Selected Courses on Digital Art-UOWM

22 Ιουνίου 2020


Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 23:26

 1. David Rokeby, N’Cha(n)t, 2001
 2. Grahame Weinbren, Frames, 1999
 3. Char Davies, Ephomere, 1998
 4. Bill Viola. Going Forth By Day, 2002
 5. Ben Rubin and Mark Hansen, Listening Post, 2003
 6. Jenny Holzer. ARNO, 1996
 7. Irit Batsry, These Are Not My Images, Neither There Nor Here, 2000
 8. Anwar Kanwar, A Season Outside, 1997
 9. Lyn Hershman, Conceiving Ada, 1996
10. Laurie Anderson performing Stories from the Nerve Bible. 1995
11. Victoria Vesna with Jim Gimzewski, Zeroawavefunction, Nano Dreams and nightinares, 2002
12. Luc Courchesne. Landscape One. 1997


Mark Kostabi, Electric Family. 1998, Frontispiece
I.1. Georges Melies. Le Voyage dans Lune
I.2. National Aeronautics and Space Administration (NASA), Astronaut David Scott Plants American Flag on the Moon, July 26, 1971
I.3. Fritz Lang, Metropolis, 1926
I.4. Andy Warhol. Thirty Are Better than One, 1963
I.5. Paul Hosefros, Gauguin and His Flatterers, June 25. 1988

1.1. Abraham Bosse (1602-76), Perspective Drawing

1.2. Albrecht Darer, Untitl., 1538
1.3. Early camera obscure. from A. Kircher, Ars Magna Lucis et Umbrae. 1645
1.4. Camera obscure, circa seventeenth century
1.5. Camera lucida, circa eighteenth century
1.6. Jan Vermeer. Young Girl With A Flute, 1665
1.7. Theodore Maurisset, La Daguerreotypomanie, 1839
1.8. Eadweard Muybridge, Woman Kicking, 1887
1.9. Raoul Hausmann, Tatlin at Home. 1920
1.10. John Heartfield, Hurrah, die Butter ist All, (Hurrah, the Butter Is Gone!), 1935
1.11. Lumiere Brothers, frames from Un Train Arrive en Gare. 1896

2.1. Etienne-Jules Marey. Chronophotographe Geometrique, 1884
2.2. Giacomo Balla, Swifts: Paths of Movement + Dynamic Sequences, 1913
2.3. Marcel Ducharnp, Nude Descending a S.ircase, No. 21912
2.4. Vladimir Tatfin, Monument for the Third International. 1920
2.5. 211810 Moholy-Nagy, Light Space Modulator. 1923-30
2.6. Dziga Vertov, Man with a Movie Camera, 1929
2.7. Marcel Duchamp, The Large Glass or The Bride Stripp. Bare by Her Bachelors, Even, 1915-23 (replica: 1961)
2.8. Charlie Chaplin, Modern Times, 1936
2.9. James Rosenquist Working in Times Square, 1958
2.10. James Rosenquist. Love You with My Ford, 1961
2.11. Andy Warhol, Green Coca-Cola Bottles. 1962
2.12. Andy Warhol, Electric Chair, 1965
2.13. Roy Lichtenstein, Hopeless, 1963
2.14. Eduardo Paolozzi, Artificial Sun. 1965
2.15. Richard Hamilton, Kent State, 1970

