The Anthology of Computer Art
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Sonicacts Poetics of Space.Pdf
Sonic Acts XIII The Poetics of Space Edited by Arie Altena & Sonic Acts Sonic Acts Press, Amsterdam 2010 The Poetics of Space Contents 7 22 33 149 161 169 Approaches to Right Here, Right Space and Sound The Hybrid Architectures Now, HC Gilje’s Space is Body Centred Voice Over Interview with Raviv of Iannis Xenakis Networks of Specificity Interview with Sonia Introduction Brandon LaBelle Ganchrow by Arie Altena Elizabeth Sikiaridi Mitchell Whitelaw Cillari by Annet Dekker 51 61 75 179 189 199 Soundscape Composition Techno-poetry of Extremities as Global Music: Augmented Reality and Maryanne Amacher Electroacoustic Mental and Existential Interactive Architecture Long Sounds in Conversation with Music as Soundscape Ecology Diller + Scofidio Interview with Daan Douglas Kahn Frank J. Oteri Barry Truax Juhani Pallasmaa Blur Building Roosegaarde by Arie Altena 93 99 105 207 229 237 The Poetics of Hybrid Space Changing Space is Something that Jordan Belson and Pixel Architecture is Spatial Sensibilities Arrives with the Sound the Vortex Concerts: Media Architecture and Ubiquitous Interview with Takuro Mizuta Cosmic Illusions E.A.T The Diorama Revisited Interview with Marc Maurer by Mediatization Lippit by Arie Altena Cindy Keefer Pepsi Pavilion Erkki Huhtamo Arie Altena Eric Kluitenberg 111 125 137 249 253 255 Immersive Works for Cyborg Ritual and A Spatial Language Complete Experiences Sentic Technology in of Light and Sound Interview with TeZ the Vortex Concerts Interview with Edwin van by Arie Altena Trace Reddell der Heide by Arie Altena Biographies Image Credits Colophon Introduction 6 7 Introduction Introduction This book was compiled and edited in 2009 during the development who have delved deep into our understanding of space through of the thirteenth Sonic Acts Festival. -
Cybernetics in Society and Art
Stephen Jones Visiting Fellow, College of Fines Arts, University of NSW [email protected] Cybernetics in Society and Art Abstract: This paper argues that cybernetics is a description of systems in conversation: that is, it is about systems “talk- ing” to each other, engaging in processes through which information is communicated or exchanged between each system or each element in a particular system, say a body or a society. It proposes that cybernetics de- scribes the process, or mechanism, that lies at the basis of all conversation and interaction and that this factor makes it valuable for the analysis of not only electronic communication systems but also of societal organisation and intra-communication and for interaction within the visual/electronic arts. The paper discusses the actual process of Cybernetics as a feedback driven mechanism for the self-regulation of a collection of logically linked objects (i.e., a system). These may constitute a machine of some sort, a biological body, a society or an interactive artwork and its interlocutors. The paper then looks at a variety of examples of systems that operate through cybernetic principles and thus demonstrate various aspects of the cybernetic pro- cess. After a discussion of the basic principles using the primary example of a thermostat, the paper looks at Stafford Beer's Cybersyn project developed for the self-regulation of the Chilean economy. Following this it examines the conversational, i.e., interactive, behaviour of a number of artworks, beginning with Gordon Pask's Colloquy of Mobiles developed for Cybernetic Serendipity in 1968. It then looks at some Australian and inter- national examples of interactive art that show various levels of cybernetic behaviours. -
Bay Guardian | August 26 - September 1, 2009 ■
I Newsom screwed the city to promote his campaign for governor^ How hackers outwitted SF’s smart parking meters Pi2 fHB _ _ \i, . EDITORIALS 5 NEWS + CULTURE 8 PICKS 14 MUSIC 22 STAGE 40 FOOD + DRINK 45 LETTERS 5 GREEN CITY 13 FALL ARTS PREVIEW 16 VISUAL ART 38 LIT 44 FILM 48 1 I ‘ VOflj On wireless INTRODUCING THE BLACKBERRY TOUR BLACKBERRY RUNS BETTER ON AMERICA'S LARGEST, MOST RELIABLE 3G NETWORK. More reliable 3G coverage at home and on the go More dependable downloads on hundreds of apps More access to email and full HTML Web around the globe New from Verizon Wireless BlackBerryTour • Brilliant hi-res screen $ " • Ultra fast processor 199 $299.99 2-yr. price - $100 mail-in rebate • Global voice and data capabilities debit card. Requires new 2-yr. activation on a voice plan with email feature, or email plan. • Best camera on a full keyboard BlackBerry—3.2 megapixels DOUBLE YOUR BLACKBERRY: BlackBerry Storm™ Now just BUY ANY, GET ONE FREE! $99.99 Free phone 2-yr. price must be of equal or lesser value. All 2-yr. prices: Storm: $199.99 - $100 mail-in rebate debit card. Curve: $149.99 - $100 mail-in rebate debit card. Pearl Flip: $179.99 - $100 mail-in rebate debit card. Add'l phone $100 - $100 mail-in rebate debit card. All smartphones require new 2-yr. activation on a voice plan with email feature, or email plan. While supplies last. SWITCH TO AMERICA S LARGEST, MOST RELIABLE 3G NETWORK. Call 1.800.2JOIN.IN Click verizonwireless.com Visit any Communications Store to shop or find a store near you Activation fee/line: $35 ($25 for secondary Family SharePlan’ lines w/ 2-yr. -
