Cyberarts 2001 presents arts, science, and research work from the categories Computer Animation/Visual effects, Digital Musics, Interactive Art and .net on a common platform providing a current survey of the international scene of digital media art.
An English and German text describing the Prix Ars Electronica 2000 computer platform, and the advantages of using it in the digital age. Discusses how this platform is different from other, more common platforms, and what its position, role and focus are. For cyberartists in various disciplines.
This book of interviews tracks the work of artists in the field of new media art in order to consider the massive changes and developments over a relatively short period of time. They are also a celebration of the ten years that the online resource for curators of new media art, CRUMB, has been publishing interviews and other research. The artists featured in this book range across the contemporary arts. They have been working away, not in the centre or the periphery, but in the nodes of this networked field of new media art.
This book of interviews tracks the work of curators in the field of new media art in order to consider the massive changes and developments over a relatively short period of time. They are also a celebration of the ten years that the online resource for curators of new media art, CRUMB, has been publishing interviews and other research. The curators featured in this book range across the contemporary arts. They have been working away, not in the centre or the periphery, but in the nodes of this networked field of new media art.
Edited by Sarah Cook, Beryl Graham, Verina Gfader and Axel Lapp. Includes interviews with: Peter Weibel, Barbara London, Christiane Paul, Larry Rinder, Kathy Rae Huffman and Julie Lazar, Benjamin Weil, Nathalie Anglès and Sebastien Sanz de Santamaria, Matthew Higgs, Magdalena Sawon and Tamas Banovich, Steve Dietz, Rudolf Frieling.
Rethinking Curating explores the characteristics distinctive to new media art, including its immateriality and its questioning of time and space, and relates them to such contemporary art forms as video art, conceptual art, socially engaged art, and performance art. The authors, both of whom have extensive experience as curators, offer numerous examples of artworks and exhibitions to illustrate how the roles of curators and audiences can be redefined in light of new media art's characteristics. They discuss modes of curating, from the familiar default mode of the museum, through parallels with publishing, broadcasting, festivals, and labs, to more recent hybrid ways of working online and off, including collaboration and social networking. Rethinking Curating offers curators a route through the hype around platforms and autonomous zones by following the lead of current artists' practice.
Christa Sommerer and Laurent Mignonneau are internationally renowned media artists working in the field of interactive computer installation. They are Professors at the University of Art and Design in Linz Austria where they head the Department for Interface Culture at the Institute for Media. Sommerer and Mignonneau previously held positions as Professors at the IAMAS International Academy of Media Arts and Sciences in Gifu, Japan and as Researchers and Artistic Directors at the ATR Media Integration and Communications Research Lab in Kyoto Japan. They also were Visiting Researchers at the in Cambridge US, the Beckmann Institute in Champaign Urbana, IL, USA and the in Tokyo.
Sommerer originally studied biology (botany) at the University of Vienna and modern sculpture and art education at the Academy of Fine Arts in Vienna (masters degree) .
Ernesto Klar is a media and sound artist based in New York City. Klar's works have been presented at the Institute of Contemporary Art in Boston, the Danspace Project, Roulette Intermedium in New York City, the Center of Contemporary Culture of Barcelona (Spain), among others. His awards include grants, fellowships, and commissions from the Cambridge Arts Council, the Massachusetts Cultural Council, the Italian Cultural Institute of New York, the Jerome Foundation/Roulette, and the Illuminating Engineering Society of New York. Klar holds an MFA in Design and Technology from Parsons The New School For Design, and a BM in Composition from Berklee College of Music.
Daniel Iglesia creates music and media for humans, computers, and broad interactions of the two. He is especially interested in live manipulations of sound and video, with notions of automation and algorithmic composition, the magnification of inherent chaos in sounds, and real-time media performance with traditional instruments. His works have taken the form of audio and video performance, instrumental works with live electronics, gallery installations, and collaborations with many disciplines such as theater and dance.
Radical Software Group is a loosely defined ensemble of artists and programmers, working collaboratively in digital media. Radical Software Group, or RSG, is named in honor of Radical Software, the short-lived but seminal 1970s magazine, which investigated nascent video technology with much the same irreverent spirit that RSG now brings to digital culture. The group, whose membership shifts according to the project, has focused largely on network environments and interface design, including the award-winning software tool Carnivore.