer, curator, critic and theorist of net.art. His work deals with online environments, creation, collaboration and exhibition in networked spaces.
Educated to degree standard in Visual Communication (specialised in Multimedia) in England and masters level in France at the Ecole Nationale Superieure des Arts Decoratif, Paris.
Garrett is currently Senior Lecturer in Digital Media at Canterbury Christ Church University, England and has previously taught on new media courses at both Birmingham Institute of Art and Design and the University of Hertsfordshire.
new entry gallery2006 - svetlana and andi wallwhore
SVETLANA AND ANDI WALLWHORE
Ovarium: BioPorn Videodrama Just Across The Border
http://www.ovarium.org/ is:
a homegrown response to Real Television styled NeoCon ego-psychology
programming
Post Porn clashing the cute and violent
gorgeous, tactile, visceral and horrifyingly perverse
a remake of the Little Mermaid washing away the tragic
Svetlana and Andi Wallwhore are a dedicated to:
mocking the kitsch state of American propaganda
fighting a media war against banality
vaudeville burlesque as an endgame and a resurgence
channeling the nonsense of USA corporate media doublespeak
link : http://ovarium.org/
gallery2006new entry gallery2006 CARLOS KATASTROFSKY
CARLOS KATASTROFSKY
RUSSIAN ROULETTE
http://aqua.subnet.at/carlos/projekte/netart/roulette /
il file che si scarica premendo sull'apposito pulsante e' scelto casualmente. ATTENZIONE !!!
Puo' essere un documento pornografico, un virus che rompe l'intero sistema, una canzone di Britney Spears o qualcos'altro di dannoso.
MA puo' anche essere una utile sorpresa .... chissa?
english : the file you can download by pressing the provided button is randomly chosen. but be aware!
It could be pornographic, a virus that crashes your entire system, a britney spears - song or other bad data.
but it also could be some really great stuff... who knows?
texts: http://www.turbulence.org/blog/archives/002212.html#more
http://neural.it/nnews/russian_roulettee.htm
bio: Carlos Katastrofsky (b. 1975) is an artist, based in austria/ europe. working primarily in the field of new media art, his areas of exploration include netart, hacktivism, software art and the possibilities of web- elements as cultural tools.
Recent exhibitions include viper basel (2006), prog:ME Festival of Electronic Media, Rio de Janeiro, Brasilia (2005), Web Biennial 2005,Istanbul Contemporary Art Museum, Turkey and others.
website:
http://aqua.subnet.at/carlos
GALLERY2006
Leonardo
This project is a collaboration with the world famous Stan Winston Studio. It combines the studio's artistry and expertise in creating compelling animatronic characters with state of the art research in socially intelligent robots.
We have christened this new character collaboration with a name that embodies art, science and invention. Hence, the name "Leonardo" -- namesake of Leonardo DaVinci, the Renaissance scientist, inventor and artist.
Indeed, Leonardo is the Stradivarius of expressive robots. It is our challenge to give Leonardo a comptuataional brain that is worthy of its body.
imax 3d
magnificent desolation
walking on the moon 3d
http://www.imax.com/magnificentdesolation/
voice - tom hanks
other deep sea
voice - jhonny depp
IMAX 3D Electronic Liquid Crystal Shutter Glasses (E3D)
In theatres utilizing electronic 3D technology, each member of the audience wears electronic liquid crystal shutter glasses. Used to show left- and right-eye images of each scene, IMAX E3D glasses sense an infrared signal from the projection system. The projector projects left- and right-eye images sequentially without overlap. Viewers wear glasses with shutters that alternately open and close 48 times per second, allowing each eye to see the appropriate image. Because the glasses and projector are accurately synchronized, the correct image is always channeled to the appropriate eye.
muscles powered by alcohol and hydrogen
Scientists have developed artificial, super-strength muscles powered by alcohol and hydrogen, which could eventually be used to make much better prosthetic limbs. The artificial muscles are 100 times more powerful than the body's own, and researchers believe they could be modified one day to use in 'exoskeletons', to give superhuman strength to certain professions such as firefighters, soldiers and astronauts.
guardian via digg
ENTER - EXPLORATIONS IN NEW TECHNOLOGY ART
ENTER - EXPLORATIONS IN NEW TECHNOLOGY ART
is pleased to announce
that it will commission three media arts projects in 2006/07
for its festival Unknown Territories: Adventures in Space
in Cambridge (UK) between 25-29 April 2007.