Anatol Stern and Stefan Themerson. on Europa And
Anatol Stern and Stefan Themerson and Stefan Anatol Stern Janusz Lachowski ANATOL STERN AND STEFAN THEMERSON. ON EUROPA AND THE FRIENDSHIP BETWEEN THE TWO AVANT-GARDE ARTISTS ON THE BASIS OF THEIR MUTUAL CORRESPONDENCE FROM THE YEARS 1959–1968 Anatol Stern (1899–1968) was a poet, one of the founders of Polish futur- ism, a prose and drama writer, literary critic, essayist and author of memo- rial sketches1 as well as a prolific scriptwriter and film journalist of the Pol- ish interwar period. His wife Alicja (1905–1993) was a translator of Russian literature, theatre critic, and columnist, also participating in film script writing. Towards the end of her life, she wrote a children’s book. Following her husband’s death, she took care of his manuscript collection, preparing previously unedited texts2 for publication and making their home archive available to literary researchers interested in Stern’s writing. Stefan Themerson (1910–1988) was a novelist, poet, essayist, philoso- pher, author of children’s literature, and composer; together with his wife Franciszka (1907–1988), he made experimental short films in interwar 4 Vol. 2016 Libraries Polish 1 Cf. i.a. A. Stern, Legendy naszych dni [The Legends of Our Days], Kraków 1969; idem, Poezja zbuntowana. Szkice i wspomnienia [Rebellious Poetry. Essays and Memories], revised and expanded edition, Warszawa 1970; idem, Głód jednoznaczności i inne szkice [The Craving for Unambiguity and Other Essays], Warszawa 1972. 2 Cf. A. Stern, Dom Appolinaire’a. Rzecz o polskości i rodzinie poety [Appolinaire’s Home. On the Poet’s Polishness and His Family], prepared for printing by A. -
Dare to Be Digital: Japan's Pioneering Contributions to Today's
Dare to be Digital: Japan's Author Jean Ippolito + 1.808.933.0819 Pioneering Contributions to Today's Art Department [email protected] International Art and Technology University of Hawaii at Hilo 200 West Kawili Street Movement Hilo, Hawaii USA 96720 A number of pioneering artists began experimenting with the com neer), Makoto Ohtake (architectural engineer), Koji Fujino (systems puter as a visual arts medium in the late 60s and early 70s when engineer), and Fujio Niwa (systems engineer). Komura was the only most fine-arts circles refused to recognize art made by computers as artist of the group, but the group's activities, as a whole, were of an a viable product of human creativity. This was the era of computer avant-garde art nature. All of the members were in their early twen punch cards, when the visual results of algorithmic input were noth ties. Reichardt describes their aim (stated in the group's manifesto) ing more than line drawings. Many of the forward-looking artists who as the restoration of man's innate rights of existence by means of were experimenting with this technology were not taken seriously by computer control.3 Most of their art pieces involved the transforma the established art venues, and were, in fact, often ostracized by tion of simple line drawings of well-known images, as in Running their peers.' More recently, the work of computer artists has begun to Cola is Africa, in which a contour drawing of a running man changes appear in general textbooks on the history of art, but each book fea to an outline of a Coca-Cola bottle and then to a line drawing of the lures one or two completely different artists. -
The Realisation of Our Perceptions of the World in the Forms of Space and Time Is the Only Aim of Our Pictorial and Plastic Art
Towards a History of Kinetic Art in Britain Catherine Mason The realisation of our perceptions of the world in the forms of space and time is the only aim of our pictorial and plastic art. […] We affirm in these arts a new element, the kinetic rhythms as the basic forms of our perception of real time. Naum Gabo 1 At no single moment is it possible to see the entire work since its repertoire of possibilities unfolds before the spectator. Jasia Reichardt 2 For more than a hundred years a certain type of artist has worked to overcome what they see as the limitations of traditional sculpture – that is its intrinsically static quality. Artworks that can move have the great advantage of establishing an immediate and dynamic relationship between the work and the spectator. Sculpture can be set into motion, such as an Alexander Calder mobile moving with a passing breeze or driven by motors as with a Tinguely machine. Integral to this relationship is the concept of time, thus making it a doubly seductive encounter for the viewer. The result is a conception of reality as a process of becoming and not as an absolute and unchanging system. The artist Davide Boriani has written of the relationship between the inherent development and variation of the kinetic work and the processes of perception. As the audience we are confronted by an artwork whose appearance constantly alters and thus constantly challenges our perceptions, activating them anew.3 1 Naum Gabo, ‘The Realist Manifesto’, published Moscow 5 August 1920, in Theories of Modern Art , ed. -
Download Programme
