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‘Wheres the glitch fam?’ – New Art Examiner
#glitch / #GlitchArt / #當機藝術 / #Dirty #NewMedia / #DirtyNewMedia #Art / #新污媒體
NewMedia  Art  Dirty  DirtyNewMedia  glitch  GlitchArt 
18 hours ago by jonCates
Complex Movements | Emergence Media
Complex Movements is a Detroit-based artist collective supporting the transformation of communities by exploring the connections of complex science and social justice movements through multimedia interactive performance work.
social-practice  newmedia  detroit 
4 weeks ago by crankin
New Frontier | Sundance Institute
The Labs and Residency programs at New Frontier work to identify and foster independent artists and creative technologists innovating the art and form of story at the convergence of diverse forms of creative expression; and to build a community of collaborators across diverse disciplines to push the boundaries of story.
media-orgs  newmedia  vr 
7 weeks ago by crankin
Legacy Russell: Status Update
Social media platforms have allowed the gap between IRL (“In Real Life”) and cyber-communities to be bridged in times of deep despair, providing an opportunity for friends and strangers alike to found their own micro-tribes and build out their own individualized rubrics for decoding death and the sentiments that accompany it. “Indeed, many people . . . [take] to Facebook and Twitter because social media sites allow . . . them to reach a much wider community . . . But if Twitter and Facebook have offered fans a community in which to grieve, they have also accelerated the pace of mourning many times over (Ian Lovett, “Posting to Mourn a ‘Friend’”, The New York Times, February 17th, 2012).”

In March, the Mike Kelley Foundation accepted the contents of the memorial that had materialized via the Facebook Event’s call to action upon its dissembling, agreeing to conserve the items for posterity as part of their private collection.

Artist Ryder Ripps’s ongoing project mines data via Facebook using suicide-related keywords to track down relevant status updates, then publishes these on the website for public viewing. Though many of these updates are written in jest, it can be difficult to discern between the humorous and the auguring of what potentially could be the horrific. Thus, this project is, in some respects, an archiving of imagined “last words”, final rites that process and expose the tension between choosing to live and choosing to die. In light of Kelley’s death and the continued discussions surrounding the role of social media platforms in memorializing and remembrance, I can’t help but wonder what would have happened if, in the final moments of such a life-altering, life-ending decision, Kelley had been on Facebook. If he had updated his status to verbalize his desire to end his own life, if there would have been an audience there to dissuade him, would he, in the midst of his own determination, have even given pause and reconsidered “. . . suffering the slings and arrows of outrageous fortune”? In her article “Facebook Suicide Watch: Ryder Ripps Strikes Again”, Karen Archey disavows Ryder’s project, concluding, “Ripps does well to remind us that on the Internet, nothing is sacred.” Yet Archey has missed the point: on the Internet, so much is sacred, populated by the spirits that continue to walk the digital halls. It’s just that nothing is secret.
theory  art  newmedia  Facebook  life  defect  +++--  writing 
7 weeks ago by jonippolito
Identity is the low-hanging fruit
mostly stuff about social media tribes and left/right politics

Jonah Peretti in 1996: "I assert that the increasingly rapid rate at which images are distributed and consumed in late capitalism necessitates a corresponding increase in the rate that individuals assume and shed identities. Because advertisements link identity with the need to purchase products, the acceleration of visual culture promotes the hyper-consumption associated with late capitalism."
tech  internet  culture  capitalism  newmedia  commentary  psychology  history  politics  society 
april 2019 by inrgbwetrust
Arts | Free Full-Text | Communication Machines as Art | HTML
I have presented a personal history of the making of machines as art. The particular machines that I have made, I have termed “communication machines”. The term “communications” has only been used to indicate that participants interact with one another through the machines. There is no suggestion or intention that meaningful communication in any deep sense takes place. The interaction is aesthetic. It is the art experience. These machines are not of any particular aesthetic interest as objects, only as machines whose operation is being used by the participants. Communications Game was a pre-Internet concept but, in the later part of the paper, I indicate how I developed the idea to both employ the Internet over large distances and incorporate generative, autonomous, approaches from my Shaping Form works, thus making the Cities Tango series.
art  artificialintelligence  history  newmedia  communication  network  +++-- 
april 2019 by jonippolito
Abandon Normal Devices
A catalyst for new approaches to art making and digital invention. We commission groundbreaking projects that challenge the definitions of art and moving image
art-video  art-tech  newmedia  art 
march 2019 by crankin

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