segunda-feira, julho 03, 2017

net artists

segunda-feira, junho 19, 2017

on love and love

“Only love expands intelligence. To live in love is to accept the other and the conditions of his existence as a source of richness, not as opposition, restriction or limitation”

– Humberto Maturana


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sábado, junho 10, 2017

visualcodepoems: Generations of Loss - Processing,...





visualcodepoems:

Generations of Loss - Processing, Java

Iterative saves of an image creating digital artifacts from compression loss.


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Video

quinta-feira, junho 01, 2017

trans body


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quarta-feira, maio 17, 2017

reassurance:Johnny Guitar. Nicholas Ray. 1954. USA.



reassurance:

Johnny Guitar. Nicholas Ray. 1954. USA.


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Photo




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Seances

Seances:

Seances presents a new way of experiencing film narrative, framed through the lens of loss. In a technical feat of data-driven cinematic storytelling, films are dynamically assembled in never-to-be-repeated configurations. Each exists only in the moment, with no pausing, scrubbing or sharing permitted, offering the audience one chance to see this film before it disappears.


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Video




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quietdesertfailure:March 22, 2017, 8:00 am@ 27.925002, 17.633764



quietdesertfailure:

March 22, 2017, 8:00 am
@ 27.925002, 17.633764


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the-camera-in-the-mirror:Cadiz Museum, Spain



the-camera-in-the-mirror:

Cadiz Museum, Spain


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Video




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rethinking the world (through telematics)

Will you dance with me?! (2017) - wip

Audio




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Yolocaust is a project by Israeli satirist and author Shahak...



Yolocaust is a project by Israeli satirist and author Shahak Shapira that explores our commemorative culture by combining selfies from the Holocaust Memorial in Berlin with footage from Nazi extermination camps. The selfies were found on Facebook, Instagram, Tinder and Grindr. Comments, hashtags and “Likes” that were posted with the selfies are also included.

About 10,000 people visit the Memorial to the Murdered Jews of Europe every day. Many of them take goofy pictures, jump, skate or bike on the 2,711 concrete slabs of the 19,000 m² large structure.

The exact meaning and role of the Holocaust Memorial are controversial. To many, the grey stelae symbolize gravestones for the 6 Million Jews that were murdered and buried in mass graves, or the grey ash to which they were burned to in the death camps.

http://yolocaust.de/


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“Everything is more complicated than you think. You only see a...

Skeumorphs: σκεῦος [container or tool] + μορφή [shape]

Bruce Nauman Cruising To Drake On The Block © Legacy Russell,...



Bruce Nauman Cruising To Drake On The Block

© Legacy Russell, 2010

Music: Shut It Down, Drake

Bruce Nauman Cruising to Drake on the Block (2010) is a very public and private joke all at once. Yes, it is playful and supposed to make you laugh. Yet, its titling and questioning of what role “context” and “language” play in reading physical movement, it is also about space, about sexuality, about the parading of ones gender, toeing the line between public and private. Nauman made Walking in an Exaggerated Manner around the Perimeter of a Square (1967-68) and it rocked because it was contrapposto in motion, it was providing a new vehicle for sculpture’s S Curve. It was deeply art historical. Yet, it was also about dance, and exercise, and, contextualized in its era, it sprung out of a period of time where radical performance was gaining momentum. That piece, redone as public sculpture, or within public space, could very well be just a guy shaking his booty to Drake as he goes for his morning walk. What if that conversation could take place? What would it sound like—look like?

—L.R.


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THE "EMPIRE" STRIKES BACK: A POSTTRANSSEXUAL MANIFESTO - Sandy Stone

THE "EMPIRE" STRIKES BACK: A POSTTRANSSEXUAL MANIFESTO - Sandy Stone:

The female is immanent, the female is bone-deep, the female is instinct.


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"If it is taken to be a solution of how to educate Generation Z and the others which will follow,..."

“If it is taken to be a solution of how to educate Generation Z and the others which will follow, then we are mistaking a painkiller for a cure. The real headache is not the how. Since the late eighties we have become enthusiastic about MOOs (text-based online virtual reality systems for multiple users connected at the same time), literary hypertexts, glove-and-goggle VR (virtual realities), HyperCard, Second Life, and now MOOCs (massive open online courses). More fashions and further acronyms will certainly follow. Yet the real headache is the what. (…) There is no clear and fixed answer to the educational what-question in hyperhistorical societies. Not only because we have never been here before, but also because, as in the past, the answer still depends on the answer to another question: what education is for.”

- Floridi, Luciano. The Fourth Revolution: How the infosphere is reshaping human reality. Oxford: Oxford University Press, 2014. (via carvalhais)
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additivism: ‘Virtual Drag’ by Alison Bennett with Mark Payne,...



additivism:

‘Virtual Drag’ by Alison Bennett with Mark Payne, Jacki Hammer and Megan Beckwith → 

A #blueprint from The 3D Additivist Cookbook


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landproject: How does it feel to share an interface with eyes...



landproject:

How does it feel to share an interface with eyes closed and no talking?

