Digital Artists' Handbook
The Digital Artists Handbook is an up to date, reliable and accessible source of information that introduces you to different tools, resources and ways of working related to digital art.
The goal of the Handbook is to be a signpost, a source of practical information and content that bridges the gap between new users and the platforms and resources that are available, but not always very accessible. The Handbook will be slowly filled with articles written by invited artists and specialists, talking about their tools and ways of working. Some articles are introductions to tools, others are descriptions of methodologies, concepts and technologies.
MediaBerkman : Beth Kolko on Creativity and Consumerism - Podcast & Video
Download the MP3 (time: 053:22)
Beth Kolko, Berkman Fellow and Associate Professor of Technical Communication at the University of Washington, was the guest speaker this week at the Berkman Center’s Luncheon Series. Kolko’s presentation was entitled “User, Hacker, Builder, Thief: Creativity and Consumerism in a Digital Age.” The not very slow but definitely steady flow of computer technology into far corners of everyday life has changed fundamental cultural processes and affected how people work, learn, and play. It’s also provided lots of cool stuff to buy. But by some measures there has also been a somewhat fundamental failure of imagination in envisioning what hardware, software and services can look like which has resulted in users from outside targeted demographics adapting technology in unexpected and creative ways. This talk is about diversity of design, the cult of expertise, why hackers are the good guys and lays out the argument that theories of subjectivity and axe grinders can be part of the same conversation. Encouraging users to become hackers, builders, and thieves may be the best way to ensure creative and diverse design.
ART TORRENTS: Bernadette Corporation - Get Rid of Yourself (2003)
Get Rid of Yourself is a video-film-tract addressed to those who anonymously embody the return of political activism within Empire. While its initial sounds and images were filmed during the riots in Genoa, 2001, these materials are pulled apart and recomposed in order to locate the intensity of a shared experience, rather than producing one more documentary version of the programmed and hyper-mediatized confrontation of the G8 counter-summit. Elaborating a complex and rhythmic form of address via sound/image disjunctions, cheap video effects and performance, the film declares its own exile from a biopolitical space-time where nothing ever happens. The crisis it announces is the sudden return of history, but this time without characters or a story, and of a politics without subjects.
Provisionally aligning itself with the so-called ‘Black Bloc' movement – with the arrogance of its discourse as well as the force and style of their resistance – Get Rid of Yourself is an encounter with emerging, non-instituted or identity-less forms of protest that refuse the representational politics of the official Left. Edited in the aftermath of 9/11 - a period of doubt, reflection and heightened security measures worldwide – the film also attempts to measure the strange distance these events have crossed, and the increasing repression under which the feeling of ‘civil war' has been buried in the meantime. A filmed essay that works by betraying its own form, Get Rid of Yourself tries to approach what is most open in an event, rather than capturing and completing it as something recognizable.
Brian Wood - Comics + Graphic Novels
Public Domain is a 145-page collection of Channel Zero "extras"... test pages, character sketches, short stories, unused artwork, photography... all material I generated while creating the Channel Zero world but that never saw print in the graphic novel.
UbuWeb Sound - Francis E. Dec: 5 Rants
Francis E. Dec, Esquire, of 29 Maple Ave, Hempstead, New York, is one of the most mysterious characters in all kookdom. Though thousands are familiar with his letters and rants, my researches have turned up only a few choice morsels of information about him. Until late 1995, none of his thrill-seeking fans had ever seen him; and to this day, none of them has ever heard him speak.
Dec is best known for his repeated invocations of the mantras "Frankenstein Earphone Radio," "Frankenstein Eyesight TV" and "Computer God Parroting Puppet Gangster Slaves," signature phrases that turn up in each of his flyers.
We are quite fortunate here at the Kooks Museum to have received copies of an original Dec flyer which was sent, during the mid-eighties to an employee of a folding wall company in Indiana. Dec had sent one of the company's business reply mail cards back to them, with his flyer "Master Race Frankenstein Radio Controls" stapled to the card. The employee was neither thrilled nor amused by this, and, in fact, complained to the post office for carrying mail obviously six times the size that was covered by the permit. Fortunately, the employee's son, the Kooks Museum's L.A. correspondent Tim Maloney (kookologist in training), made copies of the flyer and later donated one to our archives.
U B U W E B - Film & Video: Robert Whitman
Robert Whitman created some of the earliest and most important performance works of the 1960s. In his performances, the poetic and often surprising interaction of film, lights, sound, live performers, props, and objects that take on a life of their own create a dense visual, non-narrative dramatic structure.
Thses films capture for the viewer important and seminal examples of this ephemeral art form. It makes available for the first time original recordings of three of Whitman's 1960s performances and documents the creative thinking of an innovative artist and the artistic climate of the time.