3.1. Robert Rauschenberg, Signs, 1970
3.2. Keith Haring, Untitled, 1983
3.3. John Baldessari, I Will Not Make Any More Boring Art, 1971
3.4. Mark Tansey, Secret of the Sphinx, 1984
3.5. Jean Dupuy. Jean Tinguely, and Alexander Calder with Heart Bea. Dust, .69
3.6. Jean Dupuy. artist, and Ralph Martel, engineer, Heart Beats Dust 1968
3.7. Pepsi-Cola Pavilion. Osaka, 1970
3.8. Remy Charlip, Homage to Loie Fuller, March 8, 1970
3.9. Merce Cunningham, John Cage and Stan Van 081 8880. Variations V, 1965
3.10. Barbara Kruger, Untit/ed, 1982
3.11. Carolee Schneemann, Cycladic imprints, 1993
3.12. Adrian Piper, What it’s Like, What lt Is, #3, 1.4
3.13. Damien Hirst, Hymn, 2001
3.14. Stelarc, Amplifi. Body, Automat. Arm and Third Hand, 1992
3.15. Larry List, An Excerpt from the History of the World, 1990
3.16. John Craig Freeman, Rocky Fla. Billboards, 1994
3.17. Mierle Laderman Ukeles, Touch Sanitation Show, 1.4
3.18. Krzysztof Wodiczko. Projection on the Hirshhorn Museum. 1988
3.19. Christo and Jeanne Claude, Wrapped Reichstag. Berlin, 1995
3.20. Robert Wilson, Einstein on the Beach (final scene by the lightboard), 1986

4.1. Nam June Paik, Magnet TV, 1965
4.2. Nam June Paik, TV Buddha, 1974
4.3. Ulrike Rosenbach, Meine Macht Ist meine Ohnmacht (To Have No Power Is to Have Power),
4.4. Bruce Nauman, Live Tap. Video Corridor, 1969-70
4.5. Dan Graham, Opposing Mirrors and Video Monitors on Time Delay, 1974
4.6. Beryl Korot, Dachau, four-channel video installation, 1974
4.7. Vito Acconci, performance at Reese Paley Gallery. 1971
4.8. Vito Acconci. Dennis Oppenheim, and Terry Fox, performance, 1971
4.9. Frank Gillette and Ira Schneider, Wipe Cycle, 1969
4.10. Juan Downey, Information Withheld, 1983
4.11. Doug Hall, The Terrible Uncertainty of the Thing Described, 1987
4.12. Martha Rosler. Vital Statistics of a Citizen, Simply Obtained, 1977
4.13. Dara Birnbaum, Technology/Transformation: Wonder Woman, 1978/9
4.14. Joan Jonas. Double Lunar Dogs, 1984
4.15. Chris Burden, L.nardo, Michelangelo, F?embrandt, Chris Burden, 1976
4.16. Daniel Reeves, Smothering Dreams. 1981
4.17. Ant Farm, Media Burn, 1974/5
4.18. Paper Tiger TV, Herb Schiller Smashes the Myths of the Information Industry, 1985
4.19. Paper Tiger TV, Taping the People With AIDS Coalition Talk Back Show, 1988
4.20. The Wooster Group, To You The Birdie. 2002
4.21. Judith Barry. Maelstrom (Part One), 1988
4.22. Jean-Luc Godard, and Anne,Marie Motility, Six Fois Deux (Sur et Sous la Communication), 1976
4.23. Frame from Six Fois Deux, 1976
4.24. Frame from Godard, France/tour/detour/deux/enfants, 1978
4.25. Laurie Anderson, 0 Superman, 1981
4.26. Robert Ashley, Cami//a, 1970
4.27. Miroslaw Rogala. Nature Leaving Us. 1989
4.28. Dara Birnbaum, Damnation of Faust: Evocation, 1984
4.29. Nam June Paik, TV Garden, 1974-78
4.30. Bill Viola, Room for St John of the Cross, 1983
4.31. Stein, Borealis. 1993
4.32. Dieter Froese, Not a Model for Big Brother. Spy Cycle (Unprazise Angaben), 1984
4.33. Julia Scher, detail frorn /’// Be Gentle, 1991
4.34. Mary Lucier, Oblique House, 1993
4.35. Tony Oursler, Horror (from Judy), 1994
4.36. Bill Viola, Slowly Turning Narrative, 1992
4.37. Joan Jonas, Lines in the Sand, 2002
4.38. Eija Liisa Ahtila, The House, 2002
4.39. Doug Aitken, New Skin, 2002
4.40. Gary Hill. Still Life, 1999
4.41. Shirin Neshat. Untitled (Rapture series – Women Scatter.), 1999
4.42. Chantal Akerman, Froth the Other Side, 2002

