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A tunnel built on the whim of a Victorian inventor under the Atlantic is at last 'linking' London and New York - using a giant electronic telescope Deep beneath the Atlantic Ocean, forgotten for the best part of a century, lies a tunnel linking London and New York. It was built on the whim of a Victorian inventor with the aim of linking two great cities and developing the kind of friendship that still exists today. But bad fortune befell the venture - and the tunnel lay idle ever after. Until today, that is, when the project was rekindled with a modern twist.
Think art. What comes to mind? Maybe Picasso, Rodin, Dali. Now think technology - and you'll probably imagine a smartphone or a computer.Throughout history, technology has provided artists with new tools for expression. Today, these two seemingly distinct disciplines are interlinked more than ever, with technology being a fundamental force in the development and evolution of art. All over the world, people are engineering our future. The internet, digital fabrication, nanotech, biotech, self-modification, augmented reality, virtual reality, "the singularity" - you name it, all of this is altering our lives and our view of the world and ourselves...
If videogames can be said to possess an “official history,” it is predicated primarily on the advancement of technology, the shifting of markets, and the consolidation of multinational corporations. This is a history which prioritizes technological advancement, from computer gaming’s rise as the product of quiet dissent among the engineers of military computers at MIT (Spacewar!, created by MIT engineers in 1962, is often regarded as the first iconic computer game),1 to the clinking of arcade machines and the ensuing success of the home console, which allowed publishers to cut out the middleman and sell their products directly to consumers. The changes that followed—developments like Jerry Lawson’s brilliant removable cartridges, which allowed games to be sold separately and individually from the consoles that ran them (prior to this, games were hard-coded into consoles and cabinets), and the less-brilliant Bit Wars, marked by petty marketing and consumer battles over the relative processing power of competing consoles—are understood through the lens of tech-progressivism.
Resonance Extra is a pioneering new digital radio platform launched in December 2015, available on DAB to listeners in Central Brighton and online to the rest of the world. Dedicated foremost to the global artistic community and with a focus on long–form international music programming and sonic experimentation, Resonance Extra exists to mobilise diverse and emergent communities of sound artists, musicians, broadcasters, academics and expert curators.
Final post and attempt to wrap up The Influencers, an art & activism festival curated by researcher and producer Bani Brusadin and by artists Eva & Franco Mattes a.k.a. 0100101110101101.ORG.
The 11th edition of this festival of unconventional and radical art was anchored into the most banal manifestations of our networked society, one that is made of surveillance, social bullying, communication guerrilla and disintegration of the space of free speech and ideas that internet was meant to be...
The 3rd edition of LUMINA Light Festival, took place in Cascais from 12 to 14 September 2014, showing 26 artworks coming from numerous countries scattered along the Light Walk, offering the public moments of discovery, magic and thrill. The program was varied and included details that reminds us the connection of the town with the sea and light. ... In 2015, from 11 to 13 September, LUMINA will be back in Cascais with an entire new and exciting program, for another Brilliant edition! Follow the Blue Light!
The collaboration between science and art is all but uncommon. Although the most obvious encounter, say, between mathematics and space has been the influence of mathematical explorations on art (Renaissance perspective and geometric abstraction and even computer art, to name the most obvious examples), we are relatively oblivious to other forms of cross influence. The ferment of great mathematical developments happens in a creative zone, not unlike that of art, frequently plagued with confusion
“There is something about the internet that isn’t working anymore,” is the line that opens filmmaker Jonathan Minard’s short documentary on Deep Lab—a group of women hackers, artists, and theorists who gathered at Carnegie Mellon University in December to answer the question of what, exactly, that disquieting “something” is. The film premieres on Motherboard today.
What Deep Lab represents is just as hard to pin down as the “something” invoked in the opening minutes of Minard’s short film. Is it a book, a lecture series, or Minard’s documentary—all of which were put together in under a month? Is it an ethos? Is it feminist? Is Deep Lab a charrette, a dugnad, or a “congress,” as its participants called it?
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After triggering a pop of electricity by touching a screwdriver to metal in a disassembled cathode ray tube monitor, Chi-Tien Lui issued a warning to visitors gathered in his cluttered workshop on a recent Friday morning. “That voltage doesn’t kill you,” he said. “But it really hurts you.”
For the record, Mr. Lui, 75, was unharmed. He carried on with his lesson about how to remove a circuit board, then opened it up to hands-on participation. The students in his shop, CTL Electronics, in TriBeCa, were from an art conservation program at New York University. They were studying electronic art, including works by the pioneering Korean-born artist Nam June Paik, and their professor had arranged a half-day session with Mr. Lui, a technician with whom Mr. Paik had a long association
The University of Washington and Microsoft Research are making big investments in uncategorizable, emerging-media work. What are their artists stumbling upon? Not long ago, during an exclusive reception for donors to the University of Washington's College of Arts & Sciences, a handful of student artists were invited to present their works. When it came time for a piece by Robert Twomey, a PhD candidate in the university's emerging-technology department called DXARTS, one donor responded viciously, openly declaring his art "an abomination." The art was a machine that makes drawings. The donor was a woman trained in painting and printmaking, a die-hard believer in the importance of the hand of the artist. "But there's no one behind it!" she exclaimed.
