digitalarti 5 uk site internet md

8/3/2019 Digitalarti 5 UK Site Internet MD

1/36

NICOLAS CLAUSS THIERRY FOURNIER EMPACDIGITAL ART PRESERVATION ART & SCIENCE INTERNET OF THINGS

DATA CENTERS 01SJ BIENNIAL SRTP SFR PLAYER 2010

GOLAN LEVININTERACTIVE SOUNDS & GRAPHICS

#5The International Digital Art Magazine

A r t i s t s - F e s t i v a l s - I n n o v a t i o n a n d m o r e

www.digitalarti.com

digitalarti

#5

Januar

y-

February-

March2011

-6

/8$U

S
http://www.digitalarti.com/http://www.digitalarti.com/


2/36


3/36digitalarti #5 - 0

JANUARY/FEBRUARY/MARCH 2011

CONTENTS

03 EDITO

04 NEWSnews from Digitalarti.com

06 EMPACExperimental Media and Performing

Arts Center

08 DATA CENTERSInternet, a purely virtual universe?

10 DIGITAL ARTPRESERVATIONa question to explore

12 ART & SCIENCEan interrelationship

14 INTERNET OF THINGSa window to our future

18 GOLAN LEVINinteractive sounds & graphics

22THIERRY FOURNIERtheater & media art

24 NICOLAS CLAUSSarbitrary images

26 01SJ BIENNIALexperiencing the visual manifestation of

art, technology, and digital culture.

28 SFR PLAYER 2010a world of possibilities

30 SRTPfestival of Eindhoven

32 AGENDAexhibitions, festivals

EDITORIAL

A SOFTWARE CULTURE

The American artist Golan Levin is our first 2011 cover. He teaches andresearches at the intersection of art, technology and cultural inquiry.According to him, quoting the media theorist Douglas Rushkoff, the choiceartists face is to program or be programmed.

That was also the credo of the team of 01SJ, the North American Biennial atthe nexus of art, technology, and digital culture: Art can be more than merelyaesthetically pleasing, but rather a tool with which to Build Your Own

World.

And well definitely need more artists to create an alternative to the society ofsurveillance because it is quite likely that sooner or later the majority of itemsconnected to the Internet will not be humans, but things. That is what GeraldSantucci, head of RFID unit at the European Commission, explains to us,looking through a window to our future, the Internet of Things. He says:Object-to-object communications has been long predicted, but has always seemed

to be perched safely on the horizon. Now it is rushing into the present.

In this issue, youll discover features about art and science, real and virtual,preservation of digital art, and more. Were also happy to introduce two Fren-ch artists, Thierry Fournier and Nicolas Clauss, as well as reports on EMPACin the state of New York, and festivals such as SRTP in Eindhoven, the 01Biennial in San Jos, and the SFR Player event dedicated to innovation inParis.

We hope you enjoy this 5th issue, now also available in French.

We look forward to your help and feedback in enhancing our upcomingmagazines. Please send us your comments, questions and suggestions at:< [email protected] > or post them directly on the site at:< www.digitalarti.com/blog/digitalarti_mag >

ANNE-CCILE WORMS

#5Opto-Isolator II

Revised version of the Opto-Isolatorby Golan Levin with Greg Baltus /

Standard Robot Inc. All rights reserved
mailto:[email protected]://www.digitalarti.com/blog/digitalarti_maghttp://www.digitalarti.com/blog/digitalarti_magmailto:[email protected]


4/3604 - digitalarti #5

DIGITALARTI LES NEWS DE LA COMMUNAUT

NEWS FROM DIGITALARTI.COMHere you'll find a selection of articles published by the members of digitalarti.com,

the international digital arts community. Read more online.

AgendaCall for video submissions: "Monobandes".A call by LesTerritoires, a non-profit art gallery dedicatedto exhibiting emerging artists and curators.< http://www.digitalarti.com/en/blog/les_territoires >

Futur en Seine : calls for proposal.Cap Digital is launching 4 calls for proposals addressed to compa-nies, research labs, schools, public services of the Paris Region, andmore generally to creatives, artists, institutions, and non-profits.< http://www.digitalarti.com/en/blog/mcd >

Rafael Lozano Hemmer exhibitions.Here you can find all the exhibitions of Rafael Lozano Hemmer.< http://www.digitalarti.com/en/blog/about_lozano_hemmer >

Open enrollment to MEDIARS workshop on July 2011.The 3rd international workshop on Media Art and Culture.< http://www.digitalarti.com/en/blog/mediars >

SFR PLAYER 2010SFR and Digitalarti invite you to discover and profit from thedigital innovations of tomorrow in the worlds of the Internet,software, screens, connectables, interactive design, etc.< http://www.digitalarti.com/en/blog/player >

In this group, you can seeall posts related to web art.Artists, critics, thinkers,inventors, researchers,curators, organizers andproducers of cultural eventsare invited to trace thehistory of the internet.< www.digitalarti.com/en/group/web_art_group >

Focus GroupWEB ART

The Centro Sperimentale MEDIARS is a non-profit cultural association that fosters mobility, research, educa-tion and production working with a multidisciplinary process on art, culture and technology. The center, fun-

ded in 2006 with a public start-up grant from the Regione Lazio, runs its activities between thecastle of Contigliano, in Rieti and Los Angeles. Over the years MEDIARS built an interna-

tional network that includes universities, companies, individuals and the local municipa-lity. Mediars main goal is to create innovation and increase the capabilities for action ofsmall and medium sized towns within the internationalization of their relations context.

Collaborating with private and public entities, MEDIARS uses the new media as a glue forthe different disciplines and fields represented by the members involved in each project, either educational orartistic, our goal is always to work across cultural differences and identities. < www.digitalarti.com/en/blog/mediars>

Parallel Studios produces the Currents new media exhibitions. This year it's currents 2011: santafe international new media festival.Parallel Studios was formed in 2002 to provide venues whereestablished and unrecognized artists can work together to present state of the art video and newmedia work to the public. Access to exhibitions is always free.Parallel Studios brings regional,national and international new media arts to New Mexico through the currents exhibitions,internships, workshops, docent tours and educational programs that reach out to the schools

and to communities. Parallel Studios seeks to foster international artistic exchange by inviting New Media artistsfrom around the world to present work at the annual currents exhibitions and by establishing internationalconnections in order to present the work of U.S artists abroad. < www.digitalarti.com/en/blog/parallel_studios >

PARALLEL STUDIOS

For Manuel Chantre, the construction and deconstruction of cultural sym-bols has always been an important source of inspiration. His performancesand immersive installations create fictional universes that have been charac-terized as an integration of music, audio art, programming, electronics, andvideo. His personal projects have been presented at numerous internationalfestivals held in Canada, France, Belgium, Switzerland, Holland, Taiwan andthe United States. < www.digitalarti.com/en/blog/manuel_chantre >

MANUEL CHANTRE

Focus Blogs

MEDIARS
http://www.digitalarti.com/en/blog/les_territoireshttp://www.digitalarti.com/en/blog/mcdhttp://www.digitalarti.com/en/blog/about_lozano_hemmerhttp://www.digitalarti.com/en/blog/mediarshttp://www.digitalarti.com/en/blog/playerhttp://www.digitalarti.com/en/group/web_art_grouphttp://www.digitalarti.com/en/group/web_art_grouphttp://www.digitalarti.com/en/group/web_art_grouphttp://www.digitalarti.com/en/blog/mediarshttp://www.digitalarti.com/en/blog/mediarshttp://www.digitalarti.com/en/blog/parallel_studioshttp://www.digitalarti.com/en/blog/parallel_studioshttp://www.digitalarti.com/en/blog/manuel_chantrehttp://www.digitalarti.com/en/blog/manuel_chantrehttp://www.digitalarti.com/en/blog/manuel_chantrehttp://www.digitalarti.com/en/blog/playerhttp://www.digitalarti.com/en/blog/mediarshttp://www.digitalarti.com/en/blog/about_lozano_hemmerhttp://www.digitalarti.com/en/group/web_art_grouphttp://www.digitalarti.com/en/group/web_art_grouphttp://www.digitalarti.com/en/blog/mcdhttp://www.digitalarti.com/en/blog/les_territoireshttp://www.digitalarti.com/en/blog/parallel_studioshttp://www.digitalarti.com/en/blog/mediars



ArtistsThird Person, Rafael Lozano Hemmer.Third Person is the second piece of the ShadowBox series ofinteractive displays with a built-in computerized tracking system.< http://www.digitalarti.com/en/blog/about_lozano_hemmer >

Size(1280,800);background(#B4B07F)An image, programmed with processing, screenshoted so the codetyped for each surface may be added with photoshop.< http://www.digitalarti.com/en/blog/edecc1 >

Colored scarsThis video is one of the first test made to produce images out ofthe software I developed.and new media founded 10 years ago,created and developed.< http://www.digitalarti.com/en/blog/frankiezafe >

Derek HolzerA performance at the Blackboxe on november 19, 2010.< http://www.digitalarti.com/en/blog/sarah >

Festivals, arts centerTransmediale 11"With the festival theme #LIVE!?, CTM.11 reflects the aesthetic,societal and economic implications of the growing importanceof real-time media, the live experience and of so-called "liveness".< http://www.digitalarti.com/en/blog/mcd >

Feedback on Fablabs conferencePublic came numerous to listen to Vincent Guimas, DanielKaplan and Nicolas Lassabe, around Ewenn Chardronnet.< http://www.digitalarti.com/en/blog/player >

Ars Electronica repairs the worldThe most recent edition of the Ars Elctronica Festival dedicated toart, technology and society, mainly took place in a former tobaccoprocessing plant in Linz.