4.43. Josely Carvalho, Book of Roofs. 2001 


5.1. Keith Haring, Untit/ed, 1984 
5.2. Joseph Nechvatal, The Informed Man, 1986 
5.3. Nancy Burson with David Kramlich and Richard Carling. Androgyny (SI, Men and Six Women), 1982 
5.4. Woody Vasulka, Number 6, ca. 1982 
5.5. Janet Zweig. Mind Over Matter, 1993 
5.6. Peter Weibel, The Wall, The Curtain (Boundary, which), also Lascaux, 1994 
5.7. Craig Hickman, Signal to Noise. #1, 1988 
5.8. Ken Feingold, If/Then, 2001 
5.9. www.thesims.corn, 2000 ongoing 
5.10. Tennessee Rice Dixon, Count, 1998 
5.11. Christa S088418! 40d Laurent Mignonneau, Interactive Plant Growing, 1994 
5.12. Christa S088414! 48d Laurent Mignonneau, Interactive Plant Growing, 1994 
5.13. James Seawright, Houseplants. 1983 
5.14. Manfred Mohr, P-159/A, 1973 
5.15. Jill Scott. Beyond Hierarch., 2000 
5.16. Paul Kaiser and Shelly Eshkar, Pedestrian. 2002 
5.17. Harold Cohen, Brooklyn Museum Installation, 1983 
5.18. Gretchen Bender, Total Recall, 1987 
5.19. Gretchen Bender, diagram of monitor arrangements for Total Recall 
5.20. Jenny Holz, Protect Me from What I Want. 1986 
5.21. Jenny Holzer, Laments, 1989 
5.22. Jenny Holzer, Survival Series, Installation at the Guggenheim Museum, New York, 1990 
5.23. Jenny Holzer, installation view, US Pavilion 44, Venice, 1990 
5.24. David Small. Illuminated Manuscript, 2002 
5.25. 80 S44047, Passage Sets/One Pulls Pivots at the Tip of the Tongue, 1994 
5.26. Lynn Hershman, A Room of One, Own, 1993 
5.27. Lynn Hershman, detail, A Room of One, Own. 1993 
5.28. Lynn Hershman, detail, A Room of One, Own. 1993 
5.29. Graham Weinbren, Sonata, 1993 
5.30. Graham Weinbren. detail, Sonata, 1993 
5.31. George Legrady, Pockets Full of Memories, 2001 
5.32. Naoko Tosa, detail, Talking to Neuro Baby, 1994 
5.33. Naoko Tosa, Talking to Neuro Baby. 1994 
5.34. Naoko Tosa, Tathing to Neuro Baby, 1994 
5.35. Zoe Belloff, The Influencing Machine of Miss Natalija A. 2002 
5.36. Pattie Maes, Alive: An Artificial Life, 1994 
5.37. Miroslaw Rogala. Lovers Leap, 1995 
5.38. Miroslaw Rogala, Lovers Leap, 1995 
5.39. Liz Phillips, Echo Evolution, 1999 
5.40. Stephen Vitiello, Frogs in Feedback, 2000. 
5.41. Tim Hawkinson, Uberorgan, 2000 
5.42. Mary Ann Amacher, Music for Sound-Joined Room. 1998 
5.43. Greg Lock, Commute (on Loca(0n), 2002 5.44. Virtual realItY gloves. circa 1994 
5.45. Virt.I reality headset. circa 1904  
5.46. Jeffrey Shaw. Configurting the Cave. 1090 
5.47. Perry Ho.rman. Bar Code Nord. 1994 
5.48. Perry Horman, Bar Code Note1,1090  
5.49. Toni Dove The Comm. Dream from Archaeology of a Mother Tongue, 1693
5.50. Perry Hoberman, Tenets., 1999 
5.51 John 1n Cage, Comperes and 11, 1988 
5.52. Robed Wilson. Philip Glass, Monsters or Theca 1998 
5.53. Robert Wilson, Philip Glass, Monstem of Orem 1598 
5.54. Robert Wilson. Philip Goan, Monsters or Grace, 1998 


