Michel BRET et Edmond COUCHOT. Jeffrey Shaw. Karl Sims. Yoichiro Kawaguchi. Wiliam Latham. Laurent Mignonneau & Christa Sommerer. Maurice Benayoun. 2018Oct VoV – Value of Values : Transactional Art on the Blockchain Crypto Art The Brain Factory at Microwave Festival.
Miguel Chevalier. Joachim Sauter. By the end of the 90s, projection, real-time and image recognition systems had reached a level of technical sophistication that enabled the creation of large-scale, interactive floor projections.
In contrast to other interactive systems popular at the time, which were mainly hand controlled with a mouse or a joystick, so-called sensitive floors introduced a system in which the user's whole body became the interface. People could move around freely in the room, interacting with not only the system but also with one another. Sensitive floors were an important milestone towards multi-user interaction in a virtual space with a clear focus on shared experience. Alain Bublex. Keith Cottingham. Joseph Nechvatal. Aventures Virales (Viral Adventures) An art exhibition by Joseph Nechvatal From October 15th till November 10th, 2004 at Galerie Mabel Semmler in Paris Opening Vernissage October 14th.
Lawick Müller. La Folie à Deux 1992-1996 BieferZgraggen Hohenbüchler MinkoffOlesen VedovaMazzei La Folie à Deux is the title of a series of portraits showing artistduos/couples who produce joint works.
The portraits refer to the peculiarity of artistical practice within creative partnerships: to their intense dialogue and interaction as well as to the relational side which is - as with all intense relationships - inapproachable from outside. Aziz & Cucher. Ubikam. Daniel Lee. Jungle 2007 The setting sun often awakens a new landscape of wild life activity, one that is carefully watched by the eyes of predator, scavenger and prey...
My recent work "Jungle" is an extension from my previous work “Nightlife” series, imaging contemporary portrayal of the intrinsic between people in a jungle-liked urban environment. - Daniel Lee 2016 “Looking Glass/Daniel Lee Retrospective” at Taipei Fine Arts Museum, Taipei, Taiwan 2008 “Daniel Lee 1993-2007 Retrospective” at National Central University, Taiwan, Taiwan 2008 “Daniel Lee 1993-2007 Retrospective” at Tsing Hua University, Beijing, China 2008 “Jungle” at Nichido Contemporary Art, Tokyo, Japan 2008 “Jungle” at In-Art Space, Tainan, Taiwan.
Patricia Piccinini. Charles Sandison. Joanie Lemercier. NimbesAudiovisual piece – 15 minutesby Joanie Lemercier and James Ginzburg Nimbes explores the ontology of observation and its relationship to cosmogony, notions of intelligence and individuality.
As a universe comes into being, emergent structures arise and determine its unfolding. From the perspective of observation, intelligence is an emergent property of the universe in which we find ourselves. As if from a desire to participate in the process of unfolding, we create both architectures and narratives, repetitions of the cosmogony, microcosms of the universe, in which all our actions find symbolic expression on a macrocosmic scale. But within this process, questions arise, linear continuity is interrupted by the uncertainties of the hypothesis of stability on which we base our solid notions, which have provided the foundations for our architectures, the grounds of our narratives.
Studio Roosegaarde. Samuel Bianchini. Installation interactive, 2008 Samuel Bianchini Dans le cadre d’un contrat de recherche externalisée entre Orange Labs et le CiTu pour la Biennale d’art contemporain de Rennes, France, Valeurs croisées, 2008 Ingénierie et coordination CiTu : Paul Girard avec la collaboration de Safwan Chendeb Coordination Orange Labs : Emmanuel Mahé Développement informatique : Adrien Mazaud (CiTu) Sur la base de travaux de recherche d’Olivier Bernier et Jean-Emmanuel Viallet (Orange Labs) Expertise et optimisation électroniques : Patrice Barbel (IETR - Université Rennes 1) Assistants pour le montage : Oussama Mubarak et Simon Poulain Avec la participation ou le soutien de Anne Bationo, Moustafa Zouinar et François Coldefy (Orange Labs), Martine Bour (CiTu), Raphaële Jeune (Art to be), Mari Linnman, Maël Teillant et les sociétés Elek et Ouestronic.
Shilpa Gupta. De l’artiste à l’œuvre.
Ryoji Ikeda. Seb Lee-Delisle. Guillaume Marmin. Lia. Elias Crespin. Marie-Julie Bourgeois. TEMPO II triptyque présenté lors de l’exposition collective La belle vie numérique, de Fabrice Bousteau à la fondation EDF 6 rue récamier 75007 PARIS du 17 Novembre 2017 au 18 Mars 2018.
Marie-julie Bourgeois 2017 Programmation : Rémi Bréval Co-réalisation : Luiza Jacobsen Composition sonore : Julien Bréval Scénographie/image : Lef Kazouka et Jean-Baptiste Lepeltier Programme temps réel, vidéo-projection sur toile. Dimensions : 7,73m x 4,26m Projet soutenu par Arcadi, la Mairie de Paris (2008) & La fondation EDF (2017) 270 webcams live installées aux quatre coins du monde numérique retransmettent des fragments de ciels en temps réel. L’installation propose une cartographie instantanée des cieux de jour comme de nuit. L’oeuvre prend pour tempo le rythme de rotation de la Terre, et le midi solaire est placé au centre de l’installation. Photographies de Karim Benramdane lors du vernissage : Collectif Tundra. Donatien Aubert. Pascal Dombis.
Pascal Dombis RSS Feed works Archive 030 octobre 2020.
Gregory Chatonsky. A large format photograph representing a naturalist landscape generated by a recursive neural network. Its realism is the limit of the possible, the vegetation is luxuriant, invasive, excessive. Plants are superimposed on minerals and animals that hybridize, condensing a micro-world. It could be an island with its endemic species. It is the imagination of a machine that has accumulated the memory of our world and generates new possibilities.
This image evokes the weird resemblance between the generative power of natural forms and that of artificial neural networks. Une photographie de grand format représentant un paysage naturaliste généré par un réseau récursif de neurones. Les Réseaux de la création. Les « arts numériques » sont le reflet de nos modes d’existence, connectés, interactifs. Chacune des oeuvres proposées entre en résonance avec notre époque en s’appuyant sur les nouvelles technologies et les nouveaux usages, dans un souci permanent de dialoguer avec les lieux et les cultures, que ce soit par la mise en valeur du patrimoine architectural ou les échanges avec les acteurs locaux. L’association Les Réseaux de la Création, organisatrice du Festival Vision’R, offre depuis plus de 10 ans un panorama des pratiques de l’image live et In situ, drainant autour d’elle une communauté d’artistes numériques.
United Visual Artists. Les pionniers. A partir de 1956. Manfred Mohr. Experiments in Motion Graphics. 1968. ASCII Art Collection de Christopher Johnson. "Visible Hand". 2016. Samuel Bianchini. Dispositif sur Internet, 2016, d'après All Over (2009) Samuel Bianchini Réalisation informatique : Oussama Mubarak Remerciements : Mit Borras, Mario Gutiérrez Cru, Queralt Lencinas Pour télécharger l'image ci-dessus en haute définition (Tiff), cliquer ici Pour télécharger l'image ci-dessus en haute définition (Tiff), cliquer ici Pour télécharger l'image ci-dessus en haute définition (Tiff), cliquer ici. ASCII Art Generator - Online "HD" Color Image to Text Converter. Site désordre de Philippe de Jonckheere: littérature et photographies. This Person Does Not Exist [Philip Wang]
Julien Levesque - 2009. Street Views Patchwork. Hasan Elahi. Tracking Transience v2.2 (Photographies depuis 2007). Art et sousveillance. [ ted davis ] Page d'accueil interactive. JET SET WILLY Variations ©1984. Marina Olson ** 🅜ðŸ…Â🅡🅘🅢🅠🅞🅛🅢🅞🅠** â“‚â“ÂⓡⓘⓢⓠⓄⓛⓢⓞⓠ**ð“œð“ªð“»ð“²ð“¼ðÂһ ð“Å. Kari Altmann. "GOOGLEHOUSE" 2003. Marika DERMINEUR & Stéphane DEGOUTIN. "The revolving internet". 2010. Constant Dullaart. "Je sais où vit votre chat"
"Cartes postales de Google Earth" "I'm Google". I’m Google is an ongoing tumblr blog in which batches of images and videos that I cull from the internet are compiled into a long stream-of-consciousness. Both the searching and arranging processes are done manually. The batches move seamlessly from one subject to the next based on similarities in form, composition, color, and theme.
This results visually in a colorful grid that slowly changes as the viewer scrolls through it. Images of houses being demolished transition into images of buildings on fire, to forest fires, to billowing smoke, to geysers, to bursting fire hydrants, to fire hoses, to spools of thread. The site is constantly updated week after week, batch by batch, sometimes in bursts, sometimes very slowly. The blog came out of my natural tendency to spend long hours obsessing over Google Image searches, collecting photos I found beautiful and storing them by theme. "Osmose". 1995. The user-interface is based on full-body immersion in 360 degree spherical, enveloping space, through use of a head mounted display. In contrast to manually based interface techniques such as joysticks and trackballs, Osmose incorporates the intuitive processes of breathing and balance as the primary means of navigating within the virtual world.
By breathing in, the immersant is able to float upward, by breathing out, to fall, and by subtlety altering the body's centre of balance, to change direction, a method inspired by the scuba diving practice of buoyancy control. Whereas in conventional VR, the body is often reduced to little more than a probing hand and roving eye, immersion in Osmose depends on the body's most essential living act, that of breath—not only to navigate, but more importantly—to attain a particular state-of-being within the virtual world.
"World Skin" 1997. Maurice Benayoun. (A Photo Safari in the Land of War) . Virtual Reality, CAVE, cameras, printer, Internet concept the apparatus photography machinery credits pictures 100 last shots from World Skin World Skin is an interactive artwork presented for the first time at Ars Electronica (Linz, Austria). It won the Golden Nica Award in the Interactive Art category in 1998. "Les pissenlits ". 2006. Michel Bret , Edmond Couchot. "SQUARE3". 2007. E. De Crecy. Studio WECOMEINPEACE depuis 2008. ( Wilfried Della Rossa, Kimi Do and Thomas Mathieu) "Systemic". 2010. Antoine Schmitt.
"3DESTRUCT v2". 2011. Yannick Jacquet, Jeremie Peeters, Thomas Vaquié. "Transfinite". 2011. Ryoji Ikeda. "Aperture facade" . 2012. Jeremias Volker. "Beyond infinity" . 2012. Serge Salat . ‘beyond infinity’, an immersive installation by french artist and theorist serge salat ‘beyond infinity’, a multisensory installation by french artist and theorist serge salat, interweaves mirrors, light, music, and fractal art in an architecture that conflates visitors’ perceptions of space. sponsored by buick cars and usable during the events as a vehicle showroom, the work is installed at shanghai’s westgate mall from september 16th through 18th, 2011. in addition to his artistic practice, salat works as an architect and has authored twenty books on subjects ranging from virtual art, labyrinths, sustainable architecture, and cities and urban planning. the influences of his academic work bring the perspectives of chinese taoist philosophy and post-structuralist thought to a single physical manifestation, making use of ancient design and layout methods but modern multimedia technology to create a space that feels veritably apart from ordinary spacetime.
"Ganymède" . 2013. Aurélien Lafargue et Mourad Bennacer. Installation immersive et interactive. Le projet immersif Ganymède met en scène un environnement interactif inspiré par l’objet céleste du même nom et la mythologie antique. Développé en 2013 dans le cadre d’une recherche sur l’interface gestuelle Leap Motion, le projet initial invite les participants à explorer librement un univers surréaliste, peuplé de vestiges d’origine inconnue qui prennent vie par le geste.Créé à l’origine dans le cadre d’une résidence au Stéréolux (Nantes – FR), une adaptation 360° de Ganymède a par la suite été présentée en 2015 par Aurélien Lafargue et Mourad Bennacer dans le dôme immersif de la Société des Arts Technologiques de Montréal à l’occasion du IX Symposium. puis dans la programmation régulière de la SAT durant le mois de Juin 2015. Ganymède est une expérience d’exploration interactive, une performance immersive en plusieurs tableaux, dans lesquelles l’image et le son révéleront la mémoire des lieux.
"Submergence". 2013. Squidsoup (Groupe art digital à la Galerie Rom à Oslo) " HYPERJUMP". 2014. Collectif Tundra. "CLOUDS". 2014. James George. Interactive Documentary co-directed with Jonathan Minard CLOUDS is an interactive documentary that presents a conversation among 40 artists, designers, and hackers who use code, and collaborate on open source tool kits. It explores themes of creativity and invention, interactive art, simulation, computational design, data visualization, and the future of storytelling.
CLOUDS allows the viewer to explore different perspectives on the intersection of code and culture. "HOMEOMORPHISM". 2016. Ouchhh Studio. IAIA (Institute of American Indian Arts in New Mexico USA), CERN (The European Organization for Nuclear Research), Switzerland SAT (Société des arts technologiques), Canada National Space Center. Un homéomorphisme, ou transformation continue, est une relation d’équivalence one-to-one qui fait correspondre deux points dans les figures géométriques ou espaces topologiques. "GHOST CITY". 2017. Hugo Arcier. Ghost City (Trailer) 2016 a video installation by Hugo Arcier with an original music by Bernard Szajner Still framesPhoto in situ during “Fantômes numériques” exhibitionPhotos in situ during the Beirut Biennale for the image.
“La zone grise (voix de fantôme numérique)” Draws on De rerum natura of Lucrece, the installation Ghost City is built around a reinterpretation of the set of the famous game GTA V. The spectator is plunged into an environment without any population that disappears as we move closer. It is a meditative and captivating experience. The disappearance, before our eyes, of this virtual universe feeds the terror that one day all our digital life – ephemeral cloud -, disappears in a snap of the fingers. Miguel CHEVALIER. Dear World… Yours, Cambridge. 2017. "Phonofolium" . 2019. Scenocosme. Adrien M & Claire B - Faire corps - Exposition-expérience. Gaité Lyrique. Paris. Caoyuxi. "The vaste land". 2015. Team Void. "Over the air". 2018. Claire Malrieux. "Atlas du temps présent" Compositions de 2014 à 2018.
L'atlas du temps présent est une expérience du récit par le dessin. Ce projet graphique et éditorial dessine une forme du temps présent en utilisant comme matière première au dessin l'état de la recherche scientifique actuelle. Christophe Bruno. L'Etre, la Machine et le Néant . 2019. David Hockney Ipad art. Flip Flop Flyin. PHONE ARTS. Loretta Lux. Beb-Deum. DU ZHEN-JUN 杜震君. Yang Yongliang. Chris Jordan "La vague de déchets" SÉRIÈS ET SÉRIÈS (Benjamin et Thomas) 1992 - Fictitious Portraits — Keith Cottingham.
1996 - Kyoko Date - 1ere Pop star virtuelle. (Idoru) par l'Agence Horipro (Japon). Le congrès. 2013. Ari Folman. (Bande annonce du film long métrage) LaTurbo Avedon. 2017. Artiste virtuelle sur les réseaux sociaux. Miquela Sousa: influenceuse virtuelle. Franck Vigroux & Antoine Schmitt. "Chronostasis". 2019. "Erection". 2004. Pierre Rigal, Aurélien Bory. "Accumulated Layout". 2007. Hiroaki Umeda. "BIPED". 1999-2011. Merce Cunningham Dance Company. "FRICTIONS" . 2011. Steven Briand. "Pixel" . 2014. Chorégraphie: Mourad Merzouki. Création numérique: Adrien Mondot, Claire Bardainne. "In Order to Control". 2017. NOTA BENE Visual. "#Choreocracy". 2018. Tim Casson & Seb Lee Delisle.