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My boyfriend came back from the war - EduEDA - The EDUcational Encyclopedia of Digital Arts

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Anna Karenina goes to paradise - EduEDA - The EDUcational Encyclopedia of Digital Arts

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Questo articolo è solo un abbozzo (stub). Se puoi contribuisci adesso a migliorarlo. - Per l’elenco completo degli stub, vedi la relativa categoria

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Dragan Espenschied
Rafael Rozendaal
Auriea Harvey
Niko Princen
Saskia Aldinger
Sebastian Schmieg
Constant Dullaart
GLI.TC/H
Jonas Lund
Ethan Marcotte
Theo Seemann
Raquel Meyers
Anthony Antonellis
Kevin Bewersdorf
Emilie Gervais
Kim Asendorf
James Bridle
Annie Abrahams
Pieter
Jaka Zeleznikar
Jan Robert Leegte

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The New Museum Digital Archive contains documentation of the New Museum’s program and institutional history in the form of images, video, audio, publications and printed matter.

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Moscow WWWArt Centre - V2_ Lab for the Unstable Media

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An initiative of Alexei Shulgin Moscow WWWArt Centre (1995) was an online arts gallery.

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Alexei Shulgin/ 386 DX – Biggest Smash Hits | Neural

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Easy Life : Free Download, Borrow, and Streaming : Internet Archive

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C3 Collection - C3 Foundation | Center for Culture and Communication

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C3 Foundation | Center for Culture and Communication, Budapest, Hungary, Collection

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La prima mostra della stagione (S)exhibitions 2019/2020 vuole dare spazio ad alcune opere della parte indubbiamente più trasgressiva della Collezione OGA, in cui la sessualità decisamente esplicita si affianca molto provocatoriamente all’erotismo, per creare miscele esplosive conturbanti. V.M.18anni

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La net art, (o new screen art, computer art, web art, Ascii art, Software art, Form art) comprende forme d’arte nate e cresciute sul Web. Riguarda l’utilizzo di Internet non come mezzo di diffusione dell’opera artistica ma di creazione artistica. Da non confondere dunque con l’art on the web, che utilizza invece internet semplicemente come mezzo di distribuzione delle informazioni.La parola net-art, nata nel 1995 ad opera di Vuk Cosic, nasce proprio per sottolineare la distinzione tra le forme d’arte che fanno parte del web da quelle che se ne servono per la loro diffusione. Alexei Shulgin, uno dei pionieri della net.art, sostiene che l’arte in rete è solo “documentazione di arte che non viene creata in rete, ma al di fuori di essa e, in termini di contenuto, non vi stabilisce alcuna relazione“, la net.art invece “funziona solo in rete e prende la rete o il mito della rete come tema”. Nella Introduzione alla net.art dello stesso Shulgin e di Natalie Bookchin del 1999 si legge: “la Net.art è un termine autoreferenziale creato da un pezzo di software malfunzionante, originariamente utilizzato per descrivere un’attività estetica e comunicativa su Internet“.

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Technologies To The People (TTTP) - Projects.

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Sito ufficiale di Heath Bunting e collettivo irational.org

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Sito ufficiale di Heath Bunting e collettivo irational.org

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Surname: .org.
Postal address: rosebery cottage, rosebery avenue, bristol bs2 9tw, united kingdom.
Work telephone: +44 (0)117 911 4350 x 1000.
Email: irational@irational.org
Homepage: http://www.irational.org/irational/

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Surname: .org. Postal address: rosebery cottage, rosebery avenue, bristol bs2 9tw, united kingdom. Work telephone: +44 (0)117 911 4350 x 1000. Email: irational@irational.org Homepage: http://www.irational.org/irational/

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This interview of Madja E. G. by Lauren Studebaker, has been published in Rhizome on 25 august 2017. Madja E. G. is the collaborative creation of E. Guez and Martine Neddam.