6.1. Rafael Lozano…eh Vectorial Elevation, 1999/2002 
6.2. Eidekenljghts, 2002 
6.3. Scott Paterson and marina 7urkow, 80 Per …ern.. object with PD, 2002
6.4. W. Bradford Paley, rert Arn 2002/3 
6.5. Roy Ascott. View Nave Laboratory Minna. 1.36 
6.6. Roy Ascot. Organ Conc.,’ d’AINe au Pays Ns Mementos. 1995 
6.7. Sherrie Rabinowitz and Kg Galloway, Satellite Arts Project A Space With No Ceognsphical Boundaries. 1977 
6.8. Sherrie Rabin… and Kit Galloway. Electronic Care NNwork 1984 Mo.k. 1984-2003 
6.9. Eduardo Kac and Woo Nakamura, Essay Concerning Human Understanding, 1994 
6.10. Eduardo Kac and Woo Nakamura. Essay ConnerNng Human Undeistantling 1994 
6.11. Pool Sermon, Thematic Theannng, 1992 
6.12. Paul Sermon, Telematic YThon, 1992 
6.13. Lode Novak, Coked. Visions, webs., 1996 
6.14. Yael Kanarek. of ewe, 1.5 ongoing 
6.15. Nomads a. Gediminas Urbonas, Transaction, 2000 ongoing 
6.16. Wayne 02616y, The Degradation and Removal of The/a BlaTh Mala, 2001 
6.17. Emily Hartrell and Nina Sobell. c Sat Hem 1995 
6.18. David Blair. Was, or Me Discovery of TerevNion 0171052 The Bees, 1988 
6.19. Mummies, The The Room. 1985 
6.20. Giselle Reiguelman, Egosoopio, 2002 
6.21. Perry Bard. Walk This Way. 2001
6.22. Mark Napier. Riot 1999 
6.23. Josh On, They Rule, 2001  
6.24. Alex GalNway and RSG. Carnivore 2001-3
6.25. John Klima, Ecosystem.2001 
6.26 Nancy Paterson, Sitoce Mani. Shirt 1998 
6.27. Mary Flanagan, collection. 2001 
6.28. Robed Nide., ProTh 2002  
6.29. tsunamihnet. Charles Lim, Vi Yong, end Tien Woon, Alpha 3.3, 2002 
6.30. Marek Walczak, Helen Thorington. and Jesse Gilbert. Adrift 2001 
6.31. Androja Koluncic, Distribirted Justine Web work, 2002 
6.32. Critical Art Ensemble, Wercome to a World Without 8018388 1984 

Digital Currents: Art in the Electronic Age

18 Απριλίου 2018

case studies





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“Tin Rhythm” by Celena Tang DDA Interactive Arts BFA from DDA Pratt on Vimeo.



Hyesoo Chang “Uncertainty Principle of the Invisible” MFA Thesis 2017 from DDA Pratt on Vimeo.