We are looking for new work that engages with audiences regionally,
nationally and/or globally. Although Cambridge is at the heart of the
festival, the commissions should have a wider geographical and time-based
spread.
Deadline for submissions is 1 June 2006.
You can find additional information and submission forms on:
www.enternet.org.uk
---
Festival Director
enter - Explorations in New Technology Art
www.enternet.org.uk
The Junction
Clifton Way
Cambridge CB1 7GX, UK
www.junction.co.uk
Thailand New Media Arts Festival 2006
Thailand New Media Arts Festival 2006
Annual International Summit on Creativity in Multimedia & Communication
Bangkok 02-04 May,2006
more information please visit: http://culturebase.org/home/thailand/MAF06/
and Application form maf06
new entry gallery2006
MARGARET PERIVOLIOTIS
link gallery2006
new entry gallery2006 DOMENICO OLIVERO
DOMENICO OLIVERO
“disruptiveness-trunk”
part of a group of photo resarch about the decomposition of a trunk
http://xoomer.virgilio.it/domenico.olivero1/
view gallery2006
online gallery
Art-Mine.com - Wide variety of original fine art for sale. Personalized art consulting services. Mediums include; paintings, sculpture, photography, drawings, mixed media and more. Under the management of Agora Gallery. Established in 1984.
concorso di "land art"
LUGANO - Per la prima volta in Ticino, dal 28 maggio al 30 luglio 2006, si terrà un concorso di Land Art. Dieci coppie di fioristi-artisti, formate ciascuna da due partecipanti, creeranno durante una settimana nella tenuta Vallombrosa a Castelrotto (Malcantone) delle opere, delle sculture naturali sotto la tematica artistica della Land Art.
Utilizzando unicamente materiale vegetale e minerale presente sul luogo, nel completo rispetto della natura, gli artisti, ticinesi, svizzeri ed internazionali (al concorso ci saranno partecipanti che arrivano dall'Italia, dalla Norvegia, Olanda, Svezia, Taiwan), con sassi, erba, foglie, rami, terra realizzeranno le loro opere d’arte. Opere, che con il passare del tempo, cambieranno d’aspetto in relazione alle situazioni climatiche sino a dissolversi completamente, reintegrandosi nella natura.
ticino online
Jimpunk
DIY Video Mix
French artist Jimpunk makes anarchic collages out of animated GIFs, exploding pop-up windows, ASCII drawings, and other internet conventions. Most of his projects require some viewer input to set a manic, web-based bricolage in motion, but a recent project, titled 'Pulp,' goes a step further, allowing users to make custom mixes of grainy video clips. A menu of cryptically-labeled shots fills the bottom of a browser window, and when a viewer clicks one, a video loop plays in one of six tiled frames that form a mosaic across the top of the window. Some of the clips are abstracted from film and television while featuring stylized interference. Others are just fuzz and static with high-pitched tones ringing underneath. Playing two or three together yields hypnotic patterns of sound and video; opening six at once creates a cacophony. But maybe that's how this type of participatory art is completed: the viewer finally mixes up a combination of imagery and sound that is so bli! ssfully overestimating, they are forced to either click away or stare at it indefinitely. - Bill Hanleyfrom Net Art News newsletter
contro advertgame
http://www.videoludica.com/news.php?news=205&lang=it
In effetti Disaffected lanciato poche settimane fa da Persuasive Games, software house guidata dallo stesso Bogost, è proprio questo. Un videogioco che racconta l'azienda FedEx/Kinko's con un tono tutt'altro che celebrativo, diciamo pure con un tono fortemente critico, vagamente satirico, ma soprattutto in modo asciutto e verosimile.