< http://www.digitalarti.com/en/blog/dominiquemoulon >Live Performers Meeting 2011Im glad to publicly launch the forthcoming 2011 editionsof LPM Live Performers Meeting, international meeting of livevideo performers, visual artists and vjs, focused on live videoperformances and live media.< http://www.digitalarti.com/en/blog/marco_donnarumma >

InnovationCan computers be creative?It is a well known fact that some of the most original momentsin Beethoven's Ninth Symphony have been the result of printers'error.< http://www.digitalarti.com/en/blog/lgrohn >

Template LivesEverybody knows and can see the templates we use in oureveryday life.< http://www.digitalarti.com/en/blog/angelo >

Lights contacts"Lights Contacts" is an interactive artwork perceptible by twopeople or more.< http://www.digitalarti.com/en/blog/scenocosme >
http://www.digitalarti.com/en/blog/about_lozano_hemmerhttp://www.digitalarti.com/en/blog/edecc1http://www.digitalarti.com/en/blog/frankiezafehttp://www.digitalarti.com/en/blog/sarahhttp://www.digitalarti.com/en/blog/mcdhttp://www.digitalarti.com/en/blog/playerhttp://www.digitalarti.com/en/blog/dominiquemoulonhttp://www.digitalarti.com/en/blog/marco_donnarummahttp://www.digitalarti.com/en/blog/lgrohnhttp://www.digitalarti.com/en/blog/angelohttp://www.digitalarti.com/en/blog/scenocosmehttp://www.digitalarti.com/en/blog/scenocosmehttp://www.digitalarti.com/en/blog/angelohttp://www.digitalarti.com/en/blog/lgrohnhttp://www.digitalarti.com/en/blog/marco_donnarummahttp://www.digitalarti.com/en/blog/dominiquemoulonhttp://www.digitalarti.com/en/blog/playerhttp://www.digitalarti.com/en/blog/mcdhttp://www.digitalarti.com/en/blog/sarahhttp://www.digitalarti.com/en/blog/frankiezafehttp://www.digitalarti.com/en/blog/edecc1http://www.digitalarti.com/en/blog/about_lozano_hemmer


6/36

FOCUS EMPAC

Could you tell us when EMPAC wasfounded and why?The Curtis R. Priem ExperimentalMedia and Performing Arts Center(EMPAC) opened its doors in Octo-ber 2008. It was founded by Rensse-laer Polytechnic Institute, a researchand engineering university, as a spacefor the production and presentationof adventurous new work spanning,performance, time-based visual andsound art, technology and research.EMPACs 220,000 square-foot centeris a signature work of architecturethat brings together four main venues(a concert hall, theater, and two large,flexible black box spaces) as well assmaller studios and lab spaces. All areused as production space for commis-sions, research and residencies as well

as for an ongoing series of events thatincludes exhibitions performances,lectures, films and a biennial festival.

Who is the team in charge?We have a staff of about 35. The cura-

torial team consists of EMPACsDirector, Johannes Goebel, HeleneLesterlin, curator for dance/theater,Emily Zimmerman assistant curatorand myself, curator for time-basedvisual art. We are currently conduc-ting a search for a music curator.Micah Silver, the previous musiccurator continues to work with us ona freelance basis for the duration ofthe search. The rest of team includesengineers in video, audio, theatre andresearch as well as a number of techs,and positions in web, graphic design,design, pr, project management, deve-lopment and administrative. Full stafflist and bios can be found here:http://empac.rpi.edu/about/

What is, for you, making EMPAC specificand unique?The ability we have via our missionand spaces to do so many differentkinds of things under one roof. It issomething we talk about often as apositive for our audience and visitingartists but it truly is a rewarding expe-rience as a curator too. In any givenmonth I am working across perfor-

mance, exhibition, lectures, film andfestivals as well as with artists in resi-dence and production work for newcommissions.

You are Curator for Time-Based Arts, howdo you select the artists and artworks?I do a lot of looking, talking and tra-velling I am usually in NYC a fewdays a week to see work and visitwith artists and colleagues who arecoming through town from across theUS and abroad. When possible I liketo meet with artists who I am interes-ted in working with in person to real-ly get to know their work and processin a direct way. I also tend to try tomake sure I am looking at a broadrange of work not only from well-

known artists but those newer to thefield so I have a number of youngerand/or more emerging artists andcurators who I consistently check inwith to find out who they are findingthe most interesting at the moment.Although I work mostly with mediabased practice, I am careful not to betechno-fetishistic in my choices.I think that we're trying to present toour audiences a program of work thatis adventurous and experimental butalso meaningful, that is really impor-tant -- work that incorporates techno-

logy, but where your experience as anaudience member and the content ofthe work is what you remember whenyou walk away more than how itwas made. Ultimately curating is trulyrooted in personal opinion and pas-sions, so for final selections, I simplyfollow my instincts.

Could you also tell us more about theresidences and research programs?The residency structure works in twoways; EMPAC curators reach out tospecific artists to invite them for aresidency or residents are selectedfrom an open call program. For thelatter, the curators get together everytwo to three months to view theseapplications as a group. The residen-cies vary in duration and scope:artists at EMPAC are free to focus onspecific technical challenges, to finetune or to experiment and wholly re-imagine their work or begin an newone. In addition to a general call wealso have focused residencies foraudio production / post-production,creative research, dance / theater andvideo production / post-production.

EMPAC's northernexterior.

06 - digitalarti #5

You need to go up to Troy, in the North of the State of New York,to discover EMPAC, a centre for the arts dedicated to new media andlive performances that opened at the end of 2008. At first glance,

the design of its architecture reflects its vocation: the combinationof art and science. To know more about this unique place, we interviewedKathleen Forde, Time-Based Arts Curator.

EMPACEXPERIMENTAL MEDIA ANDPERFORMING ARTS CENTER

PHOTOKRISQUA

FURTHERINFORMATION:

< http://empac.rpi.edu >
http://empac.rpi.edu/about/http://empac.rpi.edu/http://empac.rpi.edu/http://empac.rpi.edu/about/



Each of these residencies has a speci-fic set of guidelines and supportwhich can be found on our website.

I am an artist and want to apply, whatwould you suggest me to do?Follow the instructions on ourwebsite for residencies:http://empac.rpi.edu/residencies/

What are your links with other artcenters and/or festivals, in the Statesand abroad?As we have only been open for abouttwo years now this is an area thatseems to be just now picking up speed.We have collaborated with a handfulof other institutions to co-producecommissions and also to present ortour commissions we have produced.Some of those institutions includeZKM in Germany, the Time-Based ArtsFestival in Portland, Marian Spore inNYC, the onedotzero festival, London,The University of New South Walesand Zero One San Jose. We hope tocontinue to increase the level of co-productions with other institutions.

What are the events scheduled forbeginning of next year?Its hard to pick just a few so I suggestthat your readers take a look at thefull list on our home page but a sam-pling includes a live real time videowith disklavier and pianist JaroslawKapuschinski; MindBox, an installa-tion comprised of a modified slot

machine, where the viewer plays adance video sculpture like an instru-ment; An exhibition by New York-based artist Graham Parker, whichfeatures film and audio work, alongsi-de a series of alterations to the buil-dings environment that range fromthe theatrical to the virtually invisible;and performances by the ever-incre-

dible sound artist and composerFrancisco Lopez.

What are the EMPAC's main projects inthe near future?In addition to the events listed above,we are also starting to gear up for thesecond Filament Festival Biennial in2012. The Dance Movies commissioncall is currently being revamped forthe next year. Our residency programis going strong for the Spring with eve-ryone from Laurie Anderson in resi-dence working on her upcoming exhi-bition in to the Brent Green workingout ways to turn his 2D animationwork into holographic like 3D sculp-ture. We are looking forward to expan-ding our series of summer workshopsfor artists and professionals in the fieldof performance and time-based art andlooking forward to filling a few majoropen positions on our team includingtechnical director, director for resear-ch, music curator and creative campuscurator that will surely have a pro-found impact on what we do.

ANNE-CCILE WORMS

PHOTOKRISQUA

EMPAC's Concert Hall, set-up for Early Morning Opera's Abacus, which premiered at EMPAC'sFilament festival.

Yvon Bonenfants performance of Beacons inconjunction with his residency at EMPAC.

Composer Hans Tutschku developing a new piece with a 24-channeloudspeaker set-up in EMPAC's Goodman Studio/Theate

Workspace Unlimited (Thomas Soetens and Kora Van den Bulckein residence working on They Watch, an EMPAC commission for the 360

panoramic scree
http://empac.rpi.edu/residencies/http://empac.rpi.edu/residencies/


8/36

FOCUS DATA-CENTERS

08 - digitalarti #5

At one end of the chain, an Internetconnection primarily requires theusers to own a suited electronic devi-ce (last generation telephones, com-puters and soon, perhaps, a wide ran-ge of daily objects)(1). Then, thephysical framework needed to conveythe information between websites andusers is becoming increasingly impor-tant even more so with the advent ofoptical fibre(2). But the most manifest

physical counterpart of the Internetnetwork might be hidden at the otherend of the chain: the hardware nee-ded for storage and management ofthe data available on line.

The development of the Web 2.0came with a dizzying increase in thequantity of media available on lineand looked up by users. The figuresspeak for themselves: Facebook(3)

recently announced a total of 690 bil-lion pages seen each month and musthost, on average, 100 million newphotographs added by its users on adaily basis. Youtube(4) for its part, hasannounced more than one billionpages seen per day and several tens ofmillion of videos hosted. We wentfrom 7000 hours of new videos perday at the beginning of 2007 to morethan 50,000 hours in October 2010(5).