7 Φεβρουαρίου 2017


Ann Hamilton




Ann Hamilton

The installation tropos, like all of Ann Hamilton’s works, is a sensory experience. Created as a site-specific installation in 1993 for Dia Center for the Arts in New York City, tropos refers to the idea of tropism, meaning a natural tendency, or a living being’s proclivity to respond to stimuli in a specific way, such as a plant that grows towards light.
The installation is made primarily from horse hair—a vast landscape of varying shades of hair from the tails of horses covers the entire floor of the 5,000-square foot space. Hamilton altered the floor beneath the hair with poured concrete, the effects of which are subtle shifts in the floor’s topography beneath the hair, which becomes clear only when a visitor walks across the room. Further on into the interior of the space, Hamilton has placed a small metal table, at which a seated attendant works diligently to burn the printed words from a book as smoke rises from the seared text. Muted, but audible, is a distant voice struggling to articulate words, which remain unintelligible for the most part. A final, subtle aspect of troposis the sealed unity of the room, an effect created by Hamilton’s use of translucent glass in the windows; light beams in, yet sight to the outside is precluded. Like many of Hamilton’s large-scale works, tropos was created by hand through the collaborative efforts of many individuals, both at FWM and Dia Center for the Arts. The community that evolves from labor-intensive production is an important component of Hamilton’s methodology and artistic practice.
Hamilton created a second project with FWM in 1994, after the completion of tropos. A limited edition multiple encased in a glass and wood vitrine, her Untitled project is a collar fabricated from linen and horse hair. Strands of horse hair were used to embroider a 16th century-style alphabet on the inside of the collar. The unfinished ends of the embroidered hair pass through to the exterior of the collar, forming a swirling, circular mass of hair. The object recalls historic relics—an Elizabethan ruff, for example—yet remains connected to sensory experience through its assumed placement around a person’s throat with the letters of the alphabet resting near the voice box. Untitled references a relationship between the rapid growth of literacy and a gradual devaluation of non-verbal knowledge, such as that learned and experienced in the body.
In September 2016, Hamilton will debut habitus, a project that will continue her longstanding exploration of textiles and culminate in three parts: an exhibition at FWM, an installation at an offsite location, and an innovative publication. Acknowledging both individual and communal relationships to fabric, Hamilton will draw upon the history of textiles in Philadelphia as well as personal narratives in crafting this multifaceted work. Ultimately, this project will place fabric, a material typically understood through touch, within a larger social and literary context, illuminating the generative possibilities as well as the tensions that arise from the interplay between text and physicality, between written and embodied experiences.


American, born 1956, lives in Columbus, Ohio

Ann Hamilton studied textile arts at the University of Kansas, where she completed her BFA in 1979. She went on to earn an MFA from Yale University in sculpture in 1985. Her varied background in the visual arts informs her artistic practice, which takes the form of installations, videos, objects, and performance. Hamilton’s work has been the subject of numerous solo exhibitions, including the Irish Museum of Modern Art (2002), Musèe d’Art Contemporain in Lyon, France (1997), and the Museum of Modern Art, New York (1994). In 1999, Hamilton was selected to represent the United States at the Venice Biennale. Her honors include the National Medal of Arts (2014), a John D. and Catherine T. MacArthur Fellowship (1993), The Louis Comfort Tiffany Foundation Award (1990), and a Guggenheim Memorial Fellowship (1989).

23 Ιανουαρίου 2017


Among the festival highlights are



Amnesia Scanner & Bill Kouligas,

Bill Kouligas and Amnesia Scanner’s “Lexachast” project had its debut as a website with generative visuals from Harm van den Dorpel, who programmed the site to live stream pictures uploaded in real time onto Flickr and DeviantArt, algorithmically filtered to show the most NSFW content. This project will now be expanded in a live premiere for Unsound, combining uneasy imagery with mangled dystopian music from PAN label boss and one of the most futuristic duos around.

PAN founder Bill Kouligas has teamed with producer Amnesia Scanner and visual artist Harm van den Dorpel for a mysterious new project called LEXACHAST.

The project’s website plays a 15-minute composition built from skittering rhythms, jagged beats and strange visuals. Head to the website to take it all in (it works best in Firefox) and read the cryptic message they’ve shared with it below.



Morehshin Allahyari und Daniel Rourke,

WHAT IS #ADDITIVISM? Critical Perspectives on 3D Printing :: Morehshin Allahyari & Daniel Rourke

Published on Dec 7, 2015


The 3D Additivist Manifesto calls creators and thinkers to action around a technology filled with hope and promise: the 3D printer. By considering this technology as a potential force for good, bad, and otherwise, visiting artists Morehshin Allahyari and Daniel Rourke aim to disrupt binary thinking entirely, drawing together makers and thinkers invested in the idea of real, radical, change.


In March 2015 Allahyari and Rourke invited submissions to an open-source ‘Cookbook’ of radical ideas that cut across the arts, engineering, and sciences. Inspired, in part, by William Powell’s The Anarchist Cookbook (1969), The 3D Additivist Cookbook will contain speculative texts, templates, recipes and (im)practical designs for living in this most contradictory of times.