Madja Edelstein-Gomez is an independent curator and activist, based in Paris and Kuala Lumpur. Edelstein-Gomez has created a new interface for an online exhibition, produced by Zinc, with support from Le Château Éphémère, Dicréam-CNC, L'Espace Multimédia Gantner, and Rhizome. The Recombinants aligns itself with Edelstein-Gomez's concept of recombinance, a condition of being that she assumes as identity and explores through her recent artistic and curatorial efforts. The Recombinants will show on the front page of rhizome.org from August 25-28th, 2017, alongside the Art-O-Rama fair in Marseille, FR.

Edelstein-Gomez's concept of recombinance is revealed through the exhibition's manifesto, which describes a new digital mysticism; one whose text echoes ideas of transhumanism and the simulacrum, with a simultaneous claim to entirely reject these pre-established means of clarification and identification. The manifesto removes itself from the vernacular application of the term "recombinant" (one tied to genetically modified organisms). Instead, the recombinants's materials are described to be the result a form of data-splicing that removes any disparity between the data anatomy of digital datasets and organic DNA, which are explained to be constantly rewritten, or "recombined" in a cycle of constant rebirth and in the form of an eternal return. The manifesto claims many things the Recombinants are not; there are direct rejections of being merely cyborgs, replicants, mutations, humans, or computers, and the Recombinants reject any adherence to the past or future. From an outside perspective, the manifesto is mysteriously ambiguous, as the Recombinants claim to exist as nothing and everything at the same time.

Upon entering the online exhibition, the viewer is greeted with a slowly-moving landscape of colliding image-planes and broken and disrupted bits of sound. The viewer is encouraged to navigate through the use of a series of geometric buttons that reveal text, change the presentation style, and provide links to individual artist's profiles. In the exhibition's press release, it is revealed that the online presentation is an AI-generated recombination of the submitted works, being constantly processed live and presented differently for each viewer, with an audacious claim to be the "show of the future."

I spoke with Edelstein-Gomez to discuss her exhibition and curatorial practice in the hopes of expanding upon her understanding of the recombinant existence and its applications to this online exhibition format.

Lauren Studebaker: Usually, we're familiar with the term "recombinant" in its applications to genetics and biology-GMOs, gene-splicing, etc. In the Recombinant Manifesto, this application of the term is mentioned, but transcended. Could you introduce your concept of the Recombinants?
Madja Edelstein-Gomez: Rerecombinance, recombinance, recombinanciation, recombing... What can I say about recombinance, except that doesn't easily lend itself to commentary... Touch it, refer to it, think about it and you get affected, contaminated, it's an autoimmune remedy to every disease. Recombinance recombines itself by using everything around it. Oops, you just got recombined.
LS: How did you come into the realization of recombinance?
MEG: One day I became a Recombinant.

No.

I always have been a Recombinant.

And it was not just me. I know there are many Recombinants out there.

I realized that something had occurred that should have killed me or make disappear. It was a like a system error in an operating system, or a genetic modification in a living being. But that thing wasn't new, it was always already there, encoded inside of me.

It's quite hard to explain. Instead of being afraid of it, I tried to claim it, it inspired me this manifesto.
LS: What influenced your development of this recombinant philosophy?
MEG: It was shattering and some twitching slightly resonated with it. And once it blasted, I encountered tiny skewed elements inside my existence.

In biographical terms, I could have said "this" and "that" happened to me. But I'd rather not express what happened within a timeline, with a "before" and an "after."

I now know it was always there.

Read more about this "moi" here.

But don't worry, I'm not some sort of psycho freak. When needed, there can be a regular bio and a presentation of myself as an online curator that fits the bill, like what Le Zinc in Marseille has published.
LS: How does the recombinant philosophy tie itself into the presentation of works online and how is the exhibition format of exclusively digital means of presentation in alignment with the recombinance?
MEG: Online, all data generates more data.
Ad infinitum.
View any odd webpage and your viewing data has been recorded by numerous systems along the line, the cookies on your hard disk, your internet provider, your social networks, every online activity leaves slimy, greasy, dusty fingerprints made of data, that proliferate into big datasets, and when analyzed, produce more data, etc...
LS: A realization in the Recombinant Manifesto surrounds the idea of collapse of the concept of past and future, a rejection "of everything post- and trans-." As a curator, how would you say this position of recombinance informs your selection of works and philosophy of contemporaneity in the context of an exhibition?