This entire data is not stored in a vir-tual space but on the physical harddrives of servers, which enable it tobe available on the Internet. Facedwith the constantly increasing needsof users, preparing for the escalating

load has become one of the key fac-tors to the success of Web companies.Therefore, these companies massivelyinvest in the lease or the purchase ofservers. Again, the figures are elo-quent(6): Google only is said to own450,000 servers; Microsoft, 218,000(2008 figures); Intel, 100,000; OVH,80,000; Facebook, 60,000 (with ahuge growth rate), etc. The first15 Web companies are probably gathe-

ring close to 2 million servers, and thisfigure is permanently on the rise.

In spite of enormous progress in thefield miniaturization, new physicalorganizations had to be invented tomanage this considerable mass ofcomputers, following the model ofthe industrial factory. Web companiesthus set up of real servers factories,more discreetly named data centersas if they were trying to lessen theirimpact on the physical world.The characteristics of these data cen-ters, true nervous centres of the Inter-net, were held secret for a long time.This generated a great amount of spe-culation from specialized sites(7).

At the beginning of 2009, Googleorganized a conference on the buil-ding of data centers. During thisconference, Google showed videoimages of the core of one of its datacenters. This video, since been uploa-ded on line, has been viewed morethan 750,000 times. A of low amplitu-de buzz on the scale of the Internetworld, but a buzz all the same.

Internet is usually presentedas an utterly dematerialized universebound to infiltrate the realityof the physical world in aquasi-immanent way. This idealizedvision of the network, however,

seems to be a fantasy far from thereality of a disembodied heterotopy.Indeed, the existence of Internetis highly dependant on the traditionalindustry, which provides the physicalframework to ensure the storage,management, transmissionand diffusion of the informationthe Web is made of.

INTERNETA PURELY VIRTUAL UNIVERSE?THE DATA-CENTERS NETWORK

PHOTOSI.RE-FLEX-FOTOLIA.COM



The initial intentions of Google pro-bably were to assert its technologicalleadership in the field, while demons-trating environmental concerns.But Net surfers comments, conveyedby numerous specialized blogs, ratherevoke the mix of fascination and stu-por caused by these disconcertingimages, a sort epiphany about oneof the hidden aspects of the Internet.

The data center depicted in theGoogle video can contain up to45,000 servers, set up in 45 containersand arranged on 3 lines in the centralpart of the factory. The first dazzlingimpression left by these images is ofcourse the size of the premises, withcorridors so long that the maintenan-ce staff needs children's scooters tocirculate in them. But the narrator,whose tone oscillates between mesme-rised excitement and reserve, revealscritical figures about the centersconsumption of energy: 10 MW forthe technological equipment, with anoutput rate of 1.25, which means thepower actually consumed amounts to12.5 MW. This electric output equalsthat of 1,250,000 10 W electric bulbs.In comparison, the average nuclearreactor produces a few hundred MW.It is said that in 2005 the electricityconsumption of data centers alreadyaccounted for 1% of the worldwideproduction of electricity(8). This ques-tion is so crucial that Google is cur-rently studying alternative solutions,like the possibility to build data cen-ters at sea(9).

With its intrinsic illusion of immateria-lity, the Internet is being perceived as acompletely clean technology.Hardly anybody currently worriesabout the environmental consequenceswhen conducting a search on Google oruploading all of the Christmas photo-graphs. To a certain extent, the currentsituation reminds us of our relation-ships to cars in the Sixties. This meansof transport was then associated with

progress and the blooming of individualfreedoms, as is the case with Internettoday. The question of the associateduse of resources did not arise then, andit is only with the first oil crises and therealisation of climate warming that newbehaviours were encouraged.

Is Internet about to become a newplague denounced by ecologists?The number of connected users shouldeventually settle, but the evolution ofour lifestyles, coupled with the explo-sion of digital photography and video,means our use of Internet mobilizesincreasingly distant servers. In a para-doxical way, the safety of Internetcould rely, once again, on materiality:the understanding of the physicalbehavior on a nanometric scale wouldmake it possible to expand the limitscurrently reached in the miniaturiza-tion of electronic components.One day, current data centers mightoccupy in our memory an identicalplace to that of the first data-processingcalculators such as the ENIAC: ana-chronistic objects which left their markon a long forgotten era. Meanwhile, we

are trapped in uncertainty. For now,only the myth of the virtuality of Inter-net has been irremediably debunked.

CHRISTIAN DELCLUSE

(1) With the set up of the new IPV6 standard onewill be able to allot an IP address to all the objectsand thus potentially connect all the objects to thenetwork. According to some people, this new tech-nology could start a new era of Internet develop-ment: the Internet of Things (see all the articles rela-ted to the new IPV6 standard).

(2) In February 2010, France Telecom announcedan investment of 2 billion Euros to equip Francesmajor cities with optical fibre by 2015.

(3) Source: www.datacenterknowledge.com/the-facebook-data-center-faq/(4) Source: www.datacenterknowledge.com/archives/2009/10/09/1-billion-page-views-a-day-for-youtube/

(5) Source: www.zdnet.fr/blogs/media-tech/nouvelles-videos-sur-youtube-50-000-heures-chaque-jour-evolution-depuis-2007-39756042.htm#xtor=RSS-1

(6) Source: www.datacenterknowledge.com/archives/2009/05/14/whos-got-the-most-web-servers/

(7) See for example the Google article Data CenterFAQ: www.datacenterknowledge.com/archives/2008/03/27/google-data-center-faq/

(8) See the numerous videos on Data Centers avai-lable at this address: http://www.youtube.com/user/DataCenterVideos

(9) Source: http://technology.timesonline.co.uk/tol/news/tech_and_web/the_web/article4753389.ece ibid

A GooglData-Cente

Mountain ViewCaliforn
http://www.datacenterknowledge.com/http://www.datacenterknowledge.com/http://www.zdnet.fr/blogs/media-tech/http://www.datacenterknowledge.com/http://www.datacenterknowledge.com/archives/http://www.youtube.com/user/http://technology.timesonline.co.uk/tol/http://technology.timesonline.co.uk/tol/http://www.youtube.com/user/http://www.datacenterknowledge.com/archives/http://www.datacenterknowledge.com/http://www.zdnet.fr/blogs/media-tech/http://www.datacenterknowledge.com/http://www.datacenterknowledge.com/


10/36

QUESTION PRESERVATION

Paying attention to the material aspectsof digital artworks, their functioning isalso a way to question what a work of artis. This attention to the sustainability ofthe works, their maintenance, can takedifferent forms, one of which is the deve-lopment of projects among institutions.One of the latest iniatives in Europe isthe Digital Art Conservation projectwhose special feature is to gather andbring together geographically close struc-tures of the Upper Rhine region, in threecountries - France, Germany and Swit-zerland - although very different - fromtheir missions and sizes. One of them isthe ZKM, Center for Art and Media inKarlsruhe, one of the main european ins-

titutions dedicated to digital arts.The second one is the Espace Multime-dia Gantner at Bourogne near Belfort, anhybrid and dynamic place that hosts acollection of digital art. They are current-ly exhibiting some of the latest works ofthe Swiss collective !MediengruppeBitnik and just published, by Presses duReel, the French translation ofThe Lan-guage of New Media by Lev Manovich.Also in the project is [plug.in] in Baselwhich, since early January has mergedwith the Shift festival and Digital ArtCollection in a new venue, the Haus frelektronische Knste Basel).

Video les Beaux Jours, in Strasbourg, isan organization dedicated to video artand serves as an interface with thecontemporary art museums in Stras-bourg which have a few sparse digitalworks in their collection.

The collections of these institutions arequite different, both in terms of volumeand types of artworks. For example, theEspace Multimedia Gantner has acqui-red mostly screen-based works, manyof which belong to the now defunctCD-ROM format (both in term of stora-ge media and in the art form itself).These works, with a rich content, arevery different from artworks within theZKM collection, some of which wereproduced during residencies in its stu-dios. The monumental, interactive ins-tallations, such as the famous LegibleCity by Jeffrey Shaw (one of the art-works chosen for a case study in theDigital Art Conservation project) havedifferent preservation issues.

Institutions that acquire and maintainartworks are joined in this project by

festivals that show digital art, likeOsosphre in Strasbourg, and, anothercharacteristic, by art schools. An art-school in Strasbourg, l'cole suprieuredes arts dcoratifs, and one in Bern,the Hochschule der Knste, are fullpartners in the project to involveyoung artists in thinking and dealingwith preservation of their own works,and make specific researches outsidethe museum. Thus, the School of Artin Bern has a department specializedin preservation and restoration, witha special focus on digital art with theAktive Archive research project.

The research of Digital Art Conservationwill take several forms until the closureof the project in 2012: a catalogue of allthe artworks with technological compo-nent of the Upper Rhine region to iden-tify the works and collections which willrequire the expertise of the researchersinvolved in the project; two sympo-siums, whose first edition, The DigitalOblivion, at the ZKM, presented theissues of preservation, and will be follo-wed in Strasbourg in the autumn of2011 by a second event; case studiesconducted by the various collectionsand that will be published and exhibited.

The original aspect of Digital ArtConservation is to be dedicated solelydigital art works. Most research projectsof this type in recent years in Europeand North America (such as DOCAM,Inside Installation, Matters in MediaArt, PACKED, etc.) also include videoart, or other ephemeral forms of art,whose works are far more numerous inmuseum collections than the digitalones. The amount of video art collec-tions and the problems related either to

the digitization or to digital file format,explain why it's necessary and urgent topreserve installations and video tapes,analog or digital, in the short, mediumand long terms. Another common issuebetween these two types of works isthat, in order to remain being viewedby the public, it is impossible to storethem for a long time without changingtheir storage media, file formats or soft-ware versions.