A talk and Q&A session by Morehshin Allahyari and Daniel Rourke about The 3D Additivist Manifesto + The 3D Additivist Cookbook in addition to the screening of The 3D Additivist Manifesto video. Artists will talk about their own research and practice in relationship to Additivism and 3D printing.



Rasheedah Phillips und Moor Mother von Black Quantum Futurism,



Andreas Broeckmann,

5. Finn Brunton,


A Shadow History of the Internet

By Finn Brunton


The vast majority of all email sent every day is spam, a variety of idiosyncratically spelled requests to provide account information, invitations to spend money on dubious products, and pleas to send cash overseas. Most of it is caught by filters before ever reaching an in-box. Where does it come from? As Finn Brunton explains in Spam, it is produced and shaped by many different populations around the world: programmers, con artists, bots and their botmasters, pharmaceutical merchants, marketers, identity thieves, crooked bankers and their victims, cops, lawyers, network security professionals, vigilantes, and hackers. Every time we go online, we participate in the system of spam, with choices, refusals, and purchases the consequences of which we may not understand.


This is a book about what spam is, how it works, and what it means. Brunton provides a cultural history that stretches from pranks on early computer networks to the construction of a global criminal infrastructure. The history of spam, Brunton shows us, is a shadow history of the Internet itself, with spam emerging as the mirror image of the online communities it targets. Brunton traces spam through three epochs: the 1970s to 1995, and the early, noncommercial computer networks that became the Internet; 1995 to 2003, with the dot-com boom, the rise of spam’s entrepreneurs, and the first efforts at regulating spam; and 2003 to the present, with the war of algorithms—spam versus anti-spam. Spamshows us how technologies, from email to search engines, are transformed by unintended consequences and adaptations, and how online communities develop and invent governance for themselves.


A User’s Guide for Privacy and Protest

By Finn Brunton and Helen Nissenbaum


With Obfuscation, Finn Brunton and Helen Nissenbaum mean to start a revolution. They are calling us not to the barricades but to our computers, offering us ways to fight today’s pervasive digital surveillance—the collection of our data by governments, corporations, advertisers, and hackers. To the toolkit of privacy protecting techniques and projects, they propose adding obfuscation: the deliberate use of ambiguous, confusing, or misleading information to interfere with surveillance and data collection projects. Brunton and Nissenbaum provide tools and a rationale for evasion, noncompliance, refusal, even sabotage—especially for average users, those of us not in a position to opt out or exert control over data about ourselves. Obfuscation will teach users to push back, software developers to keep their user data safe, and policy makers to gather data without misusing it.


Brunton and Nissenbaum present a guide to the forms and formats that obfuscation has taken and explain how to craft its implementation to suit the goal and the adversary. They describe a series of historical and contemporary examples, including radar chaff deployed by World War II pilots, Twitter bots that hobbled the social media strategy of popular protest movements, and software that can camouflage users’ search queries and stymie online advertising. They go on to consider obfuscation in more general terms, discussing why obfuscation is necessary, whether it is justified, how it works, and how it can be integrated with other privacy practices and technologies.


Wendy Hui Kyong Chun,


Natalie Fenton,,AAADbGWsArk~,5UmEqOPE2FJrPbMV8iB4XSPDtj6hz95g&bctid=4067511617001


SPS Seminar Series – Mediated Public Spheres, Professor Natalie Fenton


Gabriele Gramelsberger,

Richard Grusin,

Erich Hörl,

Steve Kurtz,

Robert Latham,

Olia Lialina & Kevin Bewersdorf,

Esther Leslie,

Joep van Liefland,

Armin Medosch (Technopolitics),

Rosa Menkman, Metahaven,

Katja Novitskova,

Lisa Parks,

Johannes Paul Raether,

Evan Roth,

Susan Schuppli,

Felix Stalder,


Suzanne Treister,

Addie Wagenknecht,

Jutta Weber, and YoHa.