I felt light, as if I were in a field of light, changing, living light, not with human beings, and probably because that frightened me I tried to visualize you both, to imagine, how, where you were, I tried to make something I could understand of what I felt. As if you were familiar to me - I never met you, but still, apparently you became reassuring, close. (…) Dissolved I felt. Maybe even empty. Certainly destabilized. – Annie Abrahams @e-stranger

This is where I feel that this is not about being mindful, or meditating and rather about sensing and embodying and being present. And in this state of being present we may feel connected to others or we may not– if we are not, then what happens in that isolation? – Lisa Parra @parralis

The “silence” gave space to the sounds of animals, objects and machines. Close to the end I felt that had actually entered the space that us three were sharing together with others. (…) By closing our eyes we’re stripped to just ‘being’, following the rules of not speaking and not looking we are left in a place of communitary lonesomeness that continues to define our everyday world of infinite information and surveillance. – Daniel Pinheiro @daniel-pinheiro

Distant Feeling(s) #3 is part of the encounters between Annie Abrahams, Lisa Parra and Daniel Pinheiro. The 15minutes experiment took place online and was exhibited as part of Visions in the Nunnery. Participants were invited to join either at The Nunnery gallery (London) or remotely using the conference meeting software zoom.us.

As the world grows into a larger networked system, allowing ourselves to share a moment of intimacy with strangers is becoming less probable as we find ourselves immersed in a culture where the sense of time is shifting towards an invisible fastness. It was about acknowledging that system, that fabric, the technological nervous system that became present through the silence of those participating. 

Being in space means to establish diverse relationships with the things that surround our bodies. - Deleuze

As distributed digital entities we become part of an intertwined body that is whole by combining different parts of our extended selves. Telematic culture means, in short, that we do not think, see, or feel in isolation (Roy Ascott) and therefore this electronic communion is built out of the relationships that are established when we are ‘together’ and this ‘togetherness’ comes out of a suspension of disbelief*, that in this digital sphere can be the capacity extending proprioception itself – the way that we recognize and position ourselves within this context.

Keep reading


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telematique...

The essence of the interface is its potential flexibility; it can accept and deliver images both fixed and in movement, sounds constructed, synthesised, or sampled, texts written and spoken. It can be heat sensitive, body responsive, environmentally aware. It can respond to the tapping of feet, the dancer’s arabesque, the direction of a viewer’s gaze. It not only articulates a physical environment with movement, sound, or light; it is an environment, an arena of dataspace in which a distributed art of the human/computer symbiosis can be acted out, the issue of its cybernetic content.

Roy Ascott (1989)


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A Case for Networked Teaching • Reportage from the Aesthetic Edge

A Case for Networked Teaching • Reportage from the Aesthetic Edge
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reassurance:Johnny Guitar. Nicholas Ray. 1954. USA.



reassurance:

Johnny Guitar. Nicholas Ray. 1954. USA.


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terça-feira, maio 16, 2017

Photo




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quinta-feira, abril 20, 2017

Seances

Seances:

Seances presents a new way of experiencing film narrative, framed through the lens of loss. In a technical feat of data-driven cinematic storytelling, films are dynamically assembled in never-to-be-repeated configurations. Each exists only in the moment, with no pausing, scrubbing or sharing permitted, offering the audience one chance to see this film before it disappears.


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quinta-feira, março 30, 2017

Video




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quarta-feira, março 22, 2017

quietdesertfailure:March 22, 2017, 8:00 am@ 27.925002, 17.633764



quietdesertfailure:

March 22, 2017, 8:00 am
@ 27.925002, 17.633764


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the-camera-in-the-mirror:Cadiz Museum, Spain



the-camera-in-the-mirror:

Cadiz Museum, Spain


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terça-feira, março 07, 2017

Video




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segunda-feira, março 06, 2017

rethinking the world (through telematics)

“Now, more than ever, we need to get together to explore ways in which the live media can be used to foster action, creativity, and inclusivity!” - REFEST 2.0  / Presented by ITP, CultureHub, and WITNESS at ITP/NYU - 721 Broadway 4th Floor


The State of Telematic Art in 2017 - A Panel Discussion (Billy Clark, Michael Dessen, Daniel Pinheiro, Jesse Ricke, Robert Rowe, Kate Sicchio, & Sarah Weaver)


Some thoughts on The State of Telematic Art:

From the early experiments on satellite connections to allow the bringing together of distant remote locations into one same (shared) space until nowadays seamless use of online tools that almost invisibly bring together users from any location into the same room, Telematic Art has been exploring the way technology – and more specifically networked environments – shapes human interaction.

The possibility of dissipating time and distance in projects from artists like Kit Galloway, Paul Sermon or in the thoughts of Roy Ascott has been a major concern towards the development of ‘structures’ that often reflect upon the human impossibility of ubiquity.