SONIC ACTS Academy 2018 Unpacking the Processes of Artistic Knowledge Sonic Acts Academy is a new plat- form for investigation, speculation, and reflection, focusing on educational practices and the critical examination of knowledge production in the field of art. By expanding artistic experience into an academy of engagement and exchange, we wish to offer both a play- ground and a radical syllabus at odds with institutionalised learning. The temporary and unstable configu- rations that make up our world today ask for new and flexible approaches to making, learning, and thinking. While education is a breeding ground for an economy of knowledge-as-com- modity, it is essential to re-examine how forms of learning can take place when unrestricted by measurable outcomes or predetermined expec- tations. Nora Sternfeld, agreeing with Irit Rogoff’s text 'Turning', addresses the role of education today: ‘education SONIC ACTS Academy 1 is not about handing down existing national and bourgeois values, as Tony Bennett would have it, nor about the mere reproduction of knowledge, but about exploring the possibilities of an alternative production of knowledge that resists, supplements, thwarts, undercuts, or challenges traditional forms of knowledge.’ 1 As the world becomes more radical and unequal, the need for change in the field of education takes on increas- ing urgency. For new models and ideas, we are turning to a community of art- ists, teachers, mentors, thinkers, and tinkerers. By inviting artistic investiga- Bouffant. Blackie by Photo Walshe. Jennifer tions and research – the processes that challenge the notions of the petrified world – Sonic Acts Academy aims to advance experimentation by including various dynamic perspectives at the podium. -
The Changing Nature of Artists' Practice
CAT 2010 London Conference ~ 3rd February Sue Gollifer _____________________________________________________________________ THE CHANGING NATURE OF ARTISTS’ PRACTICE Sue Gollifer School of Arts and Media University of Brighton Grand Parade Brighton United Kingdom [email protected] http://artsresearch.brighton.ac.uk/research/academic/gollifer/biography ‘Digital Art' practice often suggests an over emphasis upon applications rather than objects, reproduction over authenticity. Can ‘New Media’ be considered within a fine-art framework, or should it be considered as a separate discipline? The cultural shift this represents may blur, remove, or even reinforce boundaries commonly associated with the activity of fine art. 1. INTRODUCTION In this paper I hope to identify how there is a shifting nature of artistic practice that has developed from the late 1960’s until this present day, with the increasing growth of digital technologies. I will particularly identify this through my own on going research and visual art practice. 2. BACKGROUND In the mid sixties I studied painting at Coventry University, then known as Lancaster Polytechnic, where the atmosphere there – in the mid-1960s – was one of extreme rigor: every decision, every mark one made, had to be justified. One way of responding to that context was the theoretical exploration which Terry Atkinson, Mike Baldwin and others were involved in, which emerged as the conceptual art group Art & Language, which was derived from their journal, which existed as a work in conversation as early as 1966. Throughout the 1970s, Art & Language dealt with questions surrounding art production, and attempted a shift from the conventional "non-Linguistic" forms of art such as painting and sculpture to more theoretically based works. -
Artist-Programmers and Programming Languages for the Arts
Artist-Programmers and Programming Languages for the Arts Christopher Alex McLean esis submied to Goldsmiths, University of London, for the degree of Doctor of Philosophy. October 2011 Dedicated to Jess, Harvey, Mum, Dad, Andrea and Stuart and the rest of my family, to whom I owe everything, and with the memory of those who supported this work but passed away before seeing its end, namely my Father-in-Law Dr. David Elmore, and my cat Olga. 2 Abstract We consider the artist-programmer, who creates work through its description as source code. e artist-programmer grandstands computer language, giving unique vantage over human- computer interaction in a creative context. We focus on the human in this relationship, noting that humans use an amalgam of language and gesture to express themselves. Accordingly we expose the deep relationship between computer languages and continuous expression, exam- ining how these realms may support one another, and how the artist-programmer may fully engage with both. Our argument takes us up through layers of representation, starting with symbols, then words, language and notation, to consider the role that these representations may play in hu- man creativity. We form a cross-disciplinary perspective from psychology, computer science, linguistics, human-computer interaction, computational creativity, music technology and the arts. We develop and demonstrate the potential of this view to inform arts practice, through the practical introduction of soware prototypes, artworks, programming languages and im- provised performances. In particular, we introduce works which demonstrate the role of per- ception in symbolic semantics, embed the representation of time in programming language, include visuospatial arrangement in syntax, and embed the activity of programming in the improvisation and experience of art. -
