Art, Science and the Sublime: 3 questions with Anna Dumitriu » IAI TV
Is the Romantic idea of the sublime still relevant? Yes, says Anna Dumitriu, and not just for art, but for science too. Anna Dumitriu is a Brighton-based contemporary artist best known for her work in bio-art. Her practice encompasses installations, interventions and performances, often incorporating diverse materials such as bacteria, robotics, digital projections and embroidery, Dumitriu seeks to blur the boundaries between the arts and the sciences. Dumitriu is founder and Director of the Institute of Unnecessary Research and lead artist on the "Trust me, I'm an artist: towards an ethics of art/science collaboration" project working with the Waag Society in Amsterdam. Nature has always been one of the most powerful ways of accessing the sublime. Science is a means of study the natural world, in all its forms, and for making predictions about it. Is science is encroaching on art’s territory, or vice-versa? The sublime an experience somewhere between terror and awe.
Visites virtuelles 360 de la France
Bienvenue à Montargis, dans le Loiret, pour cette visite virtuelle 360° du jour. Nous apercevons ici le quartier de la Pêcherie, qui doit son nom aux bateaux viviers qui s'y trouvaient il y a de cela quelques siècles, et qui acheminaient le poisson vers Paris.L'un des nombreux canaux, qui valent à Montargis l'appellation de "Venise du Gâtinais", longe le mur du Moulin de la Pêcherie qui fonctionna jusqu'au milieu du XXe siècle, pour passer sous un charmant pont de pierre (il y a plus d'une centaine de ponts et passerelles à Montargis). Evidemment, si vous souhaitez satisfaire vos papilles avec les délicieuses praslines Mazet, il faudra vous rendre sur place... Visite virtuelle 360° du quartier de la Pêcherie à Montargis, Loiret Cliquez sur l'image pour lancer la vue 360° interactive
this is onformative a studio for generative design.
Mozilla Lightbeam : pour mettre à nu les traqueurs de la Toile
Software Development as Artistic Practice: How Open Source Has Changed the Way Art is Made
Artists are notoriously secretive about their processes. Rothko never revealed the complex formulas behind his diaphanous color fields. Picasso gave his famous dictum, “Bad artists copy. Rather than locking their studio doors, media artists are in a constant, open dialogue over how, and how best, to make use of the technologies that drive their work. Though these open-source creative tools were developed by artists, they don’t need to be considered works of art in and of themselves. The difference between a media artist creating a tool like OpenFrameworks and a painter developing a new admixture of oil paint, for example, is that the coding tools are designed to be functional and public, a provocative quality in the traditionally covetous art-world context. Creative programming environments are functional by necessity, especially with utilities like Processing and OpenFrameworks. OpenFrameworks also came in reaction to Maeda’s work. [content:advertisement-center]
Accueil Explorateurs de l'imaginaire
Dance Technology: Proximity, with VDMX, Quartz Composer, OpenFrameworks, Syphon
With new hybrid performance comes new hybrid tools, as artists can work with an arsenal of evolving, often open, creative visual software. In a new performance for Australian Dance Theater, multiple tools merge to produce an array of visual features to accompany the choreography. Some of the glue is Syphon, the open source framework for sharing textures on the Mac, so it’s fitting this news comes our way from Syphon co-creator Tom Butterworth. Tom writes: I’ve just been doing some coding work for something I thought might make a good CDM story. Agreed! As reviewed in The Australian:Dance on the spider’s web of technology You can also hear audience reactions via Australian Dance Theatre’s Twitter Behind-the-scenes interview at bottom; images here via the Australian Dance Theater Facebook page.
En moins d’une heure, ces larves dévorent un sac en plastique ultra résistant
Un sac plastique met environ 450 ans pour se décomposer complètement (Crédit : Pixabay) Dévorer du polyéthylène, l’une des matières plastique les plus résistantes, qui est couramment utilisé dans les emballages : c’est ce dont sont capables les larves de la fausse teigne, un papillon de nuit connu pour parasiter les ruches des abeilles ; se nourrissant du miel et de la cire que renferment ces dernières. Cette découverte est pour le moins fortuite. C’est en voulant se débarrasser des larves qui avaient infestées ses ruches que Federica Bertocchini — apicultrice amatrice et biologiste de l’Institut IBBTEC de Santander, en Espagne — découvre, en 2015, leurs capacités. Les premiers trous sont apparu au bout d’une quarantaine de minutes ( Crédit : Fernando Hernandez / CSIC ) Les larves de la fausse teigne brise la liaison chimique du plastique Lors d’une expérience, ils exposent une centaine de larves à un sac en plastique de supermarché.
An Open Source Video Mixer, Inspired by DIY Space Exploration
As many ponder the fate of hardware mixing, mixing in software continues to advance. And in a reminder of just how many different applications video mixing can have, here’s a fascinating article about a new open-source Linux-based video mixing tool called Snowmix: Copenhagen Suborbitals Release Snowmix, an Open Source Video Mixer [The Power Base] What’s fascinating about it is that this didn’t come from VJs or broadcasters, but people who are experimenting in DIY, non-profit human sub-orbital flight (the Copenhagen Suborbitals). In fact, this isn’t even the only example of synergy between spaceflight and video tools. NASA’s Communication Navigation and Networking Reconfigurable Testbed (CoNNeCT) experiment uses the memory controller that was originally developed for the Milkymist system-on-chip[1] and published under the GNU GPL. Pretty awesome to have tech you developed wind up in space. As for this (software) mixer, the feature list is impressive:
Vikidia
