Webrecorder provides an integrated platform for creating high-fidelity web archives while browsing, sharing, and disseminating archived content. Users may try the service anonymously or login and create a permanent online archive. The project, created by Rhizome, will support multiple backends and will integrate with existing preservation systems.
The use of multi-media, digital, and internet media has rapidly increased since the 1960s, which has called into question the conventional strategies by which society preserves, cares for, and redisplays various artifacts created with or on ephemera media formats. Webrecorder can at least ensure that digital information and user experience remains accessible to the public.
If you are interested in contributing to Webrecorder, or have any general questions, please contact them at firstname.lastname@example.org
AUDINT is a unique project in the field of experimental and sonic arts. Originally formatted in 1945 by three ex-members of the Ghost Army, AUDINT currently consists of Toby Heys, Steve Goodman (Kode9), Souzanna Zamfe and Patrick Doan. From the first AUDINT has been conducting research, rituals, and experiments into the opening of the 3rd ear, a dimension that materializes when sound, ultrasound, and infrasound are simultaneously deployed in a precise schema of sequencing, duration, and amplification.
AUDINT’s animated film Delusions of the Living Dead is a sub-chapter of their Martial Hauntology book, which documents Walter Slepian’s 1949 plan to purloin and photograph Jules Cotard’s notebook; a medical document that holds information pertaining to the process and methods required to seed walking corpse syndrome into a subject’s bed of cognition. Martial Hauntology was released in late 2014 as a limited edition of 256 copies. It links the underground groove of the Large Hadron Collider with the vaults of the Bank of Hell; connects the Dead Record Network with the Phantom Hailer; and traces the evolution of the Wandering Soul Tapes to the viral dynamics of the online spectreware named IREX2.
AUDINT has also developed the Colorcoder, an app programmed to sonically decrypt covert messages composed by Ellsworth Kellyin his 1951 painting Colors for a Large Wall. The information embedded within the artwork relates directlyto Kelly’s service within the Ghost Army during WW2 and more specifically to the sonic deception formulas and techniques they composed during this period.
When prominent scientist Stephen Wolfram published A New Kind of Science in 2002, it was immediately hailed as a major intellectual landmark. Today the paradigm shift that Wolfram’s work initiated is starting revolutions in a remarkable range of areas of science, technology – and the arts. WolframTones is an experiment in applying Wolfram’s discoveries to the creation of music.
At the core of A New Kind of Science is the idea of exploring a new abstract universe: a “computational universe” of simple programs. In A New Kind of Science, Wolfram shows how remarkably simple programs in his “computational universe” capture the essence of the complexity – and beauty – of many systems in nature.
WolframTones works by taking simple programs from Wolfram’s computational universe, and using music theory and Mathematica algorithms to render them as music. Each program in effect defines a virtual world, with its own special story – and WolframTones captures it as a musical composition.
The basic setup for Wolfram’s cellular automata is very simple. There is a row of cells, each black or white. Then there is a rule that says what color each cell will be, based on the colors of a certain neighborhood of cells on the row above. What pattern one gets depends greatly on the rule one uses – which can be specified by saying what color a cell will be for every possible arrangement of neighboring cells.
WolframTones supports multiple instruments, as well as percussion. Everything is always derived from a single underlying cellular automaton pattern. But different instruments can be set up to pick off different aspects of the pattern – say to correspond to a melodic line or a bass track. WolframTones also supports a number of algorithms for deriving percussion from cellular automaton patterns.
Shapereader is an experimental approach in graphic storytelling, the first of its kind. Created by Ilan Manouach, it is a repertoire of forms and patterns that constitute an attempt to translate words and meanings into tactile formations. It was designed from scratch with the goal to transpose works of graphic literature to a blind and visually impaired readership, Shapereader advocates for new publishing grounds and challenges visual predominance of graphic storytelling. While it is mainly addressed to people with visual disabilities it can also be experienced by the acquainted regular user. Through circumvention of the visual sensorimotor stimuli, it activates the reader’s repressed tactile-sensory realm and helps foster a new diegetic experience.
The first narrative work to use the Shapereader repertoire is Arctic Circle, a 57-page original graphic novel relating the story of two climatologists digging in the North Pole searching for patterns of climatic change inscribed on ice columns.
Six hand-held, laser-engraved communication boards allow the reader to get acquainted with the Shapereader repertoire. They carry the index for 210 different shapes, providing the tactile equivalents for the specific features of the story. They are divided into groups according to their semantic content and function: characters, props, settings, actions, affections as well as graphic and textual devices forming the well-known toolbox of graphic storytelling craft.
Bosch VR is the app made to celebrate the 500th centenary of one the worlds greatest artists – Hieronymus Bosch – a virtual reality trip through The Garden of Earthly Delights. Ride on a flying fish into a Garden of Eden, be tempted by strange fruit and even stranger rituals in the Garden of Earthly Delights. Visit hell and hear the devil’s music. Take a glimpse of what it looks like from the video below:
Originally Bosch painted three large triptychs that can be read from left to right and in which each panel was essential to the meaning of the whole. Each of these three works presents distinct yet linked themes addressing history and faith. Triptychs from this period were generally intended to be read sequentially, the left and right panels often portraying Eden and the Last Judgment respectively, while the main subject was contained in the center piece.
Art historians frequently interpret the painting as a didactic warning on the perils of life’s temptations. However, the intricacy of its symbolism, particularly that of the central panel, has led to a wide range of scholarly interpretations over the centuries.
Founded in early 2014 as an incubator project, WEARVR is the leading independent Virtual Reality App store. They host and promote over 1,000 VR games and experiences, across a wide range of genres. From roller coasters, driving and flying sims through to 360-degree videos, social apps and jump scares, you’ll find them all on WEARVR.