MEG: A non-human narrative doesn't relate to recombinancial time or category and doesn't relate to post-something or trans-something. Inside it, you get exposed to sequences of data that will rewrite you in such a way that doesn't let you refer to an existing model of reference.
LS: So, the idea of recombinance is tightly aligned with data ontologies? Could you then talk a bit about the presence of recombinance, or the recombinant action, in digital artmaking?
And yet, what we are doing is simply sending out an open call for an online show. It is our way to set into motion the possibility of a recombinant narrative written by the machine herself. The narrative of data being mined and reminded.

MEG: Artmaking itself is not the question really, digital or not. Art is not necessarily something you "make," so I'm not talking about artmaking. Art is something you "name," not something you "make." All you need for something to be art is to be recognized as such, to be named it as such, and it becomes art.
The question "what is art?" ran through the whole twentieth century. Until we found out that art was nothing but a question.
Now, in the twenty-first century, we have the answer to "what is art?": Art is a Question.

A question is a recombined statement. For example, if you recombine "This is art," it becomes "Is this art?" The question mark signals that you have opened the signification to endless possibilities, and you have generated the desire for something, the inextinguishable desire for an answer, a hole inside a meaning.
LS: Then what hand does curating the results of the open call have in the equation? As one who identifies as recombinant, how does your curatorial practice differ from a more traditional model?
Now imagine you go further into recombinance by shuffling every single letter of this chain of characters. You have generated a multiplicity of new meanings all derived from this dataset, like "a tart wish," "war at hits," "it shat raw"... and many many meaningless combinations. You have created an infinity of littles holes of meaning, a lace of meaninglessness all intertwined around that big question. These are the generative powers of Recombinance, and this is how I am curating.

MEG: I see curating in general, traditional or not, as "a throw of dice."
Chance is the main factor.
Curatorial explanations are nothing but a layer of varnish over it.

"Un coup de dés jamais n'abolira le hasard."

"A throw of dice will never abolish chance", said the French poet Mallarmé, as he scattered the words of his poem across the page with plenty of empty space around the words. That was a founding act in poetry in 1897, and if you ask me, the very first act of Recombinance also.

One hundred and twenty years later, commentators still wonder if what scatters the words of Mallarmé is not a hidden code, yet uncracked. Quentin Meillassoux in The Number and the Siren argues that there must be a code, but the encoding of the poem is incomplete, and that is precisely how Mallarmé wanted it: an incorrect code.

Is Recombinance a form "curating by numbers?"

Is there a curatorial algorithm at the heart of my practice?
LS: Does the possibility of anonymity from online submissions (or the digital in general) enhance the recombinant philosophy?
If there is a code, I myself am included in that code, I am just a piece of that DNA, and whatever I change in it, changes me, in an incomplete way.

MEG: Anonymity is not an issue at all. A name is just an element of a dataset, and not the most interesting one.
Besides, when you submit online, you do it with your own chosen name.
What you might not know is that when you post your data, is that you get your personal exhibition on the spot, as the first display of your recombined art. This display remains available and you can share it online with everyone. This is the reward of trust.

Look at some personal exhibitions available here from Guido Segni, Chloe Cheronnet, Garrett Lynch, and Anne Pfff.
LS: On both your personal website, as well as in the Recombinant Manifesto, you recognize psychic energies, telepathy, spiritualism, and the paranormal as different manifestations of recombinance. As both an artist and curator working with the internet and developing technologies such as AI (in your chatbots, for example) as a means of production and exhibition, how do you view the collective and ephemeral condition of the digital in comparison to these more mystic ideas?
In our big exhibition which will premiere in Art-O-Rama in Marseille in 25 August the names will not disappear. They will be recombined together with the works.

MEG: Once you start questioning the premises of your own bodily existence there is no way back. I am the product of a communication energy, just as much as you are.

Life is but an exchange of messages.

And it's pretty much the same as what we are doing now: exchanging messages.

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This interview of Madja E. G. by Lauren Studebaker, has been published in Rhizome on 25 august 2017. Madja E. G. is the collaborative creation of E. Guez and Martine Neddam. Madja Edelstein-Gomez is an independent curator and activist, based in Paris and Kuala Lumpur.

