Selected Courses on Digital Art-UOWM

9 Μαΐου 2018

L

Filed under: Notes,NOTES ON MEDIUM — Ετικέτες: — admin @ 05:09

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σημείωση

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(ΕΜΒΑΘΥΝΣΗ>>>)

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

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INTERACTIVE VOICE-VISUAL INSTALLATION-

INTERACTIVE VOICE-VISUAL INSTALLATION-DDA PRATT

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

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18 Απριλίου 2018

case studies

Filed under: NOTES ON INTERACTIVE ART,NOTES ON SOUND ART,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — Ετικέτες: — admin @ 09:21

 

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

INTERACTIVE VOICE-VISUAL INSTALLATION-DDA PRATT

 

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

 
 
 
 
 

 

 

https://vimeo.com/257925802

https://vimeo.com/264267239

6 Ιουλίου 2017

gallery

Filed under: NOTES ON MEDIUM,NOTES ON PHOTOGRAPHY — admin @ 18:13

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13 Φεβρουαρίου 2017

corfu summer school

Filed under: Notes,NOTES FOR DIGITAL ARTS WIN 2016,Uncategorized — admin @ 13:42

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7 Φεβρουαρίου 2017

ANN HAMILTON

Filed under: NOTES FOR DIGITAL ARTS WIN 2016,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 20:36
Ann Hamilton

01 02 03 04 05
Ann Hamilton, in collaboration with The Fabric Workshop and Museum, Philadelphia. Untitled (detail), 1993. Horse hair, linen, and antique buttons. 20 inches (50.8 cm) (diameter). Edition of 12. Collection of The Fabric Workshop and Museum; Philadelphia Museum of Art; Whitney Museum of American Art, New York; and Museum of Fine Arts, Boston. Photo credit: Robert Wedemeyer.Ann Hamilton. tropos (installation view), 1993. Translucent industrial glass windows, gravel topped with concrete, horsehair, table, chair, electric burner, books, and audio installation. Installation at Dia Center for the Arts, New York. 180 x 1,128 x 1,080 inches (457.2 x 2865.12 x 2743.2 cm). Courtesy of Dia Center for the Arts and Sean Kelly. Photo credit: Thibault Jensen.Ann Hamilton. tropos (detail), 1993. Translucent industrial glass windows, gravel topped with concrete, horsehair, table, chair, electric burner, books, and audio installation. Installation at Dia Center for the Arts, New York. 180 x 1,128 x 1,080 inches (457.2 x 2865.12 x 2743.2 cm). Courtesy of Dia Center for the Arts and Sean Kelly. Photo credit: Thibault Jensen.Ann Hamilton, (habitus •  doll ) Doll, 1800–1820. Papier-mâché; Wood; Linen; Cotton; Paint; Silk. Courtesy of Winterthur Museum, Garden & Library, Gift of Katherine Gahagan, Michael H. du Pont, and Christopher T. du Pont in memory of A. Felix du Pont, Jr., 1999.19.1.Ann Hamilton, the event of a thread (installation view), 2013. White silk, 42 wood swings, chain, bells, accordion bellows, pulleys, flock of pigeons, wooden cages, reading table, writing table, rotating circular mirror, two daily concordance scrolls on newsprint, radios, paper bags sealed with twine and wax, record lathe, vinyl records, 31 record players, 3 sheep’s wool cloaks, denim readers’ and writers’ coats, cotton singers’ coats, pencils, sharpener, water glasses, wood benches, newspapers, readers, writers, and singers. Score by David Lang. Commissioned by the Park Avenue Armory for the 55,000-square-foot Wade Thompson Drill Hall, New York. Photo credit: Thibault Jeanson.
caption >

 

 

 

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.
Bio

 

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

Filed under: NOTES FOR METAPOLEMIKA,Uncategorized,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 08:35

FROM

https://2017.transmediale.de

Among the festival highlights are

 

1.

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.

http://lexachast.com

 

https://www.youtube.com/watch?v=FDmFtCuHvNE

 

2.

Morehshin Allahyari und Daniel Rourke,

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

https://www.youtube.com/watch?v=zbhR_vEUiK4

Published on Dec 7, 2015

studioforcreativeinquiry.org/events/lecture-workshop-what-is-additivism-critical-perspectives-on-3d-printing-with-morehshin-allahyari-daniel-rourke

twitter.com/morehshin

twitter.com/therourke

via-2015.com/

 

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.

 

3.

Rasheedah Phillips und Moor Mother von Black Quantum Futurism,

 

4.

Andreas Broeckmann,

http://www.mikro.in-berlin.de/abroeck/phd/

5. Finn Brunton,

Spam

A Shadow History of the Internet

By Finn Brunton

Overview

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.

Obfuscation

A User’s Guide for Privacy and Protest

By Finn Brunton and Helen Nissenbaum

Overview

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,

http://link.brightcove.com/services/player/bcpid4363745438001?bckey=AQ~~,AAADbGWsArk~,5UmEqOPE2FJrPbMV8iB4XSPDtj6hz95g&bctid=4067511617001

 

SPS Seminar Series – Mediated Public Spheres, Professor Natalie Fenton

https://www.youtube.com/watch?v=6erWNJOZslk

 

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.

 

 

 

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.

31 Δεκεμβρίου 2016

Filed under: NOTES FOR DAIII,NOTES ON ANIMATION,Uncategorized — admin @ 09:02

http://www.openculture.com/2016/12/25-animations-of-great-literary-works.html

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 cultureo As We May Think by army scientist Vannevar Bush imagined the 
    first computero Men, 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 
    o 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 
    o ICC (Tokyo, Japan)o ZKM (Karlsruhe, Germany)o Ars Electronica (Linz, Austria)o Transmediale (Berlin, Germany) o SIGGRAPH (Los Angeles, USA) 

21 Νοεμβρίου 2016

Filed under: NOTES ΟΝ PAINTING,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 10:25

[youtube https://www.youtube.com/watch?v=MpUBxbxQj1k]

Filed under: NOTES ON SOUND ART,Uncategorized — admin @ 10:07

[youtube https://www.youtube.com/watch?v=peOIQop5ZQw]

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