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:
As the preeminent Virtual institution devoted to Digital/New Media Art, the Digital Museum of Digital Art presents the full range of contemporary Digital art, with a special focus on works by living New Media artists. DiMoDA is dedicated to collecting, preserving, interpreting and exhibiting Digital art and its collection while expanding the conscious experience of viewing Digital art in a Virtual space. DiMoDA is arguably the finest holding of twenty first-century Digital art in the world.
The DiMoDA building is intended as a home for contemporary digital art and incubator for new ideas, as well as an architectural contribution to the Internet’s Virtual landscape. The atrium of the museum is architected and modeled in 3D by Alfredo Salazar-Caro. Viewers wear an Oculus Rift to enter DiMoDA, immediately approaching a number of ‘portals’ which can be used to access the ‘wings’ of the museum. Exhibiting artists have complete control to shape the virtual environment in which their works are installed inside the museum.
Conceived in 2013 by Alfredo Salazar-Caro and William Robertson as a virtual institution, DiMoDA is dedicated to collecting, preserving, interpreting and exhibiting Digital artworks from living New Media artists, while expanding the conscious experience of viewing Digital art in a Virtual space. The DiMoDA building is intended as a home for contemporary digital art and incubator for new ideas, as well as an architectural contribution to the Internet’s virtual landscape.
Project Bloks is a research project from Google. It aims to create an open hardware platform to help developers, designers, and researchers build the next generation of tangible programming experiences for kids. One of the benefits of tangible programming is that it makes code physical, so kids can play with it.
Project Bloks allows kids to develop computational thinking (a set of foundational problem-solving skills) from a young age through coding experiences that are playful, tactile, and collaborative.
A modular system for tangible programming made up of electronic boards and programmable pucks enables you to send instructions to devices when connected together. The boards can be covered with any material or form you like and arranged in different ways, to create very different experiences.
The project is inspired by previous academic work in the field and is still in active research. You can read the Research section for more in-depth information.
For its 18th edition CTM Festival 2017 will take place from 27 January to 5 February 2017 at various Berlin venues, some of them new and others seasoned veterans like Berghain, HAU Hebbel am Ufer and Kunstquartier Bethanien.
A major aim of the CTM Festival since its inception has been to make space for radical and extreme forms of musical expression and dissonant emotions. Under the title FEAR ANGER LOVE, CTM 2017 plans to focus explicitly on such emotions in or through music, as well as on the diverse strategies that are applied to unleash or harness them, thus to trace the complex (musical) relations between bodies, affect and politics.
For the fourth year in a row, Deutschlandradio Kultur – Radio Art / Klangkunst and CTM Festival – in collaboration with the Goethe-Institut, ORF musikprotokoll im steirischen herbst, Ö1 Kunstradio and the SoCCoS network, and with the support of the British music magazine The Wire – are delighted to commission two artistic projects. The call is for unusual audio projects that couple the radio medium with the potential of live performance or installation while also relating to the CTM 2017 Festival theme: FEAR ANGER LOVE.
The call is open to artists in the fields of experimental music, sound art, radio art, new radio drama, and performance. The two commissioned works will premiere in the form of an installation or live performance at CTM 2017 Festival in Berlin.
The call is not subject to geographical restrictions – submissions from artists from all over the world are encouraged. Each of the two selected works will be awarded a 5,000 € fee plus production costs.
This summer ICA London offers its visitors a studied look at the evolution and subsequent dispersion of Detroit Techno music. ‘Detroit: Techno City’, on display July 27 – September 25, 2016, reflects the musical and social influences that informed early experiments in merging the sounds of synth-pop and disco with funk to create this distinct music genre.
The exhibition explores how a generation was inspired to create a new kind of electronic music that was evidenced in the formative UK compilation Techno! The New Dance Sound of Detroit (10 Records, 1988). Using inexpensive analogue technology such as the Roland TR-808 and 909, DJs and producers including Juan Atkins, Blake Baxter, Eddie Fowlkes, Derrick May and Kevin Saunderson formed this seminal music genre.
Although the music failed to gain mainstream audiences in the US, it became a phenomenon in Europe. This success established Detroit Techno as a new strand of music which absorbed European tastes and influences. This introduced a second wave of DJs and producers to the sound including Carl Craig, Richie Hawtin and Kenny Larkin.
The display concludes with a focus on Underground Resistance, a collection of DJs and artists including Mike Banks, John Collins, Robert Hood and Jeff Mills (until his departure in 1992). Their collective ambition was to challenge the commercial mainstream entertainment industry and re-establish Detroit techno music’s authenticity with an emphasis on the city as a source of inspiration.
To accompany the exhibition the ICA presents a season of online programmes featuring Detroit artists from the past and present on NTS Radio.
July 14, 2016 Dada, probably the most important avant-garde movement of the 20th century, celebrates its 100 anniversary. Dada or Dadaism art movement began on July 14, 1916 at Cabaret Voltaire, where the poet Hugo Ball proclaimed the manifesto for a new movement.
Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media. Key figures in the movement included Hugo Ball, Emmy Hennings, Hans Arp, Raoul Hausmann, Hannah Höch, Johannes Baader, Tristan Tzara, Francis Picabia, Richard Huelsenbeck, George Grosz, John Heartfield, Marcel Duchamp, Beatrice Wood, Kurt Schwitters, Hans Richter, and Max Ernst, among others. The movement influenced later styles like the avant-garde and downtown music movements, and groups including surrealism, Nouveau Réalisme, pop art and Fluxus.
How to celebrate? Let’s do it a Dada with Einstürzende Neubauten 😉
Thomas Thwaites is a prolific UK-based designer interested in technology and science, but also the complications it may bring us as humans.. He once tried to make an electric toaster from scratch. But his latest project, however, takes different approach…
The dazzling success of The Toaster Project, including TV appearances and an international book tour, leaves Thomas Thwaites in a slump. His friends increasingly behave like adults, while Thwaites still lives at home, “stuck in a big, dark hole.” Luckily, a research grant offers the perfect out: a chance to take a holiday from the complications of being human—by transforming himself into a goat. What ensues is a hilarious and surreal journey through engineering, design, and psychology, as Thwaites interviews neuroscientists, animal behaviorists, prosthetists, goat sanctuary workers, and goatherds.
Photograph: Tim Bowditch
From this, he builds a goat exoskeleton—artificial legs, helmet, chest protector, raincoat from his mum, and a prosthetic goat stomach to digest grass (with help from a pressure cooker and campfire)—before setting off across the Alps on four legs with a herd of his fellow creatures. Will he make it? Do Thwaites and his readers discover what it truly means to be human?
Thomas Thwaites studied biology and economics at the University College London, and completed his masters in design at the Royal College of Art. He is a designer (“of a more speculative sort”) in London, where he ponders technology, science, and futures research.
BOSEBuild is more than just a speaker from a famous company – with is DIY philosophy behind it engages kids in a world of engineering. Starting from the very basic elements of sound and speakers, a child can build a deeper understanding as they move toward assembling their Speaker Cube. At every step, exploration is encouraged and curiosity is rewarded.
In addition, the BOSE build Sound app includes step-b y-step instructions for pairing and assembling y our speaker cube, as well as activities and tools that help you get the most out of y our BOSE build speaker cube.
BOSEbuild creators see great potential to use the Speaker Cube in different education environments. In line with the promising transtion to STEAM (A for Arts) the BOSEbuild Speaker Cube has the potential to become a platform for learning topics and driving educational experiences beyond what is available today.
