The latest in an ongoing series of themed collections of creative projects assembled by Prosthetic Knowledge. This edition brings together works dealing with early computational sculpture, looking at objects designed and fabricated with the computer. Add your suggested additions in the comments below.
Isa Genzken holding one of her Hyperbolos in her studio in Düsseldorf, 1982.
As with all fields of the arts, the role of computing in the field of sculpture and form-fabrication is rapidly growing. 3D printing is the most obvious example, with its now familiar method of taking a 3D design file and producing a physical object to match, line upon line from the supporting surface upwards. Also, with the assistance of programmable electronics, installations of arranged matter can be maneuvered into various forms and performances, receptive to local stimuli or external data, all of which is connected to an out-of-range laptop orchestrating the spectacle.
For this submission, though, the aim is to explore some of the earliest examples of computing and sculpture, by artists who were in a position to explore the potential in an at-the-time esoteric field. These artists glimpsed the possibilities and problems that emerge when the object becomes a digital entity, long before the rise of 3d printing.
The latest in an ongoing series of themed collections of creative projects assembled by Prosthetic Knowledge. This edition takes a look at creative projects and cultural implications that emerge from the meeting of computing culture and economics.
It's interesting that the etymology of the word "economics" goes back to the Greek oikonomikos, meaning "practiced in the management of a household or family," "frugal" or "thrifty," especially considering the term's modern-day association with big capitalism. On a small or large scale, economics has always been concerned with the distribution of wealth and the management of resources, and its principles can therefore be applied in a range of other fields. For example: In the mid-70's, the subject entered into dialogue with the biology (such as Gary Becker's paper "Altruism, Egoism and Genetic Fitness: Economics and Sociobiology" and "Economics from a Biological Viewpoint" by Jack Hirshleifer), where resources such as fitness, energy, disease, or environment were studied in an economic framework.
The latest in an ongoing series of themed collections of creative projects assembled by Prosthetic Knowledge. This edition brings together projects that make use of the Oculus Rift, a device that has reignited interest in virtual reality and provided creative inspiration for hackers and artists alike.
Kim Laughton, Timefly.
There are, however, new possibilities opening up around the next generation of mediated experiences. Of course, the artistic possibilities are tremendous, but the implications are far greater for many fields which may be struggling with their digital upkeep. From advertising to fashion, art to pornography, the photograph will not be "flat" anymore. The image can be seen from any angle, from the swipe of a touchscreen or drag from a mouse, or explored step-by-step with a headset and motion detector. "Photoshopping" will be 3D. It is not only industry-class endeavours that will change, as depth-sensing is now smaller and portable, and could give the (word-of-the-year contender) selfie an added dimension. Will the Facebooks or Flickrs support this new format? Or will another contender arise to facilitate a new process of creative self-identification?
The latest in an ongoing series of themed collections of creative projects assembled by Prosthetic Knowledge. This edition brings together music videos by artists for whom the internet is a primary medium.
Rosa Menkman, 03: Karate aka ☵ ☲ // 010 101 // kǎn lí. GIF extract from music video for Little Scale.
The terms "net art" and "music video" are, while useful, close to becoming retronyms. With electronic technology becoming more easily available and ubiquitous, we are in a time where "new media" is not necessarily "new". As McLuhan famously punned his own phrase, "The Medium Is The Massage:" "All media work us over completely. They are so pervasive...that they leave no part of us untouched, unaffected, unaltered." This applies to the internet, which is becoming more and more familiar and available, making the boundaries and definition of Net Art less and less clear.
Music videos (or at least, how music is promoted and delivered) are also changing—we are seeing more and more examples which are not necessarily traditional viewing experiences. For example: Machine Stop by Duologue, which uses WebGL to display Kinect-gathered performances which the participant can edit; Skrillex Quest, an online interactive game; works by Aaron Koblin. Maybe the word "video" is returning to one of its possible etymological origins, in which it was linked to the word "idea," and away from its more familiar definition...
Despite these shifts, though, both are still enjoyable cultural forms with plenty of creative possibilities still to be explored. In this short playlist, I bring together several works by unique creatives most often associated with Net Art applying their talents to the music video. Enjoy.