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Remix culture

Remix culture
Remix culture, sometimes read-write culture, is a society that allows and encourages derivative works by combining or editing existing materials to produce a new creative work or product.[2][3] A remix culture would be, by default, permissive of efforts to improve upon, change, integrate, or otherwise remix the work of copyright holders. While a common practice of artists of all domains throughout human history,[4] the growth of exclusive copyright restrictions in the last several decades limits this practice more and more by the legal chilling effect.[5] As reaction Harvard law professor Lawrence Lessig, who considers remixing a desirable concept for human creativity, works since the early 2000s[6][7] on a transfer of the remixing concept into the digital age. Lessig founded the Creative Commons in 2001 which released Licenses as tools to enable remix culture again, as remixing is legally prevented by the default exclusive copyright regime applied currently on intellectual property.

Computer art The term "computer art"[edit] On the title page of the magazine Computers and Automation, January 1963, Edmund Berkeley published a picture by Efraim Arazi from 1962, coining for it the term "computer art." This picture inspired him to initiate the first Computer Art Contest in 1963. The annual contest was a key point in the development of computer art up to the year 1973.[1][2] History[edit] The precursor of computer art dates back to 1956-1958, with the generation of what is probably the first image of a human being on a computer screen, a (George Petty-inspired)[3] pin-up girl at a SAGE air defense installation.[4] Desmond Paul Henry invented the Henry Drawing Machine in 1960; his work was shown at the Reid Gallery in London in 1962, after his machine-generated art won him the privilege of a one-man exhibition.[5][6] Katherine Nash and Richard Williams published Computer Program for Artists: ART 1 in 1970.[13] Output devices[edit] Graphic software[edit] Robot painting[edit] See also[edit]

Consume Less/Share More = Access Economy: Takeaway from Sustainable Brands ’11 | The Green Samaritan As the Susta inable Brands conference wrapped up on Friday, there was a point made that really resonated with me during a presentation made by Raphael Bemporad of BBMG. BBMG is an agency dedicated to forward-thinking brands and conscious consumers. His presentation “Meet the New Consumer: 5 Marketplace Trends that will shape the Green Economy”, talked about ways for brands to embrace consumers today to include what consumers want in terms of experience. That co-creation then becomes the basis for what was referred to as the “Access Economy” where we consume less but share more. Today there are many online business models promoting that same or similar philosophy. SnapGoods – A place where you can rent or borrow gear from within a network or neighborhood. SwapStyle – A thriving community of eco conscious, clothing loving, money saving women from all over the world who are making new friends and swapping clothes, cosmetics, books and more for free.

Appropriation (art) Au sens large, peut être de l'appropriation artistique tout art qui réemploie du matériel esthétique (par ex. photographie publicitaire, photographie de presse, images d'archives, films, vidéos, textes, etc.). Il peut s'agir de copies exactes et fidèles jusque dans le détail, mais des manipulations sont aussi souvent entreprises sur la taille, la couleur, le matériel et le média de l'original. Cette appropriation peut être effectuée avec une intention critique ou comme un hommage. Le Whitney Museum of American Art de New York et le Musée d'art contemporain de Los Angeles ont organisé, en 1989, de grandes rétrospectives de la Picture Generation. En 2009, le MoMA présente trente artistes de la scène artistique new-yorkaise des années 1970 dans l'exposition, organisée par Douglas Eklund, « The Generation Photos, 1974-1984[1] ». Les stratégies individuelles des artistes varient considérablement, de sorte qu'un seul modus global n'est pas facile à repérer. « Qu’est-ce qu’un auteur ?

List of tool-lending libraries Tools available for borrowing at Fletcher Free Library, Burlington, Vermont The following tool libraries allow patrons to borrow tools, equipment and "how-to" instructional materials, functioning either as a rental shop, with a charge for borrowing the tools, or more commonly free of charge as a form of community sharing. The Tool library performs the following main tasks: Tool Lending: all kinds for use in volunteer projects, facility maintenance and improvement projects, community improvement events, and special events.Tool Advocacy: for the complete and timely return of all borrowed tools, to guarantee the long-term sustainability of available inventory. Makerspace[edit] Makerspace are places where people perform the following main tasks: to learn about technology, crafts and other kinds of making;to share knowledge and skills with others; andto apply this knowledge and skill by creating things. History[edit] A tool lending library was started in Columbus, OH in 1976. Australia[edit]

Appropriation (art) - Wikipedia Inherent in our understanding of appropriation is the concept that the new work recontextualizes whatever it borrows to create the new work. In most cases the original 'thing' remains accessible as the original, without change. "A Page from Leonardo's Book" by Mitzi Humphrey The Dada movement (including Duchamp as an associate) continued with the appropriation of everyday objects. Dada works featured deliberate irrationality and the rejection of the prevailing standards of art. Kurt Schwitters, who produced art at the same time as the Dadaists, shows a similar sense of the bizarre in his "merz" works. The Surrealists, coming after the Dada movement, also incorporated the use of 'found objects' such as Méret Oppenheim's Object (Luncheon in Fur) (1936). In 1938 Joseph Cornell produced what might be considered the first work of film appropriation[citation needed] in his randomly cut and reconstructed film 'Rose Hobart'. Appropriation artists comment on all aspects of culture and society.

