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Storia dell’arte in codice binario

I. G. – [...] I non "addetti ai lavori" sono pronti in maniera spontanea, semplice ad accettare e a lasciarsi trasportare da quello che vedono. [...] Invece, mi sembra che le persone acculturate dal punto di vista artistico sono quelle che maggiormente hanno delle remore, delle censure. A. S. – [...] Alcuni anni fa si percepiva la computer art come qualcosa di freddo, di meccanico, di automatico. Mentre invece stiamo diventando consapevoli che l'immagine, chiamiamola digitale, è un velo, una su...

Lev Manovich: how to speak new media

We can talk about a painting using such terms as 'composition', 'flatness', 'colour scheme' and we can talk about a film using such terms as 'plot', 'cinematography', and 'editing.' With new media, the existing discourse focuses on 2 extremes: either purely industrial terms such as 'Flash animation' or 'JPEG image' (which all describe software used and don't tell you much about the work's poetics and the user's experience of it), or rather abstract theoretical terms created during the previous h...

Aesthetics of Programming. Interview with Mark Napier

The symbolic structure of language allows us to navigate in a map of the world rather than the world itself. [...] Language is a very powerful tool that allows us to create a map of our physical experiences and then navigate in that map, and by so doing we can communicate complex experiences and actions to others, even long after we die, if we write them down. Most of the time we can't separate the map from reality. It *is* reality as far as we can tell. [...] Software is very similar to this. I...

Harvesting the Net: Memory Flesh

About three years ago I started investigating what the human genome was attempting to make. I found it almost impossible to sift through the emerging public discussion around it; it was and still continues to be a subject that stages a certain type of information warfare. But it kept making the papers and getting a lot of media attention with inflated projections of its potential. [...] Harvesting the Net: Memory Flesh [...] contains the original source material discovered through my time-based ...

Interview with Tom Betts/NullPointer

NullPointer has recently released a beta-version of a new web visualisation application, WebTracer. [...] The application deals with sites and pages as molecules and atoms, the resulting cellular structures reflect the information structures of the web. I find that the representation of the many shells and layers that guide our exploration and expliotation of cyberspace can help to reinforce the awareness that all information systems are guided by a great number of defining elements. The Hardwar...

Interview with Jeffrey Shaw

The integrity of the original artwork is only fully intact in the imagination of its creator. Even its translation into the physical is a depreciation forced by the contraints of materiality, and exposure of the artwork to the social leads to the complete degradation/reconstruction of the 'original' by its intepretors and manipulators. On the other hand it is only in this social vector that the artwork becomes a cultural artifact and assumes a historical significance. The 'original spirit' must ...

Interview with Nam June Paik

Nam June Paik has been labeled the "father of video art." What is much less known is that he was not only the creator of the much-abused term "telecommunication superhighway," but also among the first to use telecommunication satellites for artistic exchange. His satellite performances "Good Morning Mr Orwell," "Wrap around the world" and "Good- bye Kipling" brought together artists such as David Bowie, Laurie Anderson, John Cage, Joseph Beuys, Charlotte Moorman and others to perform together. T...
Interview with Igor Stromajer
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Interview with Igor Stromajer

t can be quite nice to see the different approaches to art in computer networks. Have you ever sung your html code? Igor Stromajer has. He lives in Lubljana, Slovenia, and he is a net artist. I met him in Moscow last May, where he did a presentation of his work that was rather unusual to some. He had Jodi and Frederic Madre sing at his command, using the vibration of a mobile phone to signal them when to start.

Interview with Luis Miguel Girão

Interview with Roberta Buiani

Interview with Bill Seaman

Interview with Roger Malina

Interview with Pavel Smetana

Interview with Christa Sommerer

Interview with Annick Bureaud

Interview with Leonel Moura

Interview with Nina Czegledy

Interview with Alberto Abruzzese (Italiano)

Interview with Stelarc

Interview with Derrick de Kerckhove

Interview with Margarete Jahrmann

Interview with Jaromil

Interview with Laura Beloff

Interview with Alan Shapiro