DOMO-ART

prostheticknowledge:

The Colour Of

iOS app takes a search term, then creates an abstract collage from Instagram images based on that term:

The Color Of App from Kwok Pan Fung on Vimeo.

What is the color of happiness? Now you have an objective answer with ‘The Color Of’ app. When you search for something, the app will grab pictures from Instagram and overlap them to form an abstract image with a dominant color, which you can share on Facebook and Twitter, save as your phone’s wallpaper, or even send as a postcard. You can even explore the creations of other users. Free only on 14 December 2012 launch day, 99 cents thereafter. ‘The Color Of’ app is an art project by independent Singaporean designer, Fung Kwok Pan. It is based on his popular web art experiment to objectively find the colour of things based on Flickr. The iPhone app will be launching on 14th December 2012 for free, and with a price of 99 cents thereafter, based on photos from the Instagram community this time round.

When you search for a term, ‘The Color Of’ finds the Instagram images based on their tags, and overlap them to form an abstract image, which you can share on Facebook and Twitter, save as your phone’s wallpaper, or even send as a postcard (with our partners at Sincerely). Colors can also be searched by location or username.

In addition to creating your own, you can explore what the other users have created with the app. The Color Of is an annonymous, free-sharing network where you can view, share or save anyone’s creations.

‘The Color Of’ project adds on to the emerging field of new media and data art, where the work goes beyond a static medium by co-creating an art piece together with the user, the photo community and their ever-changing data. As a mobile app, users now have a piece of the project with them for an extended art experience anywhere and anytime.

From its creation till today, thecolorof.com web experiment has over 300 000 visits. Since thecolorof.com began tracking images created by its users 3 months ago, over 20 000 images have been created.

You can find out more here

Un Stedelijk virtual, anárquico y revolucionario

Por: Roberta Bosco y Stefano Caldana | 24 de diciembre de 2012

Temporary Stedelijk reúne en una única página 25 obras firmadas por nueve de los artistas más destacados de la historia del net.art, accesibles desde una ágil interfaz muy parecida a una pared repleta de lienzos. Los artistas, de la talla de JODI, Mouchette,Jan Robert Leegte y Rafaël Rozendaal entre otros, se presentan en una galería virtual, donde a medida que el usuario se desplaza en el espacio van apareciendo más obras y textos, colocados como si fueran cartelas o hojas de sala. Este y otros recursos contribuyen a replicar en el espacio virtual, las dinámicas reales que se desarrollan en un espacio expositivo tradicional, donde el visitante se mueve entre salas y pasillos,contemplando las obras que van apareciendo.

Un Stedelijk virtual, anárquico y revolucionario

24 · 12 · 12 | Permalink | via blogs.elpais.com #new media art

What’s (Really) Specific about New Media Art?

DOMENICO QUARANTA

This text has been written for the proceedings of the international conference“New Perspectives, New Technologies”, organized by the Doctoral School Ca’ Foscari - IUAV in Arts History and held in Venice and Pordenone, Italy in October 2011

The “portal” designed by Antenna Design to show net based art in the exhibition “Art Entertainment Network”, Walker Art Center, Minneapolis, 2000. Courtesy Walker Art Center, Minneapolis.

In the late nineties and during the first decade of this century the term “new media art” became the established label for that broad range of artistic practices that includes works that are created, or in some way deal with, new media technologies. Providing a more detailed definition here would inevitably mean addressing topics beyond the scope of this paper, that I discussed extensively in my book Media, New Media, Postmedia (Quaranta 2010). By way of introduction to the issues discussed in this paper, we can summarize the main argument put forward in the book: that this label, and the practices it applies to, developed mostly in an enclosed social context, sometimes called the “new media art niche”, but that would be better described as an art world in its own right, with its own institutions, professionals, discussion platforms, audience, and economic model, and its own idea of what art is and should be; and that only in recent years has the practice managed to break out of this world, and get presented on the wider platform of contemporary art.