However, preservation issues are notquite the same between video art anddigital art.

10 - digitalarti #5

DIGITAL ARTPRESERVATIONThe preservation of digital artis a question to explore in orderto continue to experience theseartworks, whether in the form ofexchanges, exhibitions, sales

The Digital Oblivion.Substance and ethics

in the conservation ofcomputer-based art.Colloque 1, ZKM, 4-5Nov. 2010.The secondconference aboutdigital art preser-vation will takeplace in Strasbourg,fall 2011.



Formats are different, although they arenearing obsolescence. The compressionratio, the number of frames per second,the type of codec, all three relevant tovideo artworks, have meaningless forworks composed of generative code forexample. Moreover, if, over time, all fileformats are fragile, some are less lastingthan others (if the format characteris-tics have not been made public, if theyare little used). The most used for-mats are more robust over time. Ver-sions of the same software may not be

compatible, and therefore all or part ofthe code does not work as well as whenthe work was created. That requiresadditional time to reprogram or to use asoftware to emulate. In addition, thedevelopment of a piece of software canbe stopped, even if it is used by manypeople, artists or not. For economicreasons, software companies are notinterested in maintaining old versionsof software for old computers. Further-more, software licenses and rights touse data expire. The use of free softwareand copyleft licenses compensate forsome of these disadvantages, but, yet,

are not the solution to all the problemscaused by the fragility and volatility ofdigital media.

Documentation has a significant placein a preservation approach where theintegrity of the work takes precedenceover authenticity. It is also one of thethemes of the DOCAM (Documenta-tion and Conservation of the MediaArts Heritage) research alliance sup-ported by the Langlois Foundation forArt and Technology in Montreal. Docu-

mentation, as a word, has many mea-nings: scientific, administrative, tech-nical information about the work,instructions for installing and swit-ching it on, the log book written by thedifferent people involved in one way oranother in its creation and / or dissemi-nation The documentation is timeconsuming, both for artists and institu-tions. However, it is necessary, evenindispensable, to keep a trace of art-works. Documentation can be conside-red as a working tool, by and for theartist, to record experiments, both a

journal and a forum.

The original, "authentic", materialsof the artworks cannot be preservedover a long time, and even if, luckily,the various digital elements of thework would still remain compatiblewith the latest operating systems, theartworks lose anyways their histori-cal inscription. On the other hand,the integrity of the work is maintai-ned, despite the need to change itsmaterials, by the combination of themaintenance of the artworks' func-tions, behaviours, aesthetics,

concept, and viewer' experience.This distinction between authenticityand integrity shows how preserva-tions is changing, not as an end initself but as the result of a consensuswhich requires a reassessment witheach new purchase in a collection,each artistic movement. This theore-tical process becomes part of institu-tional practices. The Digital ArtConservation project will thereforeallow the development of new proto-cols to approach digital artworks.

ANNE LAFORE

Technologies To The People,"Phoney tm." Collection ofEspace Multimdia Gantner.

Pierre Antoine, "Engrammes". Collection of EspaceMultimdia Gantner.

Vronique Hubert, "Histoire de la FAGM.Hypersensibilit H = grosse fatigue".Collection of Espace Multimdia Gantner.

Du Zhenjun, "Une Semaine du Monde de Du Zhenjun". Collection ofEspace Multimdia Gantner.


12/36

Decoding of the worldWhat is the link between the artist JoepVan Lieshout, the astrophysicist Jean-Phi-lippe Uzan, and the composer Eddie Ladoi-re? As a tribute from the Dutch designer tothe first man in space, a rusty metalliccockpit named Vostok has been installed(untill March 2011) in The City of Science& Industry in Paris. The capsule has beenplaced here to let us hear the sound of thecosmos, within a composition made out of

the information collected by the scientist.

To experiment with the death and life of astar, a pulsar, a supernova.Transcribing mathematical datas into sen-sible material, expressing what cannot beheard, or perceiving what cannot be seen,are missions given to the artists whenscientific knowledge has reached the tan-gible boundaries of the universe. We allknow that no sound can be heard fromthe void of space thus. But that is not thesubject of the debate. Is this an Artwork?Let us call it a device made up with theaim of reconciling Art and Science, whichactually never broke away!

When art, or at least its market has trans-gressed the limits of all vanities, looking

for inspiration in the land of science,trying to find here a decoding of the worldmight be part of this necessary re-conquest of meaning at a time of politicaland religious bankruptcy!This desire to stimulate the dialogue bet-ween Science and Art was not only broughtback to life in Paris's City of Science &Industry, not since the nomination of Clau-die Haigner, a former minister and cosmo-naut at the head of the double institution(1).This interrelationship has been strengthe-ned over the 20 last years by artists whoseproductions found a large audience in anemerging digital art scene, in video games,cinema and electronic music fields.

Scienar: the language of maths

Albert Einstein once stated that: the Artistand the Scientist each substitute a self-crea-ted world for the experiential one, with thegoal of transcendence.Convinced that Art and Science are notseparate entities but just two facets of thesame culture, which encompasses allhuman endeavours to understand, repre-sent and transcend the world of "reality"in which we live, the members of the Scie-nar(2) European network decided to rein-force this relationship with symposiums,exhibitions and visualization tools forthe web(3).The group of researchers and teacherswho gathered at the Royal Dutch Acade-

my of Science in Amsterdam is not onlytaking into account that our commonEuropean cultural heritage, is profoundlybased on the links existing between Art &Science from the very beginning of classi-cal Greek culture, up until today's digitaltime. The group also pointed out that thisdialogue would have never developedwithout the common language of mathe-matics: three emblematic scenarios, threekeyconcepts in the interconnected Historyof Art and Science were selected to intro-duce the oration: geometry, symmetry andrelativity.From the Antiquity to the Middle Ages,Classical Art represented the space "as it is"

QUESTION ART & SCIENCE

12 - digitalarti #5

AN INTERRELATIONSHIP

ART &

SCIENCE

Theo Van Doesburg,

Cornelis VanEeteren,Reconstitutionof the model ofMaison d'artiste,983 The Hague.

COLLECTIONGEMEENTEMUSEUM,

R.R.

One can regret that nowadays the

relationship between Art and

Science appears to be limited to the

use of new digital technology in the

production of Artworks instead of

questioning our vision of the world.

But what is the reality of a dialogue

that has never paused to strengthen

itself in recent centuries? Which are

the networks that stimulate theArt-Science interogation today?



in its "frozen" and rigid Euclidean structure;platonic solids and the Golden Mean as theprototypes of beauty and harmony, recalledDr Mauro Francaviglia, chairman of theUniversities of Calabria and Torino(Italy).The Art of Renaissance which wasdominated by perspective has developedwith the same conception of "beautifulpainting" and harmony, relying on thesame geometric basis as the only para-digm, but considering nature and spaceas "it appears to the eye".

Geometric interpolationWhile Modern Art was trying to representthe world as the mind could perceive it,

Riemannian geometry with the power ofmathematics allowed us to anticipate thedissolution of an absolute space in favourof many private ones dominiated by non-linearity, curvature, extradimensions anddynamics, as time and movement werestarting to pervade artistic expressions.By the end of the 19th Century, scientificbreakthroughs became a source of inspira-tion for artists. Examples begin with theImpressionists' desire to decomposecolours according to their light spectrum,while Muybridge was using photographyas a research tool to apprehend humanand animal motion. During this historicalperiod of search and discovery, in modern

physics, Brancusi, in his life long quest forthe essence of things, overstepped thebounds of sculpture from academismbasis to symbolism, just as Mondrian, in1913 was starting to conquer the worldwith his geometric abstractions(4).It has been only 100 years, since Futurismwas trying to capture a restless world inmotion, recalls Marcella Lorenzi, from theUniversity of Calabria, pointing out howdigital photography is now achieving thegoals of that time:painting with light isnow accessible for anyone with any digitalcamera, she said. It's a kind a generativeart able to include time as a fourthdimension.

Symmetry or the artistic expression of natureWhat is the part played by symmetry in thisancestral dialogue? Dr Daniela Richtarikovafrom the Slovak Technical University(Slovakia) gave us a synopsis of its timelessrelevance: Declared to be a fundamental orga-nising principle in nature and culture, symme-try not only brings harmony, order, and elegan-ce, it allows for understanding the organisationof a pattern, and provides a means for determi-ning both invariance and change when interac-tions occur. It can both describe it's own regu-larity and a chaotic state, produce objects withthe complexity of an organic shape: regularmolecular structure, periodic performances,music scores, orbital movement, moon phases,

biological rhythms, heart beatNature is a self-regulating complex systemkeeping balance, signified only by meansof symmetries. Fractal geometry as anoutcome manages to join random influen-ce with a system of simple rules resultingin production of a deterministic objectrepeating its structure on any scale.That's why it is so useful in the descrip-tion and modelling of natural shapes.

Our senses have been forged over millenniaby and around the physical conditions wecommonly encounter in our life. If scientistof the 20th Century started to study moreprofound aspects that are far from our com-mon experience, digital technologies makeit possibile to represent and visualize experimentation of such extrapolations and phe-nomena. What can be more explicit that anexcerpt of Star Trek to understand the effecof a black hole? What would virtual worldsbe without the polygon?No matter what ones purposes, perhaps themost powerful methods of human thoughtare those that help us find new kinds ofrepresentations , pointed out Marvin Mins-ky, professor at MIT, the American tech-nology institute that will celebrate its150th anniversary in March 2011.

VRONIQUE GOD

(1) The Palace of discovery and The City of Science& Industry are now linked by the same managemenunder the name of Universcience since January2010. www.universcience.fr(2) www.scienar.eu/main/ : will soon be transferedto www.scienceandart.info - Next Scienar meetingwill take place between Frebruary the 1st-4th inBratislava (Slovakia). See: www.aplimat.com/.(3) WebMathematica presented by Slovak Technica

University of Bratislava enables the creation of dynamic web sites through a simple development pro-cess, and visualization of complex mathematicalformulas such as fractals, directly from a web browse(4) Untill March the 21st 2011, Centre Pompidouin Paris matches a retrospective exhibition of thepainter Piet Mondrian with the avant-guardistmouvement De Stijl, of which he was a figurehead.

R&Sie(n),Une Architectedes Humeurs.

Giacomo BALLA,Paths of Movement+ DynamicSequences, Flightof swallows.

PHOTOPHASEONEPHOTOGRAPHY

While the Scienar network, which has been supported by Brussels for two years, focused onapplied Mathematics, other places and organizations such as Le Laboratoire in Paris (founded by

scientist, writer and Maecenas David Edwards) are proposing a common reflexion and experimen-tation platform for both artists and scientists. Examples include the recent encounter betweenmusician Ryoji Ikeda with mathematician Bndict Grosse, or the architectural extrapolations ofFranois Roche and Stphanie Lavaux from R&(Sie) based ont the recording of human hormonalproduction (see: www.lelaboratoire.org).

Supervised by Annick Bureau in Europe, the online-revue Leonardo, www.olats.org, is theFrancophone branch of a genuine observatory of the Art & Science relationship. It has been aplace for exchange of information, ideas and reflection, for 40 years. Its chairman Roger Malinawho is also co-chairman of the Art Science program at IMERA, the Mediterranean Institute forAdvanced Researches (www.imera.fr) recently issued a call for participation which proposes aresidency to the artists and scientists who are interested by "the human conditions of thesciences" and even more particularly those who are concentrating on chemistry and nanosciences(2011 being the year of an international celebration of chemistry (www.chemistry2011.org/).The deadline for submission is 31stJanuary.
http://www.universcience.fr/http://www.scienar.eu/main/http://www.scienceandart.info/http://www.aplimat.com/http://www.lelaboratoire.org/http://www.olats.org/http://www.imera.fr/http://www.chemistry2011.org/http://www.chemistry2011.org/http://www.imera.fr/http://www.olats.org/http://www.lelaboratoire.org/http://www.aplimat.com/http://www.scienceandart.info/http://www.scienar.eu/main/http://www.universcience.fr/


14/36

"

INNOVATION INTERNET DES OBJETS

14 - digitalarti #5

Although the concept of IoT wasexpressed in the form of computerseverywhere by Professor Ken Saka-mura (University of Tokyo) in 1984and ubiquitous computing by MarkWeiser (Xerox PARC) in 1988, thephrase "Internet of things" wascoined by Kevin Ashton (Procter &Gamble) in 1998 and developed bythe Auto-ID Centre at the Massachu-setts Institute of Technology (MIT)

in Cambridge, USA, from 2003.Ashton then described the IoT as astandardized way for computers tounderstand the real world.

So far, our view of the Internet hasbeen human-centric. It is quite likelythat sooner or later the majority ofitems connected to the Internet willnot be humans, but things. The IoTwill primarily expand communication

We are living through one of historys swerves. Over the past decade billions of people havehooked themselves up to the Internet via the computer and more recently mobile devices.This communication revolution is now extending to objects as well as people. Object-to-objectcommunications has been long predicted, but has always seemed to be perched safely on thehorizon. Now it is rushing into the present. The so-called Internet of things (IoT) is, after themodern computer (1946) and the Internet (1972), the world's third wave of the ICT industry.

INTERNET OF THINGSA WINDOW

TO OUR FUTURE

It is not enough to understand, or to see clearly.The future will be shaped in the arena of human activity, by those willing

to commit their minds and their bodies to the task(Robert F. Kennedy)

P H O T O S A R A H T A U R I N Y A

"



from the seven billion people aroundthe world to the estimated 50-70 bil-

lion machines. Ericsson envisions aworld of 50 billion connectionswithin the current decade.This means significant opportunitiesfor the telecom industry to surpasspopulation and develop new "subscri-bers". Future historians will probablylook back at 2010 as the year whenInternet connected devices like digitalpicture frames, web-connected GPSdevices and broadband TVs, cameonline in greater numbers than newhuman subscribers did. Electricitymeters, dishwashers, refrigerators,home heating units and several otherobjects with tiny sensors are nextin line.

This advancement signifies a massiveshift in human development, from an"electronic society" to a "ubiquitoussociety", in which everything isconnected and everything can beaccessed anywhere. Supported byIPv6 and eventually the Future Inter-net Architecture, the IoT would havethe potential of connecting the100,000 billion things that aredeemed to exist on Earth! Regarding

the things physical or virtual crea-ted by humans, visionary authors like

Bruce Sterling, Julian Bleecker, AdamGreenfield or Rob van Kranenburgpoint out, each with his own style butalways in a similar way, to a concep-tual change of the object as an artefact(a farmers tool), then a machine(a customers device), then a product(a customers purchase), then a gizmo(todays end-users platform or interfa-ce), then a spime (tomorrows networ-ked object that is constantly trackingits location, usage history, and envi-ronment), and finally, by year 2060,a biot (an object at the interface ofcybernetics, biotechnology, andcognition something which is boththe object and us). Internet-awareobjects become "social objects",i.e. enablers for new forms of humaninteraction. Going even further, byacquiring an identity as well asself-management, self-healing, andself-configuration capabilities, futureinterconnected and uniquely addres-sable objects will take the propertiesof subjects.

Our apprehension of the reality willbe deeply affected by the metamor-

phosis of objects. Our relationshipto electronic devices has changed so

radically in the last few years thatdesigners are beginning to thinkabout our attachments to smartdevices such as smartphones andtablets. The idea seems weird: howcan we love an electronic device madeof glass, silicon and plastic?Smart devices are becoming an exten-sion of ourselves not in the sensethat an object says something aboutwhat it is (cybernetic dimension),which technology supports it (seman-tic dimension), whom we want to beby owning it (semiological dimen-sion), but as an actual part of ourconscious self (relational dimension).Computers, mobile phones, tabletsand e-readers do something that nocar, garment or toaster can do(at least so far): they tell us thingswe never knew, like the quickest wayto reach our destination, where to geta discount or where our friends areright now. So it is not surprising thatpeople feel lost or actually grievewhen they lose a personal electronicdevice. As the frame of a smart devicekeeps getting smaller, the "window"gets larger and clearer.

Natacha Roussel

Daniel KaplanRob van Kranenbur

et Grald Santuccin December 2010

at the firsCouncil Francof the Interne

of Things event

>>>


16/36

Some experts predict that the IoTwill help tackle two of the biggest pro-blems facing mankind today: energyand health care. While buildings cur-rently waste more energy than they useeffectively, we will be able to cut this

waste down to almost nothing.While we make visits to our generalpractitioner twice a year, at most, wewill be able, thanks to a few sensorsdiscreetly attached to our body, tocontinuously monitor how our vitalfunctions are doing. However, the IoTwill also pervade our personal environ-ments by affecting the everyday objectsthat surround us. Over the past twoyears, a number of consumer applica-tions based on IoT technologies havesuccessfully shown the way ahead.Lets mention some of them: Arduino,an open-source electronics prototypingplatform with both a hardware andsoftware component; Arrayent theso-called "Cisco of small things" whi-ch is basically middleware for compa-nies willing to connect their productsto smartphones and computers via theInternet; CeNSE (Central Nervous Sys-tem for the Earth), a platform built byHP to create a worldwide network ofsensors, which will provide a feedbackloop for objects and people for measu-ring vibration, rotation, sound, air flow,light, temperature, pressure and muchmore; Nike+, a well-known example

of sensors in a non-computing device,which allows running shoes to trackour run and send the data to our iPodor automatically tweet and post a statusreport on Facebook or Foursquare;Pachube, an open IoT platform that

allows us to tag and share real timesensor data from objects, devices, buil-dings and environments, both physicaland virtual.

And there is Sen.se, the "youngest"of the series, which was presentedduring the IoT Event at Maison desMetallos on 1 December 2010.Some years ago people at Sen.sedreamt to connect "rabbits" (thisproduced the "Nabaztag"). Now theywant to connect everything humans,machines, objects, environments,information, physical and virtualspaces all mix up, talk, intertwine,interact, enrich and empower eachother in all sorts of ways. The result iscalled Open.Sen.se an open platformfor all those who want to imagine andtest new devices, installations, scena-rios, and applications for the IoT.

Europe is well placed to take advanta-ge of IoT opportunities for the econo-my and society. But in order to reapthe full benefits of such a technologi-cal disruption, it must get preparedto tackle six key challenges. The first

challenge is to mobilise a critical massof research and innovation effort forthe creation of new products, pro-cesses and services. The second chal-lenge is to develop a new definition ofprivacy for a changed world.

The third challenge is to protect thedifferent building blocks of the IoT,considering how these blocks willwork together and what kind of inter-operable security mechanisms mustbe created, and to assure a certainlevel of security during the coopera-tion among IoT multiple actors, espe-cially human beings, machines, andobjects. The fourth challenge is todevelop an ethics of the Internet ofthings by promoting an importantdialogue between computer scientistsand the broader public and by brid-ging the digital divide between thosewith access to technology and thosewithout. The next two challenges areparticularly important for Europe.

Firstly, Europe must participate fullyin the shrinking world. Indeed, wenow live in a world where the pro-ducts we buy are usually designedand manufactured in distant lands,our medical records and other perso-nal information stored in "cloudcomputers" half a world away, andvital research carried out in educatedcorners of the poorest nations.

16 - digitalarti #5

Hackable Devices:workshop baby2hit,

AugmentedBabyfoot.

PHOTOSARAHTAURINYA

>>>


17/36

Will the IoT reinforce the top-downmodel exemplified by China or themore bottom-up approach of theWestern World? The betting would beon the latter, but the top-down approa-ch may have significant advantages:in the establishment of the necessarystandards to ensure that objects cantalk to objects; in the construction ofsmart public infrastructure; and in theintroduction of toll roads and otherforms of metering. The recent GlobalInternet of Things Conference

(November 2010 in Beijing, China)has shown that, at the very least,China and Singapore have had a veryimpressive start. Europe cannotremain passive in face of this challen-ge. Building on its Europe 2020 strate-gy, Europe must commit itself to excel-lence in research and education for alland develop a strategy that fulfils itssocio-economic goals.

Secondly, Europe must use the IoT toassert its civilisational values, i.e. tho-se like the primacy of law and good

governance that determine the generalethos of its society and shape the atti-tudes and outlook of its people.This is perhaps the most difficult chal-lenge. It can be represented by a pro-phetic quote of C. Virgil Gheorghiu inThe Twenty-Fifth Hour, a book publi-shed in 1949:A society which containsmillions of millions of mechanical slavesand a mere [seven] thousand millionhumans even if it happens to be thehumans who govern it will reveal thecharacteristics of its proletarian majori-ty (). We are learning the laws andthe jargon of our slaves, so that we cangive them orders. And so, gradually andimperceptibly, we are renouncing ourhuman qualities and our own laws.We are dehumanizing ourselves byadopting the way of life of our slaves(). This slow process of dehumaniza-tion is at work under many differentguises, making man renounce his emo-tions and reducing social relationshipsto something categorical, automatic,and precise, like the relationship bet-ween different parts of a machine ().The mechanical slaves will win theirrevolution. They will conquer their

freedom and become mechanical citi-zens of our society (). Man will be

fettered by technocracy for a very longtime to come but he will not die inchains. Technological Civilization cancreate comforts, but it cannot create theSpirit. And without the Spirit there is nogenius. A society without men of geniusis doomed (). The downfall of techno-cracy will be followed by a rebirth ofhuman and spiritual values. This greatlight will probably come from the East,

from Asia.

In a world where 7 billion humanswill cohabit with 70 billion connec-ted machines and several thousandbillion objects connected to a dyna-mic global network infrastructurewith self-management, self-configura-tion and self-healing capabilities,what will be the place of humanbeings? It should be the pride ofEurope to trigger and permanentlynourish an international debate onthe human, societal and ethical impli-cations of the IoT, rather than simply

bowing down before interconnected-ness as if it were the ultimate solutionto all problems.

IoT challenges are daunting. But ifdecision-makers have the courage torespond to them with energy andcommitment, if they also provide forthe leadership that is so critical togarner trust from citizens, and if oursociety understands that, as JacquesAttali put it, creation is the only reaso-nable alternative to violence, thenEurope can take pole position in theIoT ride. No doubt its going to be abumpy ride. But it is not the time forEurope to consider hiding under thebedcovers. Europe has several assets:the IoT European Research Cluster(IERC) with, in particular, its IoT-Aflagship project (IoT Architecture);an expert group of 50 members fromIndustry, Academia, Government andCivil Society, managed by the Euro-pean Commission; a strong competi-tive position of its industry to developan infrastructure meeting a rich set ofservice parameters, supporting in par-ticular real time interactions, with a

high degree of availability, integrityand trust; and Council, the Think-tank for the Internet of things, a loosegroup of professionals which is coor-dinated from Europe but whichinvites designers, architects, artists,coders, thinkers, tinkerers, and intel-lectuals from all over the world toblend their talents, skills and intereststowards capturing the opportunitiesof the IoT for mankind.

We shall not walk away from our

future. We shall harness the power ofthe IoT to shape the future together.

GRALD SANTUCChead of RFID unit at the European Commissio

INNOVATION INTERNET DES OBJETS

digitalarti #5 - 1

Natacha Roussel,Daniel Kaplanet Grald Santucci,Council Internet

of things,December 1st 2010,at Maison desMtallos.


18/36

ARTIST GOLAN LEVIN

18 - digitalarti #5

First of all, could you tell us somethingabout the installation "Messa di Voce"you did with Zachary Lieberman and whichwe (Digalarti) recently presented atSFR Player 2010 in Paris. This interac-tive piece seems to be influenced byJohn Maeda, could you tell us more?Maeda is personally influential for us,but he didn't specifically inspire thatproject. I'm not sure why you assertthat. Our interactive installation aug-ments the speech, shouts and songsproduced by a pair of vocalists withreal-time interactive visualizations.The project touches on themes of abs-tract communication, synaestheticrelationships, cartoon language, andwriting and scoring systems, withinthe context of a sophisticated, playful,and virtuosic audiovisual narrative.Custom software transforms everyvocal nuance into correspondinglycomplex, subtly differentiated andhighly expressive graphics. Messa diVoce lies at an intersection of humanand technological performanceextremes, melding the unpredictablespontaneity and extended vocal tech-niques of human improvisers withthe latest in computer vision andspeech analysis technologies.Utterly wordless, yet profoundly ver-

bal, Messa di Voce is designed to pro-voke questions about the meaningand effects of speech sounds, speech

acts, and the immersive environmentof language.

"Messa di Voce" was shown for the firsttime in 2003 at Ars Electronica festival.Is it still the same piece or has it beenmodified in any way?The original version was a performan-ce, specially tuned for the two voca-lists, Jaap Blonk and Joan La Barbara.The version we showed in Paris is aspecial version optimized for real-time interaction in an installationformat.

In 2001 you created a "symphony formobile phones" ("Dialtones"). Since themassive introduction of smartphones(e.g. IPhone) do you intend to createsomething similar? What would you liketo do with these new objects?I am now creating iPhone software,such as my "Yellowtail" app, whichcan be found in the Apple App Store.Soon I will be creating other audiovi-sual apps as well. The mobile plat-form is very exciting; many newthings are possible when a computercan move around in a city. >>>

Artist, teacher, engineer and composer,Golan Levin has been combining all

of his skills to create interactive works.His creations involve the eye

("Double-Taker (snout), Opto-Isolator,Eyecode, Reface (portrait sequencer)"),

the gesture ("Interstitial FragmentProcessor, Scrapple, The Manuel InputWorkstation, Interactive Bar Tables"),

the voice and the ear ("Ursonography,Messa di Voce, Dialtones

(a telesymphony)") or graphic soft-ware ("Self-adherence (for writtenimages), Merce' s Isosurface, Floccular

Portraits"). Often produced withcollaborators, Golan Levins projects,

whether they are software art oraudio-visual performance, are

primarily surprising because oftheir playful characteristic.Further information follows.

GOLAN LEVININTERACTIVE

SOUNDS& GRAPHICS


19/36

PHOTOR.R.

The project touches on themes

of abstract communication,

synaesthetic relationships, cartoon

language, and writing and scoring

systems, within the context

of a sophisticated, playful, and

virtuosic audiovisual narrative.

digitalarti #5 -



Also, after "The Secret Lives OfNumbers", how do you see future onlinedevelopments of what we call "net-art"or "web art"?

The Secret Lives Of Numbers (2002)was an early example of an interactivedata visualization using internet data.Today one can see hundreds of suchprojects on blogs likeInfosthetics.com and VisualCom-plexity.com, and Visualizing.org -- itis a large movement. One important

development has been the creation ofAPI's (application programmer'sinterfaces), such as those released byTwitter, Flickr or the New York

Times, which enable incredible accessto data streams.

A sound and music environment is importantin your creations. Could you explain why?I like full-bandwidth experiences.I like to address my audience in amultisensory way.

Most of your works feature graphicalinterfaces proposing interactive visualswith the audience ("Reface, Eyecode,Motion Traces, Re:Mark", etc.). Couldyou explain your reasoning, in particularas regards this search for involvementas opposed to contemplation from theaudience?For me, the interactive aspect of myworks is their true content. It is nothow they look or sound, but howthey respond, which is where I locatethe concepts of my works.

Nonetheless, your "raw material" is thesoftware. Could you explain this artistic"cyber practice"?I teach and research at the intersec-tion of art, technology and culturalinquiry. I locate my work at this inter-section because I believe it provides apowerful means by which a humanistvoice can help predict and producti-vely shape the future. In a world inwhich culture is increasingly shapedby software, artists must have controlover the technologies of cultural pro-

duction in order to maintain a voicein the conversation. The choice artistsface, to use the elegant words ofDouglas Rushkoff, is to "program orbe programmed".

Regarding some programs close to'motion capture' which create visualsfrom movements you compare the resultof this practice with abstract expressio-nism. Could you clarify your idea?Gesture is the common root, here, ofan aesthetic experience. The interacti-ve modality allows me to shift thesource of the gesture from the "Artist"(Abstract Expressionism) to the"Audience".

For you, is the use of programs andsoftware comparable to an artistic"dtournement"?Wikipedia states that a dtournementis a variation on aprevious media work, in which thenewly created one has a meaning thatis antagonistic or antithetical to theoriginal. I do not regard my work asantithetical to anything.

