My work is to make something beautiful with technology. I believe in spiritual technology. Video Weavings is a link between the modern (video) and the ancient (weaving) technologies. Video Weavings are based on poetic mathematical rhymes, or algorithms, visualized in real time on the warp and weft of video's horizontal and vertical scanning electron beams, color phosphors, plasma cells, and LCD pixels.
As the niche genre of software art expands beyond the web and into mobile devices, media artists are finding ways to integrate their work into a new form of business model. Instead of giving away your work for free on the web, Apple's iPhone and iTouch devices provide an ample platform for distribution (through the Apple App Store) and hardware support for novel ways to experience screen-based work.
Erik Adigard is a communication designer whose work stretches into domains as broad as identity systems, web sites, videos, visual essays, and book design, as well as documentary films and installations in art museums and exhibitions. With distillations of trends and ideas into visually arresting spreads and iconography, Adigard and his M.A.D. company partner Patricia McShane's work was a key element establishing Wired magazine's visual storytelling from its start in 1993. This last decade has seen Adigard nearly as involved in installations and art venues as he is with his admittedly broad design practice.
Adigard’s most recent public work was AirXY, for the 2008 Architecture Biennale in Venice, created with M.A.D. and Chris Salter. A multimedia installation with interactive animation, sensors, haze, light, and sound, AirXY explored space, architecture, media, and the human presence, extended by sensors and transformed by interfaces and networks. Its manifesto described the “de facto landscape of screens” and disembodied living and called for “re-materialization” that would unite “data and bodies.” It followed Dualterm, in which Adigard and Salter used a Toronto Airport Terminal as a mixed point of departure into a SecondLife 3D world, along with other, less virtual destinations.
Friends and sometime collaborators, we sat down in a San Francisco Mexican restaurant--in the midst of a blaring and lengthy Michael Jackson tribute--to talk about how his approach changes when working in the different modes of art and design. -John Alderman
Jane Marsching and Andrea Polli are currently organizing a panel entitled "Far Field: Digital Culture, Climate Change and the Poles" for the next CAA Conference in Chicago. See the abstract below, for more information and to submit a paper, visit the original announcement on Rhizome.
Panel Abstract: Human understanding of the North and South Poles has been radically transformed by innovations in digital and networked technology, particularly in the last decade. The realities of the climate crisis have fueled new technologies in the fields of science, engineering, and art. This panel seeks to explore the transformation of cultural understandings of the unique position and rapidly changing environments of the North and South Poles through digital technology.
Dan Hill, of the architecture blog City of Sound, posted a nice synopsis of a long discussion between himself and architect and engineer Carlo Ratti today. Ratti is the director of the MIT SENSEable City Lab, which researches the impact of sensors and hand-held electronics on architecture and urban planning. In the article, Ratti talks about their work as well as his vision of a "responsive city."
Annual psychogeography festival Conflux is currently seeking proposals for "ConfluxCity" which will occur on September 20th during the run of the festival this Fall. Participants will have the opportunity to "organize, promote, and host their own activities and events" at the Conflux headquarters during the event. To read more about the project and to apply, visit the call on the Conflux website.
The Banff New Media Institute, ZER01, and the Sundance Institute have teamed up to present a new commission for "Locative Cinema." Selected artist or artists will have the opportunity to realize their project through a residency at the Banff Centre in July 2010. They will also receive funding ($4,500) and will present their work at the 2010 01SJ Biennial from September 15 - 19, the 2011 edition of New Frontier at the Sundance Film Festival from January 20-30, and the 2011 Banff Summer Arts Festival. Read below for a short description of the commission, for more information and to apply, visit the original call on the ZERO1 site.
The purpose of this commission is to use ‘locative cinema’ as an apparatus through which artists can share their vision using place in ways that are both specific and generic, or at least transferable. The Commission understands the notion of ‘locative cinema’ as a platform-agnostic apparatus through which artists share their vision of place. Any variation on how to present an artist’s work will be considered, from cell phones to the black box of the cinema, from mixed reality to street theatre, from GPS to handhelds, from distributed to ambient. Proposals will be evaluated on their ability to engage people using place as a key element of the experience.