“Light and Dark Networks” by Ursula Endlicher

via Networked_Performance de jo em 28/01/12

[Details of dark version (Mushroom’s mycelium) left, light version (Spider web) right.] Light and Dark Networks by Ursula Endlicher, commissioned by the Whitney Museum for whitney.org:

Light and Dark Networks consist of two online data performances taking place anywhere on Whitney.org during sunrise and sunset in New York City, and are directed by actual weather and environmental changes in the New York City area. The two performances are inspired by the structures of natural networks: one aboveground (spider web), the other one underground (mushroom’s mycelium). In the video segments of the piece Endlicher impersonates a spider and several mushroom characters…

The piece looks at networks as living organisms — be they spider webs, mycelium, or the Internet — constantly changing by different artificial or natural parameters. Taking a closer look at the nature of the Internet itself this piece playfully examines how our physical and virtual existence is embedded in networks… The project takes over the entire Whitney Museum’s website for 30 seconds daily at SUNRISE and SUNSET in New York City, so make sure to get there early. For exact times of daily sunrise and sunset please go to whitney.org/Sunset. Link: http://lightdarknetworks.ursenal.net.

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“Light and Dark Networks” by Ursula Endlicher

Live Stage: Subcuratorship Beyond Media Arts Berlin

via Networked_Performance de jo em 01/02/12

CODED CULTURES – Subcuratorship Beyond Media Arts with Michal Wlodkowski, Luise Reitstätter, Joasia Krysa, Sydney Ogidan, and Eva Fischer (Moderated by Georg Russegger) :: February 2, 2012: 4:00 – 6:00 pm :: Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, 10557 Berlin, Germany.

Based on questions about contemporary media art festivals, in the autumn of 2011 CODED CULTURES presented City as Interface. Hereby curators and artists tried to create new models of representation, transmission and intervention within a concept of sub-curatorship beyond media arts and within public space. For transmediale 2012 a discursive vector is reflecting on these inventions based on trans-disciplinary examples from intersecting fields like contemporary art, media art, street art, audio-visual arts, exhibition design and interfaces in order to transform the city into a playful and unstable environment for artistic interventions. The invited participants will give 10-minute long impulse-lectures to present methodological approaches based on their interests and backgrounds. The panel will be followed by a discussion with the audience.

 

Live Stage: Subcuratorship Beyond Media Arts Berlin

Kinect Titty Tracker

Kinect Titty Tracker from Dan Wilcox on Vimeo.

Dan Wilcox (Robot Cowboy), is an artist, composer and engineer currently working towards an MFA in new-media performance arts at Carnegie Mellon University. Dan spent two years as a creative coder at the Ars Electronica Futurelab, Linz, prior to which he earned a Masters in Art and Technology from the IT University of Goteborg, Sweden. Dan performs regularly as the cyborg Robot Cowboy, and is an active contributor to open-source arts toolkits like Pure Data and OpenFrameworks.

In late 2010, Dan had a surprise Internet hit with his speed project, Kinect Titty Tracker, which he hacked together in just one evening. In this project, Dan writes, “the computer searches for my manboobs and draws a bra or pasties on top.” Music is played when his manboobs are detected.

Kinect Titty Tracker

Engaging Technology: A History and Future of Intermedia

Engaging Technology Exhibition Introduction from IDIA on Vimeo.

Engaging Technology traça um conjunto de obras pioneiras e contemporâneas que exploram as intersecções entre media electrónica e várias formas de criação artística. Esta exposição realizada entre 2006 e 2007 na Ball State University Museum of Art, contou com artistas como Jenny Holzer, Golan Levin, Nam June Paik, Gary Hill, Alan Rath entre muitos outros.

Link: http://idialab.org/engagingtechnology/

Engaging Technology: A History and Future of Intermedia

Final Wisdom I: Interactive Haptic Poetry Installation

Final Wisdom I (2005) is an interactive installation engaging viewers in a sensory exploration of temporal and spatialized poetry. Participants manipulate imagery, sound and language through their gesture, touch and proximity. The work is engaged through a framework of cameras and sensors that react to heat, position, and capacitance – presenting a shifting environment of reactive media and haptics. Final Wisdom I is the work of artists Hans Breder and John Fillwalk, poetry by critic Donald Kuspit, music by composers Carlos Cuellar Brown and Jesse Allison. This project is produced through the Institute for Digital Intermedia Arts at Ball State University in collaboration with the Institute for Digital Fabrication.

link: http://idialab.org/projects/36

Final Wisdom I: Interactive Haptic Poetry Installation