Among the festival highlights are Amnesia Scanner & Bill Kouligas, Morehshin Allahyari und Daniel Rourke, Rasheedah Phillips und Moor Mother von Black Quantum Futurism, Andreas Broeckmann, Finn Brunton, Wendy Hui Kyong Chun, Natalie Fenton, Gabriele Gramelsberger, Richard Grusin, Erich Hörl, Steve Kurtz, Robert Latham, Olia Lialina & Kevin Bewersdorf, Esther Leslie, Joep van Liefland, Armin Medosch (Technopolitics), Rosa Menkman, Metahaven, Katja Novitskova, Lisa Parks, Johannes Paul Raether, Evan Roth, Susan Schuppli, Felix Stalder, Telekommunisten, Suzanne Treister, Addie Wagenknecht, Jutta Weber, and YoHa.

7 Δεκεμβρίου 2016

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 15:37
Byzantine and Christian Museum of Athens
photo © vbouzas


Image: “One Hundred Fish Fountain,” 2005, ninety-seven bronze fish of seven different forms, suspended with stainless steel wire from a metal grid © Bruce Nauman

         Computer Art > Multimedia Art > New Media

  • art that uses digital technologies as a tool 
  • art that uses digital technologies as its own medium 
    Technical History of Digital Art 
  • limited to military, academic, and consumer cultureAs We May Think by army scientist Vannevar Bush imagined the 
    first computerMen, Machines and the World Apart by Norbert Wiener 
  • 1946 – ENICA the University of Pennsylvania created the first digital computer 
  • 1961 – Theodor Nelson coined the terms Hypertext and and Hypermedia to describe texts in which images and sounds could be linked 
  • 1964 – RAND Corporation (Cold War think tank) conceptualized the internet as a communication network without central authority that could be safe from a nuclear attack 
  • 1968 – Douglas Engelbart from the Stanford Research Institute created came up with the idea of bitmapping, windows, and direct manipulation through a mouse 
    Bitmapping: each pixel of a computer screen is a assigned on/off (0-1). The computer screen could then be divided into a grid of pixels that create a 2D image 
  • 1970’s – Alan Kay of the Xerox Parc in Palo Alto, CA developed the GUI (graphical user interface), and the “desktop” metaphor popularized bu Apple in 1983 

    Evolution of Digital Art
  • developed in connection to Dada and Fluxus: conceptual art has challenged the traditional notions of the art work, audience, and artist 
  • 1984 – William Gibson coined the term “cyberspace” in his novel Neruomancer 
  • 1990’s – Digital art began making it’s way into museums and galleries 
  • digital arts festivals 
    ICC (Tokyo, Japan)ZKM (Karlsruhe, Germany)Ars Electronica (Linz, Austria)Transmediale (Berlin, Germany) SIGGRAPH (Los Angeles, USA) 