In projects like LAND PROJECT or, within that one, the more recent, in collaboration with Annie Abrahams, Distant Feeling(s) the main goal is to deconstruct the sense of co-presence in the same time and space and traduce it / materialize it into actions that are (possible) models of re-thinking our agency in a networked society and within the digital sphere.

Either by experimenting ‘moving’ together with someone that is not in the same space as you, but that becomes present through mediation or trying to perceive the presence of ‘others’ in the network by creating a moment of silence and stillness where we’re left alone in front of our computers but as a group, the art object becomes complete in the intersection space; often the output (the format in which the result is shown) – the same surface used for the process of mediation to happen.

Although networked practices find at its core, with the developments made over the last decade on having the tools more accessible to the practitioners, the possibility of building connections between artistic communities and bringing them together in a more sustainable way providing a medium that beyond allowing connection facilitate collaboration, these practices deal with characteristics of the environment in which they happen and elaborate on ways to approach them and shape the methologies of artistic production. The perception of synchronicity in projects like the one’s of Sarah Weaver is one of the many aspects included in the way our body and brain perceive this context which is a specific space for which a specific type of art is being developed.  

Thinking about the space where Telematic Art happens is to re-think a space/place and developing tools that widen the potential of the practices related to it. Either it is by connecting human-to-human through the machines, input external live data that disrupts the ‘normal’ (organic) way of moving and/or behaving or, as an example, investigate latency as part of music composing where sounds travel across distant locations and how all of this is (also) a consequence of living in the digital age, transforms telematics into a process of thinking the world we live, acknowledging that we are not constricted to our own contexts but that we can (more easily) reach out and build discourses significant discourses about possible futures – an extension of what we are now.

To be thinking and practicing Telematic Art was and it is about reformulating the present by overcoming (and troubleshooting) impossibilities allowing our perception about the world to change.

Youngblood reiterates the ethical responsibility of artists to utilize telecommunications in a socially constructive manner, but is skeptical of how early telematic artworks merely repeated what had become common commercial practices. “A communications revolution is not about technology; it’s about possible relations among people,” he observes, arguing that this revolution has the potential to invert extant social relations, transforming the centralized, hierarchical structure of geographically discrete nations into one of decentralized, but politically significant, communities defined by “consciousness, ideology and desire.” (…)  the artistic use of telecommunications is “special” (i.e., art as opposed to nonart) only if the media are employed in a way that is not “done every day in business and industry,” and therefore “given, obvious, routine, … [and] politicized.” - ‘Roy Ascott, Telematic Embrace - Visionary Theories of Art, Technology, and Consciousness’


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sexta-feira, março 03, 2017

quinta-feira, fevereiro 09, 2017

Audio




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sexta-feira, janeiro 20, 2017

Yolocaust is a project by Israeli satirist and author Shahak...



Yolocaust is a project by Israeli satirist and author Shahak Shapira that explores our commemorative culture by combining selfies from the Holocaust Memorial in Berlin with footage from Nazi extermination camps. The selfies were found on Facebook, Instagram, Tinder and Grindr. Comments, hashtags and “Likes” that were posted with the selfies are also included.

About 10,000 people visit the Memorial to the Murdered Jews of Europe every day. Many of them take goofy pictures, jump, skate or bike on the 2,711 concrete slabs of the 19,000 m² large structure.

The exact meaning and role of the Holocaust Memorial are controversial. To many, the grey stelae symbolize gravestones for the 6 Million Jews that were murdered and buried in mass graves, or the grey ash to which they were burned to in the death camps.

http://yolocaust.de/


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quinta-feira, janeiro 19, 2017

sábado, janeiro 14, 2017

quinta-feira, janeiro 12, 2017

Bruce Nauman Cruising To Drake On The Block © Legacy Russell,...



Bruce Nauman Cruising To Drake On The Block

© Legacy Russell, 2010

Music: Shut It Down, Drake

Bruce Nauman Cruising to Drake on the Block (2010) is a very public and private joke all at once. Yes, it is playful and supposed to make you laugh. Yet, its titling and questioning of what role “context” and “language” play in reading physical movement, it is also about space, about sexuality, about the parading of ones gender, toeing the line between public and private. Nauman made Walking in an Exaggerated Manner around the Perimeter of a Square (1967-68) and it rocked because it was contrapposto in motion, it was providing a new vehicle for sculpture’s S Curve. It was deeply art historical. Yet, it was also about dance, and exercise, and, contextualized in its era, it sprung out of a period of time where radical performance was gaining momentum. That piece, redone as public sculpture, or within public space, could very well be just a guy shaking his booty to Drake as he goes for his morning walk. What if that conversation could take place? What would it sound like—look like?

—L.R.


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terça-feira, janeiro 03, 2017

THE "EMPIRE" STRIKES BACK: A POSTTRANSSEXUAL MANIFESTO - Sandy Stone

THE "EMPIRE" STRIKES BACK: A POSTTRANSSEXUAL MANIFESTO - Sandy Stone:

The female is immanent, the female is bone-deep, the female is instinct.


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