New Media in the White Cube and Beyond
020 Paul Pt 1 (11-48) 7/10/08 10:21 AM Page 13 CHARLIE GERE 1 New Media Art and the Gallery in the Digital Age n this essay I am concerned particularly with the representation in art galleries and museums of work created by using new technologies Isuch as computers. For convenience’s sake I shall call such work “new media art,” even though this term is both problematic and, for at least some of my discussion, anachronistic. The early work I discuss would not have been defined in such terms. Nevertheless, it is useful shorthand for a range of practices and names, including “art and tech- nology,” “computer art,” “systems art,” and so on. The question of this kind of work’s representation in institutions such as galleries and muse- ums is important in relation to the work itself and how it is received and understood, but, at a broader level, also indicates how galleries and museums can engage with our increasingly technologized society, in particular the ubiquity of new media and new technologies such as the Internet. As little as twenty years ago, the Internet was hardly used outside sci- ence departments, and interactive multimedia were only just becoming possible, CDs were a novelty, mobile phones unwieldy luxuries, and the World Wide Web nonexistent. Since then, these technological develop- ments have begun to touch on almost every aspect of our lives. Nowa- days, most forms of mass media, television, recorded music, and film 13 Copyrighted Material 020 Paul Pt 1 (11-48) 7/10/08 10:21 AM Page 14 14 NEW MEDIA ART AND THE GALLERY are produced and even distributed digitally; these media are beginning to converge with digital forms, such as the Internet, the World Wide Web, and video games, to produce something like a seamless digital mediascape. -
10 Key Texts on New Media Art, 1970-2000
10 Key Texts on New Media Art, 1970-2000 Lev Manovich 1. Gene Youngblood, Expanded Cinema (New York: Dulton, 1970). 2. Jasia Reichardt, The Computer in Art (London: 1971). 3. Cynthia Goodman, Digital Visions: Computers and Art, (New York: 1987). 4. Friedrich Kittler, Discourse Networks (Stanford, 1990). (Original German edition 1985). 5. Michael Benedikt, ed., Cyberspace: First Steps (Cambridge, Mass.: 1991). 6. Artinctact 1: Artists’ Interactive CD-ROMagazine (Karlsruhe, 1994). 7. Minna Tarkka et all, eds., The 5th International Symsposium on Electronic Art Catalogue (ISEA), (Helsinki, 1994.) 8. Peter Weibel et al, eds., Mythos Information: Welcome to the Wired World. Ars Electronica 1995 Festival Catalog, edited by Peter Weibel (Vienna and New York: 1995). 9. Espen Aarseth, Cybertext: Perspectives on Ergodic Literature (Baltimore: 1997). 10. Ulf Poschard, DJ Culture (London, 1998). (Original publication in German, 1995). Working on my assignment to select “written works considered important to the history of digital art, culture and technology” turned out to be quite difficult. In contrast to other art fields, the short memory of digital art field is very short, while its long term memory is practically absent. As a result, many artists working with computers, as well as curators and critics who exhibit and write about these artists, keep reinventing the wheels over and over and over. And while other fields usually have certain critical / theoretical texts which are known to everybody and which usually act as starting points for the new arguments and debates, digital art field has nothing of a kind. No critical text on digital art so far has achieved a familiarity status that can be compared with the status of the classic articles by Clement Greenberg and Rosalind Krauss (modern art), or Andre Bazin and Laura Mulvey (film). -
23–26 February 2012 Amsterdam
Travelling 1 Time 2012 23–26 February Travelling Amsterdam V I X Time S SONIC ACT Explorations in art,Explorations music science, and technology Travelling 3 Time machine time time machine ruin alternate history neutrinos human time media archeology immune to time deep history mach 9 need for speed water clock sound of time time capsule chronocracy non-linear time shock waves historiography echo fossil fuels stealth time restoration pompeii time dilation image as time shock waves colonising time erosion sound of time timeless region what is Art else remains after everything destroyed is forgotten or – Jack Burnham (1974) Introduction 4 Travelling 5 Time Travelling Travelling , this year’s festival offers an an offers festival year’s this , Art is a time machine. Sonic Sonic machine. time a is Art Sonic Acts is a four-day festival festival four-day a is Acts Sonic performances, concerts, of and presentations lectures, exhibitions. Titled and Time time of experience intense relating ideas radical explores and complex a is Time it. to Ongoing concept. ambiguous developments technological notions our change continually Communication time. speed of light at operate networks data process computers and human without time real gap in a in resulting mediation, the and time machine between Music it. of experience to us human enable arts other the time and of nature the investigate tangible, concept the making by intensifying or changing by and our experience of time. Acts is a journey through time. to the the to of Time An Ode Ode An Experience