Archive for the ‘Limiteazero’ tag
IN & OUT. OPERA E AMBIENTE NELLA DIMENSIONE GLOCAL (2005)
0100101110101101.ORG, Nikeground, 2003
IN & OUT. OPERA E AMBIENTE NELLA DIMENSIONE GLOCAL
Premio Michetti – 56a ed.
Curated by Luciano Caramel
New Media Art section curated by Domenico Quaranta
July 23 – August 31, 2005, Fondazione Michetti, Francavilla al mare (CH, Italy)
Opera e ambiente nell’era di Internet
Curatorial text published in the catalogue Luciano Caramel (ed), In & Out. Opera e ambiente nella dimensione glocal, exhibition catalogue, 56° Premio Michetti, Francavilla al Mare, Museo Michetti, July 23 – August 31, 2005. Vallecchi Firenze 2005.
More on the exhibition here.
Opera e ambiente nell’era di Internet
Domenico Quaranta
“Fu solo con l’avvento del telegrafo che i messaggi poterono viaggiare più in fretta del messaggero”, scriveva Marshall McLuhan [1]. Oggi i messaggi viaggiano così velocemente che il rapporto tra il tempo del viaggio e la distanza percorsa diventa impercettibile. La distanza tra Roma e Adelaide è insignificante per una mail; e le migliaia di chilometri che separano un sistema GPS dal satellite vengono percorsi in un istante. Rispetto al digitale il mondo fisico corre tuttora su autostrade più lente, ma anche in questo caso la percezione soggettiva dello spazio è molto diversa dalla distanze reali. Qui vale la distinzione tra centri e periferie, per cui attraversare l’Atlantico non è diverso dall’attraversare la Lombardia, quando sul primo si viaggia in Concorde e si percorre la seconda su una sgangherata provinciale.
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Recombinant conversation with four software’s artists
Limiteazero. Photo Marius Watz
Published in Domenico Quaranta (ed), C.STEM. Art Electronic Systems and Software Art, Teknemedia, Turin 2006. Catalogue of the exhibition, Turin, June 1 – 2, 2006.
GENERATIVE ( I N T E R ) VIEWS
Recombinant conversation with four software’s artists
DOMENICO QUARANTA: What is, for you, generative art?
MARIUS WATZ: Generative art is an art practice where the artist uses a set of rules or systems to produce the artwork, usually with some degree of randomness or autonomy. The system is not just a tool, but an artwork in its own right. Instead of a single static object, the process becomes the work. In my own work it means that instead of drawing a picture I create a piece of software that can draw a million pictures, based on rules that I define and experiment with to produce organic results. Some of my works I call “drawing machines”, in reference to the fact that they use dynamic models of kinetic behavior, which can be compared to the act of drawing.
GENERATIVE ars
Published in Domenico Quaranta (ed), C.STEM. Art Electronic Systems and Software Art, Teknemedia, Turin 2006. Catalogue of the exhibition, Turin, June 1 – 2, 2006.
GENERATIVE ars
by Domenico Quaranta
After almost fifty years since the term has first appeared, generative art is still, for the public of art, a mystery. Not that it is difficult to understand it, it is more true the opposite: the problem seems rather to be able to place it within the contemporary art scene. Figures such as Casey Reas, Ben Fry, Joshua Davis, Yugo Nakamura, Marius Watz, John Maeda, Philip Galanter or Golan Levin, who move freely from art to pure programming and to visual design, keep astonishing the public, and the fact that the term “generative art” is used also in relation to music, poetry, architecture and industrial design, doesn’t certainly help to solve the problem.
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C.STEM (2006)
C.STEM
Art Electronic Systems and Software Art
TURIN, 32 Dicembre / AB+ Club
JUNE 1 – 2, 2006
ORGANIZATION: 32 Dicembre
COORDINATION: Fabio Franchino
PRODUCTION: Teknemedia.net
CONFERENCE: Domenico Quaranta
WEBSITE: cstem.it
CATALOGUE: Edizioni TeKnemedia.net