>>>

Golan Levin& Kyle McDonald,

Rectifiedflowers.

Golan Levin,Eyecode.

PHOTOSR.R.

PHOTOR.R.
http://en.wikipedia.org/wiki/Variation_on_a_themehttp://en.wikipedia.org/wiki/Variation_on_a_themehttp://en.wikipedia.org/wiki/Variation_on_a_themehttp://en.wikipedia.org/wiki/Variation_on_a_theme



Some of your works feature a randomand/or generative protocol. Sometimes,this principle gives rise to criticism frompeople unfamiliar with digital art anddoubtful of the artistic value of thesecreations What is your response to thiscriticism and how do you deal with it?They are welcome to their opinion.The conceptual foundation for suchwork has its origin in the generativepractices of Sol Lewitt, and the aleato-ric practices of John Cage, nearly50 years ago, so presumably such criticsdoubt the value of that work as well.A condition of contemporary media

is that it is unstable and variable, butif some people are nostalgic for fixedartifacts marked by the hands ofgeniuses, then fortunately there arestill plenty of museums to obligethem .

You are both a teacher and an artist. Assuch are you incited to adopt a pluridisci-plinary attitude, more assertive andrealistic than some visual artists who areinto pure games or far-fetched theories?I have to cover a wide range of mate-rial with my students. Some of it isvery technically grounded, and some

is historical, conceptual, or critical.This is typical, I think, of practice inthe media arts.

One final question: as for variousapproaches, trends, etc., do you feel adifference between the United Statesand Europe regarding digital art?Or is digital art and its many representa-tions a global practice?It's a global practice with many facetsEurope typically invests more in artsand culture than the United States,and it shows.

LAURENT DIOU

ARTIST GOLAN LEVIN

FURTHERINFORMATION:

< www.flong.com>

Golan Levin& Zachary Lieberman

Messa di Voce(a performance

for voice andinteractive media).
http://www.flong.com/http://www.flong.com/



ARTISTTHIERRY FOURNIER

"Seul Richard" is a "work in progress".Can you describe the stages which markedthe development of this theatre produc-tion, since his beginning in 2006 up to itspresent form?Last November, half of the show (45' outof a total of 1:30) was presented at theChartreuse theatre, following two conse-cutive residences. The process took placein three steps: a first sketch in 2006-2007, the adaptation and making of afilm in 2008-2009, and rehearsals in2010, with Emmanuelle Lafon, Juliette

Fontaine and Jean-Franois Robardet."Work in progress" means that we arecurrently looking for the last co-produ-cer who will be able to host the projectspresentation. This is a common practice,today, for companies to complete wholestages of the work while still seekingpartners.For numerous reasons, our work on thisproject has thus been ongoing for fiveyears. It was led at the same time as theConfrences du dehors series of perfor-mances (which I directed), and Rani-mation, produced with Samuel Bianchi-ni and Sylvain Prunenec - both in 2008.

His research on the links between dra-maturgy, cinema and interactive deviceswere conducted at the cole NationaleSuprieure dArt in Nancy as part ofElectroshop, the research and creationworkshop - whose students also act inthe film. Lastly, he directed Richard IItranslated by Franois-Victor Hugo,with a solo actress, an interactive devi-ce, a film with amateurs and musicians.The project does not evidently matchthe skills usually found in live perfor-mance networks. Its production thusrequires more time than the averageplay and the possibility to show thework in progress.

Which "progress" and other developmentscan you imagine?The form we reached by the end of

November really is the one I wish toimplement. Today we need to work on thelight and on playing on a stage (until nowwe were in the rehearsal studio). We arestarting collaborations with this in mind.

Why have precisely chosen Shakespeare("Richard II") for this type of"multi-media" production which mixesvideo, narration and interaction?It is rather the opposite, this is the coreof the project. I was actualy attracted bythis play for what it tells of the practiceand loss of power. The text was presen-ted to me by Benot Rsillot, an actorwith whom the very first stages of the

project were worked out. I then deviseda proposal bringing into play this remo-teness and this relation of control andloss of control, between a man and theoutside world. Indeed an interactivedevice is initially and above all an instru-ment of control, in a relationship whichis always exerted in a reciprocal way:one plays and one is being played, onecontrols and one is being controlled, bya console or by Facebook all the same.In Seul Richard, these devices are acceptedas such, forming an integral part of thelogic of the character. To sum up, RichardII depicts the trajectory of a monarchconvinced he can escape the laws of reali-

ty thanks to his divine nature. Faced withevents he does not comprehend, his per-manent questioning about himself andwhat he represents lead him to dismissal,prison and death. I chose to stage thisrelationship between Richard and the out-side world by working with a film, whichis manipulated and re-enacted by the cha-racter. The actress carries out control ope-rations, but also is in command of distan-ce or absorption in the picture,clarification, blur, etc One cannot tellwhether the image is outside her or if itresults from her own thought.This relation is reinforced by the fact thatthe film is shot using Steadicam and point

of view: the "gesture" of the camera isconstantly reproduced by the actress onstage. Besides, I chose to work mainly withnon-professional actors. The fragility oftheir presence on the picture is opposed tothe apparent oratorical skills of Richard, atthe same time as it challenges and conta-minates it. The stage projection consists ofseveral video events sometimes projectedsimultaneously, at different scales, whichallow a large number of configurationsbetween the public, the performers andthe image. It is seen that the choices arenot only made for digital devices, but alsofor writing logics applied to the film, thestage design, the actors direction, etc.

Four centuries separate "Richard II", the five acts play by Shakespeare from"Seul Richard", (Richard Alone) of Thierry Fourniers stage production inspired by it.It is well known, the great human wonders at the heart of the English playwrightswork are timeless, but the "context" in which they are re-presented makes itpossible to highlight other aspects, other angles To find an echo within the quiteautistic technological modernity of certain forms of "traditional" expressions

This is the very purpose of Thierry Fournier work on body and sound, gesture andnarration, movement and space, transfigured by audio-visual techniques and deviceswhich enable to establish new groundbreaking principles. Interview.

THIERRY FOURNIER

COLLECTIVESHADOWS

Seul Richard,Stage directionby Thierry Fournier,Rehearsal pictures,2010.

PHOTOALEXANDRENOLLET2010



Could other "classical" plays or play-wright also have been suited to this"play"?Yes, of course. It is one of the major andconstant challenges for theatre to be ableto reinterpret traditional texts with newmethods of performance. It is not becau-se these methods imply digital devicesthat they are cut off from their heritage:History is ongoing, this is still stageproduction.

Conversely, would you like to resort tomore contemporary authors like Beckettor Ionesco with such a stage design?Yes and for the same reasons - exceptthat these figures rather belong to thelast century. All the co-authors ofConf-

rences du dehors are contemporary ones(David Beytelmann, Juliette Fontaine,Nolle Renaude, Jean-Franois Robardet,Esther Salmona). I would also like towork with authors like Sonia Chiambret-to, Philippe Malone, Eli Commins, whohave a real knowledge of contemporarysocial and political issues and who some-times develop their non-literary writingstyle from various networks. It was alrea-dy the case with Confrences du dehorswhich used texts from real time televi-sion, landscape reading To answeryour question in a broader sense, I thinkone should be careful not to confusewriting and stage production.

Writing is always contextual, thereforewe can easily be attracted to texts in whichwe find our codes. Sadly, this is the currentpractice amongst producers. But it is preci-sely the job of a director to update issues,to make us hear what, in a text from 2011or 1170, can be revealed as a permanentand trigger an essential question.

Your previous performances ("VersAgrippine, Reanimation, Core") also usedimages, glances, gestures, redefinedspaces Can you clarify the ongoingguiding principles in your artistic work?Id like to add Confrences du dehors, forthe reasons I mentioned before. It isinteresting you should refer to Core orVers Agrippine (but also Frost) which are

solo performances. Because one of theprinciples in my work is definitely to sta-ge the body, almost in the sense evokedby Foucault: a traversed body, dissemina-ted by the forces which connect it to theworld, sometimes in conflict, exposedthrough situations and devices. I unders-tood afterwards this had been leading mefrom music to architecture, then to mycurrent artistic practice.

Which artistic devices or techniques,would you like to use or explore in thefuture?I am increasingly interested in the rela-tionships of domination at work and the

transformation of nature. These twothemes are widely displayed through globalization. Right now, I am also tacklingquestions about the genre which hasbeen running through my work for along time, in an underlying way. Lastly,I am getting closer again to sculpture andarchitecture, which started to appear inworks like Frost,A+ or Point dorgue.

Finally, apart from "Seul Richard", areyou currently working on other projects?I am working on Hotspot, an installationmade with the Electroshop workshop,which will be presented in April at theContexts space, in Paris. Still in theNancy area, the Cohabitation group show(which I co-curated with Jean-FranoisRobardet) will be presented at the Musedes Beaux-Arts in Nancy from February5th to February 25th. From February 27th

to March 4th, Entrelacs by the choreogra-pher Lionel Hoche, whose interactivevideo work I designed, will be performedat the CND in Pantin. Then the Futur enSeine festival in June, in Paris with a newinstallation, Fentres augmentes, whosepermanent version will be created after-wards in the Languedoc-Roussillonregion. And, of course, the continuationofSeul Richard, which I hope willbe soon presented to you in its finalversion!