For developers of all sizes, the platform can provide great awareness of their titles, along with hosting services, high-quality traffic and the ability to sell apps. For users (the guys and gals with VR headsets), it strives to have the latest and greatest VR experiences served up daily.
Loop is three days of discussions, performances, presentations, studio sessions and interactive workshops in Berlin aimed at exchanging ideas at the cutting edge of music, technology and creative practice. Bringing together artists, technologists, educators and other creative thinkers, Loop is a collective exploration of what it is to make music today and what it could be tomorrow.
By day, take part in discussions, participate in hands-on workshops with cutting-edge technology, draw inspiration from watching other artists work, and share your insights. By night, explore diverse and inspiring performances and meet other creators from around the world.
French designers Pierre Emm and Johan da Silver have realised longed-for idea of making a machine that could automatically create tattoos taken from a bank of images. The project was carried out during the artists stay at the Pier 9 Residency with the help from the Autodesk Applied Research Lab.
From the words of creators “the biggest difficulty was to repeat the same exercise on a curve surface and on a material that has much more flexibility than silicone. Many tricks were tried to tighten the area around the skin ( a metal ring, elastics, scotch tape…) but the most effective one was a scooter’s inner tube, open on the area to be marked.”
“Lapse” is an experiential, augmented reality installation presented by Ivan Toth Depeña that takes you on a journey throughout Miami. Using your mobile device and its camera, you will uncover hidden, virtual art experiences. It consists of six interwoven components: The Visions & The Collective, a series of publically accessible murals; The Sounds, a GPS-based audio soundscape discoverable on Miami’s downtown MetroMover; The Writings, a virtual prose experience in Museum Park; The Sculpture, an augmented experience triggered by a public sculpture; and The Moment, a site-specific exhibition at Locust Projects’ space in the Miami Design District.
Lapse is the newest chapter of the artist’s ongoing series The Fallen Sky Chronicles. This series has been developing for several years in tandem with personal writings about a character who becomes infected by a technological glitch, restructuring the physical world and morphing consciousness with images and data found on the web. The projects in the series employ chance as a structural element and consist of paintings, drawings, sculptures, and video/new media installations.
Through groundbreaking augmented reality (AR) technology, Lapse responds to triggers and activates virtual and auditory experiences with a mobile device’s camera lens and sound output. The augmented reality technology overlays visual and audio creations over site-specific Miami locations.
This project is made possible by Miami-Dade County Art in Public Places, The John. S and James L. Knight Foundation, and Locust Projects.
The Japan Media Arts Festival is a comprehensive festival of Media Arts (Japanese: Media Geijutsu) that honors outstanding works from a diverse range of media – from animation and comics to media art and games. The festival gives awards in each of its four divisions: Art, Entertainment, Animation, and Manga. It also provides a platform for appreciation of the Award-winning and other notable works.
For the 20th Festival in 2016, entries will be accepted from across the globe. Entries are sought in various disciplines of the Media Arts including interactive art, video, websites, games, animation and comics, from professional, amateur, independent and commercial sources.
For each division, a Grand Prize, Excellence Awards, and New Face Awards will be awarded on the basis of artistic quality and creativity. In addition, Special Achievement Awards will be awarded on the recommendation of the Jury to individuals or groups who have made a special contribution to Media Arts in any of the four divisions.
Since its inception in 1997, the The Japan Media Arts Festival has recognized significant works of high artistry and creativity, and in addition to a yearly Exhibition of Award-winning Works has held other events, such as symposiums, screenings, and showcases. Last year, the 19th Festival received 4,417 entries from 87 countries and regions around the world, demonstrating is continuing evolution as an established annual international festival. Award-winning Works are exhibited both within Japan and abroad through various projects and events organized by The Agency of Cultural Affairs, Government of Japan which aims to develop and promote the creation of Media Arts by focusing primarily on the new generation of artists.
The 17th Japan Media Arts Festival reviewed by CYLAND artist Alexandra Dementieva
Sonic Pi: Live & Coding, a ground breaking digital research and development project, has been working intensively with Sonic Pi and looking at how the program can be used to provide new pathways for young people into digital music. The research-centred process involved a delivery team of instrumental music teachers, school music and computing teachers, researchers, technologists and artists who worked with children at two secondary schools (KS3) and a five day summer school to explore the creative potential of Sonic Pi and test and develop resources.
Sonic Pi, a tool for creating music by writing code, enables users to define their own sounds, rhythm and tone and alter parameters and values whilst playing (live coding).
This Toolkit is intended as a free, open source, bank of resources to support delivery of Sonic Pi: Live & Coding including; Sonic Pi v2.0 software, lesson plans, a set of short films, and inspirational works by artists. Available at http://www.sonicpiliveandcoding.com/
The Music Construction Machine, built by Niklas Roy, is a large, public, generative music box, which people can operate via a big hand crank. Rotating the crank moves various mechanisms inside the giant box, producing ever-changing melodies and rhythmic patterns, played with an electric guitar, a keyboard and a drum set. As the machine is contained in a transparent glass pavilion, people can observe and contemplate on its inner workings while cranking.
At the moment the installation is exhibited on a public square called Plac Nowy Targ in Wrocław, Poland, as a part of the city’s cultural capital program. Therefore, it is a machine for everybody. The music is generated by an algorithm, which is implemented entirely in mechanical hardware, and which iterates through all kinds of possible sequences of beats and tones. Thus, the machine permanently ‘constructs’ new ‘music’ while it is being operated, hence the name “Music Construction Machine”.
To see the machine details closer and also the audience’s response check the video below: