This project born from an idea of a group of web-workers and a cultural no-profit association that operate between Turin, Milan and Venice promoting international art.
The intention is to give a different way of reality interpretation in our IT society trought art in his main sense of espression.
Every art worker can partecipate no age or nationality restriction.
MAzine puts media arts centre stage
Please discuss all aspects of the node.london 2006 season of media arts here. You just need to register first. If you want to start a new forum topic click 'create content' and away you go.
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A collaborative text written by Marc Garrett and Ruth Catlow, for "Media Mutandis: A Node.London Reader" (to be published in February 2006)
There is a Sufi fable in which a group of foreigners sit at breakfast, excitedly discussing their previous nightâ€™s exploration. One starts saying â€œâ€¦and what about that great beast we came across in the darkest part of the Jungle? It was like a massive, rough wall.â€ The others look perplexed. â€œNo it wasnâ€™t!â€ says one, â€œIt was some kind of pythonâ€. â€œYeahâ€¦â€ another half-agrees, â€œâ€¦but it also had powerful wingsâ€. The shortest of the group looks bemused- â€œwell it felt like a tree trunk to me.â€
This fable aptly illustrates many aspects of the NODE.London experience. The name, which stands for Networked Open Distributed Events in London , indicates the open, lateral structure adopted to develop a season of media arts. It is intentionally extensible, suggesting possible future NODE(s).Rio, .Moscow, .Mumbai etc. As participants/instigators in the projectâ€™s ongoing conceptualization and praxis, we are just two individuals positioned on the interlaced, scale-free networks of NODE.L (more on these later). As such, our descriptions of this collectively authored project are inevitably incomplete and contestable, with a complete picture emerging only in negotiation with others.
At time of writing we are between the two key milestone events of NODE.L: Octoberâ€™s â€˜Open Seasonâ€™ of conferences (with its focus on media activism) and the Season of Media Arts, planned for March 2006 (which will feature distributed media arts projects, exhibitions and events). Through these events NODE.L offers a rare chance to identify shared purposes, philosophies, resources (such as licenses and tools for knowledge sharing) and common vocabularies between the media arts and tech-orientated, media activist communities.
I found these lights which I think are realy cool
Firefly Lights that have been developed to accurately recreate the life-like flashing, flickering, and fading of real fireflies in your garden, all year long. So special and realistic are these patent pending firefly lights that they're used by Universities for conduct their firefly research. In addition, Firefly Magicâ„¢ Firefly Lights are used in theme parks, natural science museums, hotels, restaurants, on stage, and in movies to accurately replicate the look and feel of real fireflies.
HTTP presents Abuse of the Public Domain, the first solo show of networked media art by UK artist Stanza.
This exhibition features large-scale projections of 2 works, which use live real-time data from CCTV cameras cited in two cities, London and New York . Security tracking data is Stanza's chosen medium for these process led artworks.
YOU ARE MY SUBJECTS uses data from a single fixed camera in NYC, focusing on subjects as they pass below it. AUTHENTICITY [Trying to imagine the world from everyone elsesâ€™ perspective, all at once] draws its imagery from cameras all over London. Bother works can be viewed in a web browser via the Internet and turn us all into voyeurs of eerie 'parallel realities'.
â€œCCTV systems are everywhere in the public domain. Millions of hours worth of data are recorded every day by these cameras. We are all unwitting bit part actors, in the filming of our own lives. Usually we cannot watch, the results are not collected for broadcast back to the public. Rather they are monitored, filtered, distributed and archived without our knowledge or permission.
This is a website of electronic company NEC in Japan.
It is a virtual tree that designed by Yugo Nakamra who is famous web artist.
Ecotonoha is a project - to nurture a virtual tree collaboratively, and at the same time contribute to the actual environment to cope with global warming.
As you make Ecotonohaâ€™s leaves, the virtual tree will grow, and as Ecotonoha grows, real trees will be planted in Kangaroo Island of Australia by NEC.
The special online gallery of Nagaoka Institude of Design in Japan has recently opened.
Designed by Yugo NaKamra too.
you can use mouse wheel to browse people and works from the college.
Intetionallies is an architectural studio and this is a portfolio site with a super linear construction, a flexible interface with card metaphoring.
Yugo developed card-based dynamic interface to enlighten variety of their works.
This is your last chance to see the Low-fi exhibition of net art commissions which opened during the Edinburgh Festival. This is the third in a series of exhibitions, in recognised UK galleries which introduce some aspects of networked media art to a more established art audience.
By Angus Carlyle
|â€œFrancesco Santoliquidoâ€™s office was deep, high, consciously impressive. In one corner stood a sound sculpture, the work of Anton Kozak: a beautiful piece, all flowing lines and delicate rhythms, emitting a gentle white hiss that swiftly infiltrated itself into oneâ€™s consciousness and became rooted there.â€. [Robert Silverberg To Live Again (London: Fontana, 1969) p. 39]
<< Anthony Elliot's 'Ear'
While the world is not yet inundated by a prestigious caste of sonic sculptors akin to those that populated the pages of 60â€™s pulp science fiction, it is nevertheless possible to discern something of an upswing in the fortunes of those operating on the interface between sound and experimental practice. The symptoms are there for diagnosis: an increasing number of high profile exhibitions; a proliferation of prizes contentiously rewarding perceived merit; an expansion of dedicated books, journals, and web-sites animated by a commitment to mapping of the territory; a great expansion in the higher education courses dedicated to the artistic side of sound; a perhaps yet more revealing migration of debates from the confines of a self-reflexive discourse to more â€˜genericâ€™ publications; and, ultimately, in the explosion of work â€“ both recorded and performed â€“ that, initially at least, invite absorption within the definitional category of sound art.