I think that basically what I’m saying is this, that you have two traditions in the history of using the computer to create art and moving images. On the one hand you have this traditional algorithmic tradition, with people like James and John Whitney who made beautiful, abstract algorithmic films, and today this tradition continues with lots of Flash art. Then we have this other tradition which begins in the seventies and really picks up in the eighties, with software that allows you to manipulate figurative media. Today we have Hollywood films like Star Wars that rely on the computer to create realistic, figurative objects and environments. I’m interested in exploring the area that lies in between these two extremes, but not only to generate abstract stuff but also to generate or manipulate a part of a fictional, presentational universe.
La tecnica partiva dalla musica e dalla ricerca del sincronismo con la musica. La perfezione di questo sincronismo è tuttora ammirevole.
Amy Alexander, Florian Cramer, Matthew Fuller, Thomax Kaulmann, Alex McLean, Pit Schultz, and The Yes Men, interviewed by Olga Goriunova and Alexei Shulgin.
The book proposes two concepts, empire as a form of power, and multitude names both the subject that is exploited by empire, that is controlled by empire, the subject whose labor and activity supports empire, but it also is the subject that has the potential to create an alternative society. Now, it seems to me that the concept of multitude in our book is used in at least two ways – that itself constitutes one of contradictions in our book. In certain ways it’s a very self-contradictory book, which is a good thing, I think. In one sense, multitude is used to name the multiple human force of liberation that has always existed. In certain ways, it names that almost ontological force of human creativity and liberation that has certainly existed throughout the modern era, but even previously. It’s the force that always refuses domination.
Today, the Sarai Initiative embraces interests that include cinema history, urban cultures and politics, new media theory, computers, the Internet and software cultures, documentary filmmaking, digital arts and critical cultural practice. Sarai opened its doors to the public of Delhi in February 2001 and the first year has been very hectic for all of us, especially as all our projects and public interventions have begun to take concrete shape. As we draw towards the completion of our first year we realize that our strength lies in the collaborative vision that has been the founding principle of Sarai, and that the space can grow only by continuing to include and engage with new people and ideas from across the world.
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 superficie, una pellicola che copre il vasto lavoro immateriale che c’è dietro. E’ un lavoro sul codice, è come spiegare algoritmicamente alla macchina l’immagine che dovrà venire. […] Nella computer art l’antica tecnica che gli artisti sviluppavano nella bottega si è trasferita nel lavoro sul codice, che però poi nell’immagine finale rimane nascosto. L’immagine numerica mette dunque in contatto una sfera logico-matematica con l’esperienza percettiva dell’arte e in questo senso rappresenta un confine fra due mondi ritenuti molto lontani.
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 historical period […] such as ‘rhizome’ and ‘simulation.’ […] The focus of my work is on trying to come up with new terms, which can be used to talk about the works-both their formal construction and also the interaction between the work and the user.
L’ambito multimediale è estremamente interessante e vedrà uno sviluppo crescente, perché in qualità di compositori abbiamo la responsabilità di indirizzare verso contenuti validi e dal livello d’interazione elevato.
Our idea about the PTC was to create “theatre” as a lively work-in progress-project in political fields, which includes also streettheatre/performances.
La retrospettiva sull’Internet art di Mark Amerika, “Avant-Pop. The Stories of Mark Amerika”, ha aperto all’Agency for Cultural Affairs’ Media Arts Plaza a Tokyo il 1 Luglio 2001. La mostra prosegue fino al 30 Settembre 2001
Michael Daines is a 17 year old artist living in Calgary, Canada. But his precocious mastery of code and underhanded satire has earned him respect in his own right.
In net art the artwork can move. It can change and evolve over time, which creates a whole other dimension to this art form that just doesn’t exist in painting.
The user can utilize what he finds in our computer. Not only documents and software, but also the mechanisms that rule and maintain 01.ORG.
Ha 25 anni e ha girato l’Europa e l’America in tour con Elisa, dedicandosi anche all’insegnamento: è Bruno Farinelli, il batterista che ha suonato nel secondo album dell’artista italiana.
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. It also allows us to create symbolic structures that create an illusion of a ‘reality’, a constant, consistent environment in which we navigate. What’s fun about it is that they’re sort of mirror images of one another, reversed. In physical reality, language maps a territory. In the software “reality”, code *creates* a territory. We make it up.
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 searches online. […] Part of what I accomplished with this project, which I was unable to reach with the others, was to capture what the laboratories that make the human genome look like. What are the tools of the scientists who are making history? What do the laboratory workers look like, and what is the type of imagery these new factories are manufacturing to tell their stories?
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 Hardware used, the Operating System, the Software, the Network Protocols and finally the File Structures themselves all mould the way that users interact with dataspaces and the way that they can create them.