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What do you do when you reach enlightenment? Keep going. x-devian was ahead of its time in 2005. But that didn't stop Technologies To The People engineers from moving forward. Get a glimpse of the not-so-distant future. Introducing the new x-devian.

Use it, it's free

New in x-devian, includes more than 16,000 pieces of software, but the core desktop installation fits on a single CD. x-devian covers every standard desktop application from word processing and spreadsheet applications to web server software and programming tools. x-devian is a free, open source GNU/Linux-based operating system.

Absolutely Free of Charge

x-devian is Free Software, and available to you free of charge. It's also Free in the sense of giving you rights of Software Freedom, but you probably knew that already! Unlike many of the other commercial distributions in the free and open source world, the x-devian team really does believe that Free software should be free of software licencing charges.

Fast, Easy Install

x-devian has a fast and easy graphical installer right on the Desktop CD, which is also a Live CD. We have kept the distribution installation CD set down to one single CD, everything else is available online if you need it. On a typical computer, the x-devian installation should be done in less than 25 minutes. Best of all, you will only ever need to use it once, because we support ongoing upgrades via the network, from version to version. You never need to reinstall the operating system, just upgrade from each released version to the next when you want to. And if you use x-devian on the server, we haven't forgotten you. x-devian includes a nice, easy text installer and even has a one click LAMP install option!

Immediately Useful

When you finish your x-devian installation your system is immediately usable. On the desktop you have a full set of business productivity applications, internet applications, drawing and graphics applications, and games. Or for the server you get just what you need to get up and running, with nothing you don't. There are thousands of additional pieces of software that are just a few clicks away, but we've done the hard work to get the basics in place easily and effectively.

Applications

x-devian includes a full range of desktop and server applications. When you install x-devian you have software for most computing needs, from complex programming to business presentations and databases. x-devian is a complete desktop operating system and application set. It includes everything you need to gain computer literacy skills, and to become proficient in the use of computers for home, business and professional purposes. x-devian is an excellent platform for education, there are no limits to the amount that students can learn about their software.

Business software in x-devian

When you install x-devian, you get business software that handles word processing to create letters and documents, spreadsheet software for business analysis and calculation, and presentation software that lets you get your point across clearly in a business meeting. This software, called OpenOffice, is compatible with Microsoft Office, so you can easily exchange documents with friends and colleagues who use Windows and Microsoft Office.

x-devian also includes a world class internet browser ( Firefox) which is fast and secure, and which has many features to improve your web surfing experience. For example, tabbed browsing lets you open many web pages in the same window and switch quickly between them, and popup blocking means that you determine which sites are allowed to create new popup windows and adverts. x-devian has an excellent email and calendar application ( Evolution) which sets the pace in the email world in terms of searching and organising your mail.

x-devian for education

x-devian is an excellent operating system for education. If you are looking to gain basic computer literacy, x-devian includes applications that cover every area of computer use from the straightforward (typing, word processing) to the specialist (graphic design and desktop publishing). It is also an excellent platform for students of information technology and computer science, as it includes all the tools you need to become a world class software developer. x-devian is available in many languages, which makes it appealing to new users who prefer to learn in their local language.

x-devian for Internet servers

On the x-devian installation disk you will find specialised software for databases, web serving, email hosting and DNS name serving, internet cacheing and directory services. x-devian also includes Samba for Windows file sharing, FTP server software for large file repositories and NTP for network time services. x-devian can be installed in a minimal server configuration optimised for datacenter servers that will not be used as desktop machines.

Debian and x-devian

x-devian and Debian are closely related. x-devian builds on the foundations of Debian architecture and infrastructure, with a different community and release process.

Debian is "the rock upon which x-devian is built".