11 Platform Cooperatives Creating a Real Sharing Economy As “death star platforms” such as Airbnb and Uber continue their pursuit of global domination, an alternative is rising in its wake. Platform cooperatives, which share the value they create with the users they depend on, are on the rise. As Shareable co-founder Neal Gorenflo writes in How Platform Co-ops Can Beat Death Stars Like Uber to Create a Real Sharing Economy, “Platform coops combine a cooperative business structure with an online platform to deliver a real-world service.” Gorenflo asks, “What if Uber was owned and governed by its drivers? 1. Fairmondo is a digital, co-operative version of eBay, where sellers on the platform are also its owners. To scale globally, the Fairmondo team plans to create an international network of country-based co-ops feeding into the Fairmondo platform. 2. Stocksy is a stock photo site where contributing photographers are also owners. 3. Backfeed is a platform to create platform cooperatives, all powered by the blockchain. 4. Photo: Nancy Xu (CC-BY)

Evolutionary art - Wikipedia Evolutionary art is a branch of generative art, in which the artist does not do the work of constructing the artwork, but rather lets a system do the construction. In evolutionary art, initially generated art is put through an iterated process of selection and modification to arrive at a final product, where it is the artist who is the selective agent. Evolutionary art is to be distinguished from BioArt, which uses living organisms as the material medium instead of paint, stone, metal, etc. Overview[edit] In common with biological evolution through natural selection or animal husbandry, the members of a population undergoing artificial evolution modify their form or behavior over many reproductive generations in response to a selective regime. In interactive evolution the selective regime may be applied by the viewer explicitly by selecting individuals which are aesthetically pleasing. See also[edit] Further reading[edit] Bentley, Peter, and David Corne. External links[edit]

Digital morphogenesis - Wikipedia Digital morphogenesis is a type of generative art in which complex shape development, or morphogenesis, is enabled by computation. This concept is applicable in many areas of design, art, architecture, and modeling. The concept was originally developed in the field of biology, later in geology, geomorphology, and architecture. In architecture, it describes tools and methods for creating forms and adapting them to a known environment.[1][2][3][4] Stanislav Roudavski describes it as similar to biological morphogenesis: developing gradually, without an explicit definition of the methods of growth or adaptation. Developments in digital morphogenesis have allowed construction and analysis of structures in more detail than could have been put into a blueprint or model by hand, with structure at all levels defined by iterative algorithms. Notable persons[edit] See also[edit] References[edit] ^ Kolarevic, Branko (2000). Reading[edit] Burry, Jane, et al. (2005). External links[edit]

Video game art - Wikipedia Artistic modifications are frequently made possible through the use of level editors, though other techniques exist. Some artists make use of machinima applications to produce non-interactive animated artworks, however artistic modification is not synonymous with machinima as these form only a small proportion of artistic modifications.[citation needed] Machinima is distinct from art mods as it relies on different tools, though there are many similarities with some art mods. Like video games, artistic game modifications are often interactive and may allow for single-player or multiplayer experience. Techniques[edit] Machinima[edit] In-game intervention and performance[edit] Artists may intervene in online games in a non-play manner, often disrupting games in progress in order to challenge or expose underlying conventions and functions of game play. Site-specific installations and site-relative mods[edit] Real-time performance instruments[edit] Generative art mods[edit] See also[edit]

In-game photography - Wikipedia For the photos of the real world taken to be used in virtual reality, see VR photography. In-game photography (also known as screenshot art, screenshot photography and professional gaming photography) is a form of new media art, which consists of photographing video game worlds. Screenshot photography has been featured in physical art galleries around the world. The validity and legality of this art form is sometimes questioned due to the fact that in-game photographers are taking photos of artwork created by the game's designers and artists.[1] However for the most part in-game photographers share the same motivations as "real life" photographers, including a desire to capture visually interesting images, preserve memories, and demonstrating technical expertise.[2] One of the earliest known works of in-game photography was Thirteen Most Beautiful Avatars by Eva and Franco Mattes. Virtual reality tourism[edit] Notable artists[edit] References[edit] Jump up ^ Farmer, D. (2015, November 22).

Virtual art - Wikipedia Virtual art is a term for the virtualization of art, made with the technical media developed at the end of the 1980s (or a bit before, in some cases).[1] These include human-machine interfaces such as visualization casks, stereoscopic spectacles and screens, digital painting and sculpture, generators of three-dimensional sound, data gloves, data clothes, position sensors, tactile and power feed-back systems, etc.[2] As virtual art covers such a wide array of mediums it is a catch-all term for specific focuses within it. Much contemporary art has become, in Frank Popper's terms, virtualized.[3] Definition[edit] Virtual art can be considered a post-convergent art form based on the bringing together of art and technology, thus containing all previous media as subsets.[4] Sharing this focus on art and technology are the books of Jack Burnham (Beyond Modern Sculpture 1968) and Gene Youngblood (Expanded Cinema 1970). In virtual worlds and entertainment[edit] Notable artists[edit] Notes[edit]