Included is original footage of The American Moon (1960) and Flower (1963), both filmed by Whitman as notes to himself, and short documentaries about the works featuring interviews with Trisha Brown, Jim Dine, Simone Forti, Claes Oldenburg, Lucas Samaras, and the artist. A recent performance of Prune Flat (1965) is accompanied by an interview with Whitman on the piece. A bonus video presents Ghost, Whitman's recent theater work, first performed in September 2002, with notes by Lynne Cooke and Arne Glimcher.
Garden Of Delights: Serge Gainsbourg- Les Annees Psychedeliques (1966 - 1971)
All the freaky, funky Serge Gainsbourg you could ever want -- served up in a single set! The package pulls together some of the grooviest tracks by Serge from a host of late 60s and early 70s albums -- including some of his super-rare French soundtrack work -- from movies that include Le Pacha, Anna, Ce Sacre Grand-Pere, Cannabis, and Manon 70! The double-length set is overflowing with great grooves -- tracks done with that subtly funky style that Serge cooked up with arrangers Michel Colombier and Jean-Claude Vannier, all topped with that breathy, nearly-spoken style that made Gainsbourg so great back in the day. A few of the most break-heavy cuts are even presented with special bonus beats -- and titles include "Requiem Pour Un Con", "Je N'Avais Qu'Un Seul Mot A Lui Dire", "New Delire", "Pas Mal Pal Mal Du Tout", "Chanson Du Forcat", "Danger", "Premiere Blessure", "L'Alouette", "No No Yes Yes", "Breakdown Suite", "Psychastenie", "Boomerang", "Photographes Et Religieuses", "Generique Pop 2", and "En Melody".
MediaBerkman : Fernando Rodrigues “Journalism and Public Information in Brazil” - Podcast Download the MP3 (time: 01:05:31)
ART TORRENTS: Robert Smithson & Nancy Holt - East Coast, West Coast (1969)
22 min, b&w, sound
East Coast, West Coast, Holt and Smithson's first collaborative experiment with video, takes the form of a humorous bi-coastal art dialogue. Joined by their friends Joan Jonas and Peter Campus, Holt and Smithson improvise a conversation based on opposing - and stereotypical - positions of East Coast and West Coast art of the late 1960s. Holt assumes the role of an intellectual conceptual artist from New York, while Smithson plays the laid back Californian driven by feelings and instinct. Their deadpan exchange ironically lays bare the limitations and contradictions of both sides in the debate.
Robert Smithson is recognized as one of the most influential artists of the twentieth century. Smithson, who was born in 1938 and died in 1973, was a seminal figure in the art form that became known as earthworks or land art. He radically redefined notions of sculpture through his writings and projects. Among his most important and well-known works are Spiral Jetty (1970), a monumental earthwork located in the Great Salt Lake, Utah, and Partially Buried Woodshed (1970) at Kent State University in Ohio. Smithson's critical writings have had an equally profound impact on contemporary art and theory.
A pioneer of earthworks and public art, Nancy Holt has also worked in sculpture, installation, film, video, and photography for over three decades. She is best known for her large-scale environmental sculptural works, including Sun Tunnels in Utah and Dark Star Park in Virginia. In the late 1960s and early 1970s, Holt made a series of pioneering film and video works, including several collaborations with Robert Smithson. Holt's early videos explore perception and memory through experiments with point of view and process.
Get The Curse | infamous music
This is a French blog for music and videos. It seems to be experimental house and club music but I have not really looked into it. I like the design of the blog and some of the people in the images look interesting. Much more about it I have yet to discover, however they have a lot of music and video.
The DEPARTMENT FOR IMAGE SCIENCE & DATABASE OF VIRTUAL ART present: ::danube telelecture REMIXING CINEMA : Future and Past of Moving Images = with Lev MANOVICH and Sean CUBITT - stream now available ::
Cinema as a visual phenomenon has accelerated increasingly over the last decades. Technical achievements at the material level like new participatory models driven by the melting of Internet, Databases, TV and Cinema are setting new standards and bringing a new dynamic to the black-box of the movie theater. Remixing, Coding, Remapping, and Recombination of visual manifestations are revolutionizing the narrative form of film - new societal phenomena, like the VJ scene, generate immersive viewing spaces and new forms of moving image distribution. The domain of video, film, computer and net-based installations stands on the threshold of a material revolution: do they bring a new aesthetic?
Revolutionary possibilities in camera and projection techniques offer increasingly faster development cycles that also allow for innovative image languages. New historical perspectives of the cinematic revue coalesce with innovative interpretations of our visual consumer culture and foretell future developments. What can be expected ... what are the consequences?
Lectures and debate with:
Sean CUBITT, Australia: "Immersion, Connectivity, Conviviality"
Lev MANOVICH, USA: "After Effects, or Invisible Revolution"
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