Debian is a volunteer project to develop a GNU/Linux distribution. Debian was started more than a decade ago and has since grown to comprise more than 1000 members with official developer status and many more volunteers and contributors. It has expanded to encompass nearly 17,000 "packages" of free and open source applications and documentation. Debian's history, make-up, and position make it very good at certain things. Debian has a well-deserved reputation for integrated package management and access to a large list of free software applications. As a result, Debian has grown into one of the largest Linux distributions. As a volunteer organization, Debian has historically been less good at making time-based or predictable releases, and has a difficult time providing accountability. Stable releases of Debian have been few and far between in recent years. The more raw unreleased versions of Debian do not provide security fixes for individual packages that are rapidly changing, but are incorporated in development work. While not important to many Debian users, these shortcomings have discouraged a number of potential Debian users. Still Debian is ported to more architectures than any other distribution, and allows for almost any combination of free software components to be mixed and matched as you wish. The x-devian team hopes to address some of those issues and bring more people onto the Debian system.

Get ready, get set, get x-devian

When you install x-devian almost all of the software installed already meets these ideals, and we are working to ensure that every single piece of software you need is available under a licence that gives you those freedoms. Currently, we make a specific exception for some "drivers" which are only available in binary form, without which many computers will not complete the x-devian installation. The complete x-devian software repository is enormous. About 1,000 pieces of software are installed by default, out of the basic fully supported software list of 1,300 packages. In addition to that, there are more than 16,000 packages which are available to you immediately, and more software is available from third parties. Coming summer 2007.

All features referenced in the x-devian are subject to change.

Now Built In

x-devian offers some new standard features you may have seen before.

Universal System

More and more people are using Linux. To make this choice simply irresistible, x-devian lets you install and run the operative system on your computer. x-devian is suitable for both desktop and server use. The current x-devian release supports PC (Intel x86), 64-bit PC (AMD64), Sun UltraSPARC and T1 (Sun Fire T1000 and T2000), PowerPC (Apple iBook, Powerbook, G4 and G5) and OpenPower (Power5) architectures. Download your Operative System

Free and open source software

x-devian is a community driven project to create an operating system and a full set of applications using free and open source software. At the core of the x-devian Philosophy of Software Freedom are these core philosophical ideals: Every computer user should have the freedom to run, copy, distribute, study, share, change and improve their software for any purpose, without paying licensing fees.Every computer user should be able to use their software in the language of their choice. Every computer user should be given every opportunity to use software, even if they work under a disability. Our philosophy is reflected in the software we produce and include in our distribution.

Free software

For x-devian, the "free" in "free software" is used primarily in reference to freedom and not to price - although we are committed to not charging for x-devian. The most important thing about x-devian is not that it is available free of charge, but that it confers rights of software freedom on the people who install and use it. It is those freedoms that enable the x-devian community to grow, sharing its collective experience and expertise to improve x-devian and make it suitable for use in new countries and new industries. Quoting the Free Software Foundation's " What is Free Software", the freedoms at the core of free software are defined as: The freedom to run the program, for any purpose. The freedom to study how the program works, and adapt it to your needs. The freedom to redistribute copies so you can help others. The freedom to improve the program, and release your improvements to the public, so that everyone benefits. Free software has been a coherent social movement for more than two decades. This movement has produced millions of lines of code, documentation, and a vibrant community of which x-devian is proud to be a part.

Open source

Open source is a term coined in 1998 to remove the ambiguity in the English word "free". The Open Source Initiative described open source software in the Open Source Definition. Open source continues to enjoy growing success and wide recognition. x-devian is happy to call itself open source. While some refer to free and open source as competing movements with different ends, we do not see free and open source software as either distinct or incompatible. x-devian proudly includes members who identify with both the free software and open source camps and many who identify with both..

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Get a glimpse of the not-so-distant future. Introducing x-devian.

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VIRII VIRUS VIREN VIRY – digital_is_not_analog.01

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VIRII VIRUS VIREN VIRY – digital_is_not_analog.01

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Manifesto (img)_____
[ epidemiC ] is not_____

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Biennale.py (2001) < Eva & Franco Mattes

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Biennale.py is a computer virus that we created for the 49th Venice Biennale, together with the hacker group Epidemic. Released on the opening night, it quickly spread throughout the world. Once inside a computer, the virus copies itself into specific files, it does not intentionally damage the host, it stays there, quiet, hidden in the machine, hoping to survive as long as possible. Like most biological viruses, this is its main function and its reason for existing.

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Daniel G. Andújar Archive – by Technologies To The People