Apparentemente si tratta del solito social game, del solito videogioco politicizzato. Tuttavia credo che Disaffected rappresenti realmente una novità rispetto al filone generale dei political games. In primo luogo si tratta di una risposta, pratica non teorica, al dilagare incondizionato e ormai scontato degli advergames. Questi si contano ormai a centinaia di migliaia, scorrono sul web a ritmi vertiginosi, suffragati da poco convincenti ma molto fashion teorie sulla viralità etc.
Più volte Bogost ha espresso le proprie perplessità circa l'andamento generale del fenomeno advergame. Piuttosto che intraprendere la strada della specificità videoludica, la maggior parte degli advergame, a detta di Bogost, non fa altro che riprendere in prestito gran parte degli stereotipi e dei modelli prodotti dal linguaggio pubblicitario dell'era analogica.
In effetti si tratta molto spesso di videogiochi drammaticamente semplici, con un livello di interattività ridotta all'osso. Un'interattività spesso inessenziale, in quanto le meccaniche sono fatte per essere apprese in un istante, fruite al momento e, in fondo, dimenticate con la stessa velocità. L'interattività è finalizzata il più delle volte a raggiungere il messaggio legato al brand, il vaso di Pandora che promuove il marchio.
Ma soprattutto la maggior parte degli advergame, oltre a celebrare acriticamente ogini tipo di marchio e azienda, non tiene in nessuna considerazione gli aspetti specifici del linguaggio videoludico. Cioè interazione, iterazione, decifrazione del senso della simulazione. Promuove il marchio attraverso meccanismi associativi, più simili a quelli della TV che non a quelli del digitale. Tutt'al più cambiano certi dettagli.
Al contrario giochi come Disaffected provano ad agire sui meccanismi specifici del videogioco, cercando di raggiungere i propri obiettivi non solo attraverso una rappresentazione, bensì anche attraverso il game play. Si pensi per esempio al discorso dell'impossibilità di vincere, oppure ad altre dinamiche che influenzano il senso del gioco ecc.
Si muove su una linea simile il recente Mcdonald's di Molleindustria. Anche in questo caso non sono soltanto le rappresentazioni sarcastiche dell'industria a determinare il senso del videogame ma anche le modalità interattive e iterattive e l'intergioco tra documentate parti narrative e complesse parti interattive, più ovviamente lo stile grafico.
Caso più unico che raro McDonald's di Molleindustria è una simulazione complessa e stratificata, che invita il giocatore ad amministrare a più livelli la multinazionale del fast food. Il taglio ideologico del gioco è più che mai esplicito. Per vivere il più a lungo possibile è necesario essere imprenditori cinici e spietati. Ma il messaggio si disvela gradatamente, passo per passo, attraverso i tentativi e gli errori come nei videogiochi commerciali più complessi.
Un altro punto importante che distingue gli antiadvergames tanto dalla maggior parte degli advergame quanto dal genere classico dei political game è la precisione del riferimento, nonchè la veridicità o comunque attendibilità della trattazione. Gli antiadvergames come Disaffected o McDonald's Game non si basano su asserzioni generali circa determinati fatti sociali. Prendono di mira un determinato marchio, oppure una multinazionale, un governo ecc. E a differenza degli advergame non creano rappresentazioni fantastiche, non cercano di produrre associazioni mentali intorno a tali soggetti, piuttosto basano la propria struttura su dati verificabili, utilizzando fonti documentate, e ricostruendo tutto questo all'interno delle parti narrative e interattive del gioco.
Non che siano imparziali, neutrali o inattaccabili. La prospetticità è una condizione ineliminabile di qualunque prodotto culturale. Tuttavia gli antiadvergame si propongono di fare una certa controinformazione, documentata, attendibile, quantomeno verosimile. Per esempio mostrando ciò che avviene dietro le quinte di una determinata azienda, analizzando la sua politica economica, l'influenza che questa esercita, sulla società, sulla salute, sull'ambiente. E' difficile prevedere, a parte i due interessanti esempi, quale successo potrà avere il filone dei controadvergames.
Links
McDonald's Videogame : Commento di Paolo Ruffino
Molleindustria : Sito ufficiale.
Disaffected : Il gioco
Watercooler games : Il sito
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