"But I am behind it," said Twomey. She gave him her name and number and the impression that she'd like to cure him of an affliction. Twomey kept trying to explain that he was a painter at heart, that they were on the same side...
Harold Cohen, an abstract painter who developed Aaron, one of the first and eventually one of the most complex computer software programs for generating works of art, died on April 27 at his home in Encinitas, Calif. He was 87. The cause was congestive heart failure, his son, Paul, said. Mr. Cohen was a painter growing weary with the traditional practice of art in the late 1960s when he taught himself, out of curiosity, how to program a computer. ...
Revolutions Per Minute is a double CD published under the label Concrete Post. It is a near exhaustive survey on Chinese Sound Art drawn from the exhibition at Colgate University in Hamilton, New York. This exhibition was the first major retrospective of Chinese sonic art. Revolutions Per Minute is curated by Dajuin Yao, a sound-artist, DJ and professor of new media at the Chinese Academy of Art (CAA). The twenty-six compositions are carefully selected and the variety of the contributions is significant, moving from “traditionalist gabba” by Lin Zhiying...
Il laisse à la postérité un instrument fascinant au son magique qui a fasciné les plus grands, des Daft Punk à Gorillaz en passant par Manu Dibango.
Bernard Baschet est décédé ce vendredi, à l’âge de 97 ans, « des suites d’une longue vie bien remplie », poétise Brigitte Touillier, présidente de l’association dédiée à son œuvre à Saint-Michel-sur-Orge, où se niche l’atelier que l’inventeur, diminué par un accident vasculaire cérébral, arpentait encore une fois par semaine...
In art and myth, the journey is usually a heroic quest, dripping with metaphor. But what if a journey involves, instead of a highly-sought destination and revelation, simply bouncing between ports in the most banal way possible, like on the cross-channel ferry between Dover and Calais?
For artist Simon Faithfull, the anti-heroic banality of this crossing made it a perfect launching ground for his Limbo project (commissioned by the Film and Video Umbrella), which transmits and geo-locates, in real time, digital drawings made by Faithfull via a custom-made iPhone app. For a full six days (May 14th through 19th), Faithfull stayed on the ferry for an unorthodox artist residency orchestrated by artconnexion, a French art organization, going back and forth in this "window between states" while he created -- and instantly broadcast -- drawings on his iPhone. ...
Rock Magic: Jimmy Page, Led Zeppelin, And a search for the elusive Stairway to Heaven by William Burroughs, Crawdaddy Magazine, June 1975. When I was first asked to write an article on the Led Zepp...
When I was first asked to write an article on the Led Zeppelin group, to be based on attending a concert and talking with Jimmy Page, I was not sure I could do it, not being sufficiently knowledgeable about music to attempt anything in the way of musical criticism or even evaluation. I decided simply to attend the concert and talk with Jimmy Page and let the article develop. If you consider any set of data without a preconceived viewpoint, then a viewpoint will emerge from the data.
My first impression was of the audience. As we streamed through one security line after another–a river of youth looking curiously like a single organism: one well-behaved clean-looking middle-class kid. The security guards seemed to be cool and well-trained, ushering gate-crashers out with a minimum of fuss. We were channeled smoothly into our seats in the thirteenth row. Over a relaxed dinner before the concert, a Crawdaddy companion had said he had a feeling that something bad could happen at this concert. I pointed out that it always can when you get that many people together–like bullfights where you buy a straw hat at the door to protect you from bottles and other missiles. I was displacing possible danger to a Mexican border town where the matador barely escaped with his life and several spectators were killed. It’s known as “clearing the path.”
Entre ce qui a déjà été fait et ce qui est interdit, les artistes n'osent plus grand-chose, estime Yves Michaud, penseur singulier passé de la philosophie à l'art. Désormais, dit-il, les plus audacieux sont ceux qui croisent les disciplines. Voilà un penseur iconoclaste et offensif, qui ne craint pas de secouer tous les landerneaux. En 2003, dans L'Art à l'état gazeux, il enterrait la notion d'œuvre d'art mais voyait de la beauté partout, dans la rue, au supermarché ou chez soi. Depuis, ce philosophe issu d'un milieu modeste se considère volontiers comme un « pestiféré » dans l'Hexagone, quand il est célébré et sollicité à l'étranger - il a enseigné à Berkeley comme à São Paulo. Reçu premier à l'agrégation de philosophie en 1968, Yves Michaud a toujours fui les chapelles en passant pour un libéral-libertaire. Il a pourtant dirigé l'Ecole nationale des beaux-arts (de 1989 à 1997), puis lancé l'Université de tous les savoirs et ses conférences très courues. Sceptique mais curieux de tout, jonglant avec les disciplines, il s'est distingué par ses réflexions inattendues sur la culture, la violence ou la politique. Solide d'esprit comme de corps (il est sportif), à la fois terrien et technophile, c'est un partisan du gai savoir. Un esprit libre, en somme. ...
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