This year, NODE Forum for Digital Arts will come to you! Join more than 100 international artists, designers, researchers, and technologists in exploring—and rethinking—emergent creative practices. Let’s learn, discuss, and create together!
GreenHouse NAXOS it is a metaverse: a virtual social platform. It is a digital playground. It is a social space to meet like minded people and enter NODE20 from all around the world! NODE Forum for Digital Arts has accepted the challenge of bringing people together and fostering debate and involvement in new hybrid spaces. In collaboration with...
Black Mountain College was a highly influential school founded in North Carolina, USA, in 1933 where teaching was experimental and committed to an interdisciplinary approach. The college’s progressive principles were based on the educational theories of John Andrew Rice, its founder. In the curriculum, drama, music and fine art were given equal status to all other academic subjects. Teaching was informal, with an emphasis on collaboration, communal living and outdoor activities. Most of the work of running the college and maintaining the buildings was done by students and faculty. Black Mountain quickly became an extraordinary powerhouse of modern culture in America. Amongst its teachers were some of the greatest names of modern American culture, including the Bauhaus teacher Josef Albers, who had fled Nazi Germany after the closure of the Bauhaus that same year and became one of the first teachers at the college. Abstract expressionist painters Willem and Elaine de Kooning, artists Robert Rauschenberg and Anni Albers, composer John Cage and dancer and choreographer Merce Cunningham were all also associated with the school at one time or another. Find out more about Black Mountain College: https://goo.gl/MWA7s8Subscribe for weekly films: http://goo.gl/X1ZnEl
We are a wide affinity group working to reboot the global indymedia network using modern federated protocols such as #activitypub. This reboot will be based on the OMN project code.What is the OMN (Open Media Network):The project is to shift power to the producers and consumers of media. It’s about good UI and simple empowering #KISS tools to move content, by categorising it with a grassroots folksonomy. This simple approach is balanced by shared site level syntax for the complex crew.In the end it’s about bringing trust back into news.Hamish Campbell https://unite.openworlds.info/explore/organizationsBackground http://hamishcampbell.com/index.php/tag/indymedia/
Online conference with invited profesionals and artist discussing the future of cultural and mythofictional identities
Lev Manovich: My anti-digital art manifesto / What do we feel when we look at the previous generations of electronic and computer technologies? 1940s TV sets, 1960s mainframes, 1980s PCs, 1990s versions of Windows, or 2000s mobile phones? I feel "embarrassed. "Awkward." Almost "shameful." "Sad." And this is exactly the same feelings I have looking at 99% of digital art/computer art / new media art/media art created in previous decades. And I will feel the same when looking at the most cutting-edge art done today ("AI art," etc.) 5 years from now.If consumer products have "planned obsolescence," digital art created with the "latest" technology has its own "built-in obsolescence." //These feelings of sadness, disappointment,remorse, and embarrassment have been provoked especially this week as I am watching Ars Electronica programs every day. I start wondering - did I waste my whole life in the wrong field? It is very exciting to be at the "cutting edge", but the price you pay is heavy. After 30 years in this field, there are very few artworks I can show to my students without feeling embarrassed. While I remember why there were so important to us at the moment they were made, their low-resolution visuals and broken links can't inspire students. //The same is often true for the "content" of digital art. It's about "issues," "impact of X on Y", "critique of A", "a parody of B", "community of C" and so on. //It's almost never about our real everyday life and our humanity. Feelings. Passions. Looking at the world. Looking inside yourself. Falling in love. Breaking up. Questioning yourself. Searching for love, meaning, less alienated life.//After I watch Ars Electronica streams, I go to Netflix or switch on the TV, and it feels like fresh air. I see very well made films and TV series. Perfectly lighted, color graded, art directed.I see real people, not "ideas" and meaningless sounds of yet another "electronic music" performance, or yet another meaningless outputs of a neural network invented by brilliant scientists and badly misused by "artists."New media art never deals with human life, and this is why it does not enter museums. It's our fault. Don't blame curators or the "art world." Digital art is "anti-human art," and this is why it does not stay in history. //P.S. As always, I exaggerated a bit my point to provoke discussion - but not that much. This post does reflect my real feelings. Of course, some of these issues are complex - but after 30 years in the field, I really do wonder what it was all about)P.P.S.The mystery of why some technology (and art made with them) has obsolescence and others do not - thinking about this for 25 years. We are fascinated by 19th-century photographs or 1960s ones. They look beautiful, rich, full of emotions, and meanings. But video art from the 1980s-1990s looks simply terrible, you want to run away and forget that you ever saw this. Why first Apple computers look cool, cute, engaged? But art created on them does not? And so on. I still have not solved this question.Perhaps part of this has to be with the message that goes along with lots of tech art from the 1960s to today - and especially today. 19th or 20th-century photographs done by professional photographs or good amateurs do not come with utopian, pretentious, exaggerated, unrealistic, and hypocritical statements, the way lots of "progressive art" does today. Nor do their titles announce all latest tech processes used to create these photographs.
Conceived and Directed by Sean Rogg Music – Not Waving Environment Design – Greg Shaw Choreography – AΦE Costume and Textile Design –…
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