INTERVIEW BY LAURENT DIOU

FURTHERINFORMATION:

< www.thierryfournier.net >

Seul Richard

Stage creation after The Life and Death of King Richard II, by William Shakespeare - Translation by

Franois-Victor Hugo - Stage direction by Thierry Fournier - With: Emmanuelle LafonAdaptation, musical arrangements and performance: Thierry Fournier, Juliette Fontaine,Jean-Franois Robardet - In cgarge of distribution: Frdrique Payn ([email protected])Vido tape on order
http://www.thierryfournier.net/mailto:[email protected]:[email protected]://www.thierryfournier.net/


24/36

DIGITAL ART NICOLAS CLAUSS

Memorial listToday, the public of Evrys Thtre delAgora looks like the portraits thatcome alive on the screens. Lot ofyoung people of the vicinity, more getused to hang around the place thancoming within, pack inside for an artproject in which they are the core.But a subtle core. Because, ifTerres

Arbitraires, Nicolas Clausss video-ins-tallation work, has chosen to transpo-se the image and daily difficulties oflocal youth under an artistic shape,it proceeds also from a meeting anda mutual trust that regular mediaprism rarely admits.Of course then, surprise is massivefor most of them. Surprise of seeingthemselves among all these videoportraits, networked randomly and ata slow motion, in a scenography ofTV sets usually inducing a familiarelsewhere. Surprise also to see howmuch this reflected image is true.Hood over forehead, fleetingness ofthe shots, these images look likethem. At such a level that they quick-ly catch up stereotypes that most ofthe people have for this youth.

And it is on this point that is based allthe strength of Nicolas Clauss work:to play with these stereotypes, withtheir mise-en-scene, to get round themeasier and, finally, demystify them.Because all these portraits, with boysonly, are mute. Mute like for betterlisten to all media noises twirlingaround, gathering flash news samples,political speeches supporting policeoperations, echoes of association andsocial workers, sociologists, militants.Swiftly, it sounds like all these alar-mist words, all this recurrent men-tions of reckless zones, of urban guer-rilla warfare, slip on the image ofanother reality, the one of a youth thatlooks like any other youth, some-times cynical and proud, but also sen-sitive and clever. On the screen, itappears through faces change frommutism to smile. Confronted to thismedia frenzy, youth show that they aresmiling people too, being conscious ofthe situation, of the clichs about themand not gullible says Nicolas Clauss,while a monitor beside unfolds, likeon a sad memorial list, names of 1200stigmatized urban areas.

Human questIn Nicolas Clausss artistic process,Terres Arbitraires kind of seems like aculmination, as his work has alwaysbeen guided by a quest of humanconnection and participation in whi-ch hes been able to introduce essen-tial aspects of pictorial approach, ran-dom play, collage and changing piece.At first self-taught painter, Mantessnative made ten years ago a multime-dia change, supported by softwaressuch as Director, that dragged him toconceive his famous and still lastingTableaux Interactifs, playable on inter-net through his website www.Flying-puppet.com.In these Tableaux, link establishesbetween one spectator and one image,in an idea of progressive appropria-tion, switched mouse revealing onscreen sequences clinching and ear-thy audiovisuals variations. NicolasClauss went then more collective, stillfollowing the same gestural logicalway. Installations such as Les Portes,playing with interaction betweendoors opening and multimedia appa-ritions, stressed out a wide-open pro-

24 - digitalarti #5

By giving new media prospects to suburbs youth,

"Terres Arbitraires" (Arbitrary Grounds), the recentinstallation presented at Evrys Thtre de lAgora, showssocial commitment of french multimedia artist Nicolas Clauss.A long-term work that follows his quest of human connectionand participation, and that stresses out excesses of securityalong with stereotypes and stigmatization concerningmarginalized urban spaces.

ARBITRARYIMAGES

Terres Arbitraires,

video installation,Nicolas Clauss,Thtre de lAgora,vry, 2010.

PHOTOSR.R.
http://www.flying-puppet.com/http://www.flying-puppet.com/http://www.flying-puppet.com/http://www.flying-puppet.com/http://www.flying-puppet.com/



cess of participative workshops in aseries of projects coming up in city ofLe Mans, De lArt Si Je veuxin 2005,

that aimed to build with childrenplayful images from paintings ofFrancis Bacon, Maurizio Cattelan andChapman Brothers, then in his Labo-ratoire Exprimental MMIX, in whichcrisis themes incarnated into capturesof generative dark figures on screen.This work already induced a strongrelationship with youth and a conse-quent time of realisation (sixmonths), but Terres Arbitraires farmore sets a political content, takingback the artist to his past studies insocial psychology and to some pro-found references, including of coursethe one to poet and militant AimCsaire carried out in the title.

A work and concrete media stakesNicolas Clauss makes it clear: I like towork with this suburbs youth.I feel very touched and concerned. Thereis something in it that brings me a lot,destabilizes me, makes me think.Though, work has been complicated.Obviously no workshops here but theneed of going to look for kids onTHEIR ground. For Terres Arbitraires,Ive made a big purge work if you com-

pare to my previous projects. In thebeginning, I didnt know where I wasgoing to. I just wanted to put myself into

situation, to listen to what was aroundand work on this media languagewrapping their reality.Thus, it is with a small HD camera,and with the help of two young localfilm makers that Nicolas Cluass fittedin with this urban but mostly humanfield. A frontal representation in whi-ch open-minded principles towardsthese young people revealed twice.There is a true idea of fraternity in this

project. By showing them smiling, it isalso a way to indicate to the public theway to go to them. There is a huge gapbetween political speeches and realityof this youth.Indeed, in front of these luminousfaces, flows of high-concerned sen-tences cross in a media frenzy sho-wing how much this suburbs debatefeed society stakes. Some words standout from this sonic magma. The onesof sociologist Mathieu Rigouste dea-ling with phantasm of inner enemy,here, at the doors of our cities.The ones about this inverted coloni-zation process or about this riot para-noia lasting since events of 2005.Almost naturally, Nicolas Clauss

oppose them these faces of youngboys, teenagers, children sometimes,smiling against this swell of misun-

derstanding that they arouse and thatis beyond them. Evidently, this imagehits its target. And symbolically,pretty much more. Because in spiteof inherent difficulties to the project,it is important that other mediaapproaches get involved inside theseareas, including an artistic directionthat probably doesnt take enoughinto account its social dimension, andthen the diversity of public it couldreach.By this way, Nicolas Clauss would likto put into shape new experiences,or rather make this one last by givingit more thickness. New contacts havealready been taken, in Marseilles orin his city of Mantes-La-Jolie, aroundVal-Fourr district. It would be reallyimportant to show off that all these sto-ries and images are the same in lot of

places throughout France. And furthermore interesting to demonstrate thatarbitrary media images can alsoenable people to express who theyreally are, in these supposed urbanmargins, far away from reductive TVnews ones for instance.

LAURENT CATAL

FURTHERINFORMATION:

< www.flyingpuppet.comt >
http://www.flyingpuppet.comt/http://www.flyingpuppet.comt/



FEEDBACK BIENNALE 01SJ

The result, over a period of 4-daysmore than 25,000 visitors engagedwith over 100 artists, designers, engi-neers, filmmakers, musicians, archi-tects and avant-garde creators from21 countries, as they demonstratedthat art can be more than merely aes-thetically pleasing, but rather a toolwith which to Build Your Own World.In addition, 22,000 visitors experien-ced 01SJ partner programming, in themonths leading up to and followingthe Biennial.With Build Your Own World as thecentral curatorial theme, the 201001SJ Biennial took place on September

1619 throughout the City of SanJose, California, in the heart of SiliconValley. Lead by 01SJ Artistic Director,Steve Dietz, in his third and final yearwith the Biennial, and ZERO1sExecutive Director Joel Slayton, the2010 01SJ Biennial featured works bysuch art and design luminaries as theRockwell Group and its LAB, BrodyCondon, Natalie Jeremijenko, Rigo23,Todd Chandler, Blast Theory, andChris Baker.

From the creation of lush landscapesof sound by information architect andcellist Zoe Keating, performed in the

Empire Drive-In, a theater fashionedout of salvaged and wrecked automo-biles created by artists Todd Chandlerand Jeff Stark, to Randall Packardspolitically inspired multi-media ope-ra, the Rockwell Group and the LABstransformation of San Joses City Hallfacade into an interactive digitallyenhanced architectural wonder, andBlast Theorys locative cinema work

A Machine to See With commissionedby ZER01, Banff New Media Institute

at the Banff Centre, and SundanceFilm Festival, the 2010 01SJ Biennialoffered visitors a world of possibilitiesas rendered through a variety of artis-tic mediums.

Geared around the notion that artistscan, and do, act as change-agentsthrough the use of technologies intheir artwork; whether these techno-logies are natural resources, simple,or advanced tools; the 2010 curato-rial programming drew upon on theconviction that the 01SJ Biennial andparticipating artists have the capabi-lity to challenge the norm, raisepublic awareness, encourage curiosi-ty, and influence societal actions andperceptions. And so it was no surpri-se that the Biennials primary focalpoint, the exhibition, Out of theGarage Into the World, situated inSan Jose Convention Centers 80,000square foot South Hall, with masterexhibition plan designed by Madrid-based architect Angel Borrego Cube-ro, transformed the Biennial into acontemporary art DIY epicenter ofcreativity.

"The future is not just about whats next. Its also aboutwhat we can build to ensure that whats next matters"

This was the call to action that prompted an internationalarray of artists to submit proposals to participate inthe 3rd iteration of the 01SJ, a North American Biennialat the nexus of art, technology, and digital culture.

2010 01SJBIENNIALART, TECHNOLOGYAND DIGITALCULTURE

Todd Chandler & Jeff Stark,

Empire Drive-In.

PHOTOR.R./EVERETTTAASEVIGEN


27/36digitala

digitalarti 5 uk site internet md

Documents