Then in 1994 the computer entered my life.
The contradiction between limitation on the one hand, unlimited freedom and no physical borders on the other hand, created new impulses and insights to explore the possibilities of the medium. My fascination for this platform was born.
I have travelled a long way obtaining the necessary technical skills,studying and experiecing the do's and the don;ts, preparing and presenting concepts of visual artists for the web. It has now become the art form for myself to express and to tell my story.
The images, the words, the colours, the sounds, the motions, they're all ready there. It is like a palet with paint, a keyboard characters,covered with jpg., gif, wave, MP3,mov., doc. and other files. They're at my disposition and I will put them in a new, different context. They form the remains of my travels trough my mind, the virtual world, the real world and life.
Marjan van Mourik (1958) studied art-history and multimedia.
Sites and Para-sites: Networking Art
The ICA, Brandon Room
The Mall, London SW1Y 5AH
Monday, March 20
£3/£2 ICA members
Tickets: ICA box office 020 7930 3647
The London Consortium, the ICA and NODE.London present a conversation on how networks make artworks.
Why might (or might not) media artists and organisations choose to utilise networks to generate and distribute artworks? What does the prevalence of networks in media arts reflect about the increasingly networked character of contemporary culture and society? What are some of the advantages and disadvantages of the network model in comparison to other organisational structures? A panel of professionals with differing relationships to media arts and its networks will examine these questions and invite discussion from the audience.
Panel includes Ruth Catlow, artist, co-founder and co-director of Furtherfield.org and HTTP [House of Technologically Termed Practice] and a Voluntary Organiser for Node.London ; Kelli Dipple, integrated media and performance artist and Webcasting Curator at Tate; Shu Lea Cheang, digital artist working in the field of net-based installation, social interface and film production; Tom Corby, artist, writer, curator, academic at the University of Westminster, and editor "Network Art: Practices and Positions," recently published by Routledge; Helen Sloan, director of SCAN, the new media art agency in the South of England; and moderator, Professor Steven Connor, Academic Director of the London Consortium.
Google for "Andy Deck" and you will get hundreds (probably thousands) of websites, which rather ironically, define him in the same way: "Andy Deck makes public art for the Internet that resists generic categorization". Other keywords you are likely to find commonly associated with the artist Andy Deck are net art, software art, screen-based interfaces, anti-corporatism, and "anti-militarism".
Visual Complexity is a listing of nearly 300 different information mapping projects. Compiled by Manuel Lima, a Portuguese information designer who recently finished his MFA at Parson's School of Design in New York, each entry includes a project overview and a link for more detail. Lima started VC as a method of cataloging research for his thesis, Blogviz�
Turning Games into a New Kind of Art�: that was the headline in The New York Times on January 21, of an article about a games exhibition �" and provides all the more proof that to an ever increasing degree digital games are part of popular culture. They not only reflect elements of daily life, but also influence it. In addition, digital games unite multiple disciplines such as film, photography, theatre and architecture. The medium appears to have begun an unstoppable advance, and forces �" or tempts �" us to a redefinition of our everyday environment. In its exhibition �Next Level�, the Stedelijk Museum shows work by artists and designers who make the vocabulary of games their own, and provide us with their personal reflection on it.
Potentially Someth;ng will exhibit in London works by student artists who explore different fields inside the interactive / digital media.
The show includes:
The Doodle TV application doodles over live images on TV recognising faces and drawing glasses and mustaches over them, or drawing decoration around the image. It works exceptionally well with
news programs as you can see in the image.
By Kester Sheridan, Goldsmiths College, University of London.
For Luc Ferarri is an installation where the audience becomes the conductor of one of Luc Ferrari`s rare symphonic pieces. It questions the elite nature of classical music, its accessibility, its copyright and the role of of the conductor. The piece discovers a hidden visual side of classical performance and the intimacy of individual members of the orchestra caught in digital close-ups.
Luc Ferrari was present during this concert, recorded illegally three months before his death in August 2005. This may also be the last filmed work which has Ferrari invisible yet there, in the audience.
Aikon (Artistic~Automated IKONograph) sketches faces automatically, starting from a picture, typically a photographic snapshot of a scene with humans.
Once a digital image is considered, the system automatically finds where some of the faces (or face-like patterns) are and isolate these. Each face image pattern is then used to produce a stylised portrait. The style which the system aims at using is derived from the one Patrick Tresset has developed over the years in his artistic practice. The goal is for the final system to mimic the process developed by the artist and algorithmically interpreting its subjects into naturalistic, yet electronically-derived, forms. Aikon will be producing a series of sketches throughout the exhibition.
By Patrick Tresset, Goldsmiths College, University of London.
Potentially Someth;ng will start the ...