7 · 12 · 12 | Permalink | via rhizome.org #new media art

Manfred Mohr: one and zero

P-18 “Random Walk”, 1969

The spotlight on computer art tends to fall on the shiny and new. Who won what at this year’s edition of Ars Electronica, who’s just designed a work of generative art for the promotion of a swanky car, who’s exhibiting at the STRP festival. But a look back at the work of computer art pioneers sometimes proves to be a surprising and uplifting experience. To be honest, i was convinced that i’d find the exhibitionManfred Mohr: one and zero too austere, too abstract. A week ago however, i was walking down Eastcastle street on my way from the Alexey Kallima show at Regina Gallery (quite good) to the Vivisector at Sprüth Magers (very very good) and i thought it wouldn’t hurt to push the door of the Carroll Fletcher gallery and have a look atManfred Mohr’s lines and cubes for a maximum of 30 seconds. I stayed almost half an hour staring at volumes emerging from flat surfaces and since then i’ve been telling people to go and see the exhibition. Today is Sunday, it’s sunny out there and i won’t pretend that i’m not copy/pasting a few paragraphs from the press release:

Beginning in 1969, Mohr was one of the first visual artists to explore the use of algorithms and computer programs to make independent abstract artworks. His early computer plotter drawings - when he had access to one of the earliest computer driven plotter drawing machines at the Meteorology Institute in Paris - are delicate, spare monochrome works on paper derived from algorithms devised by the artist and executed by the computer. P198aa (1977-79) is an elegant rhythmic composition of nine randomly rotated and cut cubes that hints at multi-dimensional space.

In other works that pre-date Mohr’s pioneering work with the computer, his interest in systematic art-making can clearly be seen; Bild 24/768 (1968) is reminiscent of a simple circuit board with its curious symbols and hard-edged patterning.

2 · 12 · 12 | Permalink | via we-make-money-not-art.com #New Media Art

Cover Magazine

We don’t see enough Chinese media, let alone small independent publications from the country, so it was exciting enough to hear from Chinese designer Mazzybox of dsign studio Deadline about their new magazine – and then the package arrived.

16 · 11 · 12 | Permalink | via magculture.com #Design

A different way of looking at Typography, Tilt is a magazine for Type lovers, students, designers or just curious about how Type works. Made in collaboration with Francisca Torres.

16 · 11 · 12 | Permalink | via mayramonobe.com #Design #Innovation

“Momentum” és un proyecto de fotografía de Alejandro Guijarro en el que se muestran las pizarras semiborradas de los centros e institutos de investigación. Combinación de belleza del símbolo y la fórmula matemática con el gesto humano azaroso y aleatorio del borrado, magnífico!

14 · 11 · 12 | Permalink | via alejandroguijarro.com #Photography

prostheticknowledge:

Rhizome: Prosthetic Knowledge Picks - Web Toys

In this submission, a collection of online projects to play around with, such as remixing Google Maps Streetview photos that become ASCII art or Little World fish-eye panoramas, draw with text, or remix images with animated emoticons.

You can find out more at Rhizome here

12 · 11 · 12 | Permalink | via rhizome.org #New Media Art

“Rothko/Sugimoto: Dark Paintings and Seascapes” at Pace London

Rothko/Sugimoto: Dark Paintings and Seascapes—the opening exhibition of the Pace Gallery new branch at 6 Burlington Gardens—juxtaposes Mark Rothko’s late black and grey paintings with Hiroshi Sugimoto’s contemporary photographs of bodies of water. The exhibition marks the first private gallery presentation of Rothko’s work in London in nearly fifty years and continues Pace’s five-decade tradition of exhibitions that explore affinities between artists working across decades and mediums.

Dark Paintings and Seascapes pairs eight acrylic paintings by Rothko and eight gelatin silver prints by Sugimoto, revealing two different artistic approaches that arrive at similar conclusions. Rothko’s use of medium as pure abstraction communes with the work of Hiroshi Sugimoto who, decades later, used the medium itself to reconsider photography’s relationship to his viewers’ perception of the world. In addition to exploring the visual dialogue between Rothko’s dark paintings and Sugimoto’s photographs—both characterized by a binary format of black and grey rectangular elements—the pairings mine the philosophical affinities between the two artists, each offering a meditation on universal and cosmological concerns.

Reed the rest at Mousse Magazine

7 · 11 · 12 | Permalink | via moussemagazine.it #Photography #Arts and Culture