21 Νοεμβρίου 2016



15 Νοεμβρίου 2016



30 Οκτωβρίου 2016


Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS,ΚΕΙΜΕΝΑ — admin @ 16:25

25 Απριλίου 2016

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 18:06
Marina Abramovic Philippe Gautier Tony Oursler
Absalon Ghazel Owada
Vito Acconci Gary Glassman Keiko Owada
Boris Achour Jean-Luc Godard Erkan Ozgen
Eija-Liisa Ahtila Kiko Goifman Nam June Paik
Peggy Ahwesh Laurent Goldring Slobodan Pajic
Clovis Aidar Dominique Gonzalez-Foerster Charlemagne Palestine
Doug Aitken Douglas Gordon Gina Pane
Jananne Al-Ani Dan Graham Philippe Parreno
Rebecca Allen Laurent Grasso Oliver Payne
Allora & Calzadilla Johan Grimonprez Friederike Pezold
Halil Altindere Bettina Gruber Pita
Sandy Amerio Marie-Ange Guilleminot Arnulf Rainer
Sonia Andrade Clarisse Hahn Martial Raysse
Ant Farm Alex Hahn Delphine Reist
Eleanor Antin Mona Hatoum Nick Relph
Jean-Christophe Averty Lothar Hempel Rachel Reupke
John Baldessari Gary Hill Nadja Ringart
Renato Barbieri Thomas Hirschhorn Klaus Rinke
Joel Bartolomeo Nan Hoover Pipilotti Rist
Rene Bauermeister Pierre Huyghe Peter Roehr
Samuel Beckett Mako Idemitsu Till Roeskens
Zoe Beloff Berat Isik Ugo Rondinone
Louidgi Beltrame Sanja Ivekovic Ulrike Rosenbach
Laetitia Benat Kirsten Johannsen Martha Rosler
Sadie Benning Joan Jonas Carole Roussopoulos
Jean-Pierre Bertrand Pierre Joseph Lucas Samaras
Joseph Beuys Isaac Julien Scanner
Ursula Biemann Mike Kelley Julia Scher
Dara Birnbaum William Kentridge Markus Scherer
Michael Blum Majida Khattari Carolee Schneemann
Gabor Body Sonia Khurana Volker Schreiner
Jonathan Borofsky Jurgen Klauke Gerry Schum
Veronique Boudier Imi Knoebel Zineb Sedira
Halida Boughriet Shigeko Kubota Semiconductor
Celeste Boursier-Mougenot Thierry Kuntzel Richard Serra
Marie Bouts Emmanuel Lagarrigue Delphine Seyrig
Joan Braderman Simon Lamuniere David Shea
Tania Bruguera Peter Land Roman Signer
Angela Bulloch Sigalit Landau Keith Sonnier
Chris Burden Eric Lanz Alberto Sorbelli
Marie Jose Burki Matthieu Laurette Pierrick Sorin
Genevieve Cadieux Florence Lazar Jana Sterbak
Sophie Calle Martin Le Chevallier Beat Streuli
Peter Campus Iara Lee Fiona Tan
Ellen Cantor Hartmut Lerch Shuntaro Tanikawa
Theresa Hak Kyung Cha Les Levine Shuji Terayama
David Claerbout Christelle Lheureux The Atlas Group
Claude Closky LIU Wei Leslie Thornton
James Coleman Joan Logue Justine Triet
Mat Collishaw Cristina Lucas Minh-Ha Trinh
Jordi Colomer Manu Luksch Rosemarie Trockel
Serge Comte Urs Luthi Janaina Tschape
Patrick Corillon Calin Man Florin Tudor
Martin Creed Chris Marker Tunga
Josef Dabernig Nora Martirosyan Salla Tykka
Douglas Davis Toshio Matsumoto Andrei Ujica
Anouk De Clercq Gordon Matta-Clark Ulay
Cherif Defraoui Paul McCarthy Mika Vainio
Silvie Defraoui Adam McEwen VALIE EXPORT
Philippe Dorain Steve McQueen Cybele Varela
Stan Douglas Nathalie Melikian Woody Vasulka
Michael Druks Ana Mendieta Steina Vasulka
Jean Dupuy Anne-Marie Mieville Mona Vatamanu
Ed Emshwiller Aernout Mik Maria Vedder
Ivan Engler Tracey Moffatt Bill Viola
Koken Ergun Jean-Baptiste Mondino Klaus Vom Bruch
Ayse Erkmen Melvin Moti Wolf Vostell
Harun Farocki Nicolas Moulin Laura Waddington
Luc Ferrari Valerie Mrejen WANG Jian Wei
Esther Ferrer Antoni Muntadas Apichatpong Weerasethakul
Robert Filliou Ko Nakajima William Wegman
Peter Fischli Bruce Nauman David Weiss
Sylvie Fleury Chris Newman Ioana Wieder
Enrique Fontanilles Jun Nguyen-Hatsushiba Bob Wilson
Maider Fortune Carsten Nicolai Erwin Wurm
Michel Francois Marcel Odenbach Jud Yalkut
Andrea Fraser Arthur Omar Nil Yalter
G.R.A.M Joao Onofre YANG Fudong
Anna Gaskell Dennis Oppenheim Carey Young
Armand Gatti Jean Otth Young-Hae Chang Heavy Industries

14 Απριλίου 2016


Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 09:22 Travelogues from Diller Scofidio + Renfro on Vimeo.

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