Metavid is a free-software site that hosts United States public domain legislative footage. Through closed-captioning text from a “simple Linux box”that records “everything C-SPAN shoots,” Metavid can provide “brief searchable clips” of legislative footage. Online communities can engage with the audio and video media archives which are not usually viewed by the public but told second hand through other media outlets. Metavid captures a non-bias recording of legislative meetings so that the people can draw their own opinions and ideas. The close-captioned text allows users to quickly and easily search through the thousands of hours of archived footage so that all the related media appears in the search results.
[video src=https://vimeo.com/245388198] Home made Virtual Soup, developed by artist Avital Meshi, connects Second Life avatars and Real-Life puppeteers. The meeting was held during soup time at St. Columba Catholic School in the virtual community Second Life. The artist set up the meeting with Miss Sarah Sandalwood, editor of O’Hare’s Gap, a guide to a 1930s virtual Irish village. Together, Miss Tali (Avital Meshi’s Second Life avatar) and Miss Sarah Sandalwood “opened a mystical portal between” both worlds. The meeting was a wonderful real-time experience where realities collided. The artist invited her “school family” at UCSC to enjoy soup with Second Life students of St. Columba, and they all experienced a “moment of communal fellowship.”
Warren Sack developed The Conversation Map in order to visualize a comment/reference chain of certain media posts within a forum or archive. The Conversation Map is an interface that analyzes archives and sites based on words and their relationship to each other. Each line on the interface represents a connection or a citation to the post within an archive, like a Facebook, forum, or reddit post. A dot means that there is no reference or citation made to that specific post. The hottest conversations typically mean it would look more like a spider web of lines in contrast to a post with only one or two lines, representing one or two connections to it.
This work of net.art consists of a digital art gallery of two lovers' correspondence from the 1990s. The twenty-five letters feature interesting interactive graphics, cryptic messages, and unique voyeuristic opportunities to view intimate messages sent between the two artists Entropy8 and Zuper!. The viewer can usually interact with the simulated object, environment, or representation. Doing so reveals love notes, messages, and other meanings. There are often personal representations of the two artists, either in the form of a rendered avatar of sorts, or actual images and pictures taken of their bodies.
Neil Harbisson is a cyborg artist based in New York City. He is described as a cyborg artist because his artwork his artwork is concerned with the concept of cyborgism but also because he himself is technically a cyborg. He has an antenna implant, which he calls "the Eyeborg." This device is implanted in his skull and was designed to extend the limitations of human color perception. Although he was born completely color blind, he can can now even see infrared and ultraviolet colors that are invisible to humans.
Conway's Game of Life is a cellular automaton (a model that attempts to replicate the behavior of living cells) developed by British mathematician John Horton Conway in 1970. It takes the form of a grid with pixels that can either be in two states, on or off, or alive and dead since this is supposed to a model replicating the behavior of biological cells. Some artists have taken cellular automata (either Conway's Game of Life or similar ones) and used them to create new pieces, such as Dupuis' Conway Quartet and Scaletti's sunSurgeAutomata.
As the digital artist in residence at Forth Valley Royal Hospital in Scotland, sound artist Mark Vernon created a series of four sound art pieces, called "Bedside Radio," designed to be played over the hospital's radio station, Radio Royal. The third of these pieces, Deep Sleep Trawler, was created in 2012 "with the intention of creating a database or 'dream bank' to provide sleep deprived hospital patients with the opportunity of sharing someone else's dreams."
Survival Research Labs’in (SRL) Increasing the Latent Period in a System of Remote Destructibility’ sinde uzaktan kontrollü silahların teknolojik, siyasal ve toplumsal etkilerini araştıran San Francisco’daki katılımcılar, internet aracılığıyla Tokyo’daki InterCommunication Center’daki (ICC) kablosuz bir robotu kontrol ediyorlardı. Bu robotun, nesnelere vurabilen hareketli bir kolu ve saldırının sonuçlarını kullanıcıya geri gönderen bir canlı kamerası vardı. Robotu ICC’deki özel bir panele gönderen uzaktaki kullanıcılar, San Francisco’daki SRL Merkezi’nde bulunan hedefleri yok etmek üzere yüksek basınçlı bir gaz fırlatıcıyı harekete geçirmekteydiler. Robot insanlar tarafından uzaktan kontrol edilmesine rağmen, çalışma, insani ve insani-olmayan hedefler üzerindeki yıkıcı gücü açığa çıkaracak şekilde robotların özerk biçimde hareket edebilecekleri, başka robotlor ve makinelerle iletişim kurabilecekleri bir geleceği model almıştı. SRL’nin çalışması, telerobotların potansiyel tehlikelerini açıkça vurgularken, teknolojik doğruluktan sapmaktadır.
The Painting Fooles un programa de computadora y obras de arte desarrollado originalmente en 2001 por Simon Colton y los investigadores de la Computational Creativity Research Group at Imperial College, London. El objetivo final de Colton para The Painting Fooles era crear una pieza que es visto como puramente creativo, lo que él se refiere como «Creatividad Computacional»; creyó que, para conseguir esto The Painting Fooles estaba obligado a tener comportamientos que son hábiles, apreciativo, e imaginativo
[video src=http://www.youtube.com/watch?v=LiWlvBro9eI align: left height: 200] Hay innumerables estrategias y motivaciones detrás de suplantación en Internet. Algunos son engaños legítimos, otros maliciosos, otras sátiras. Tome este error, por ejemplo: Gogle.com. Hipotéticamente, por cada persona con un pegajoso "o" clave, o doble golpe de teclado demasiado rápido, hay alguien ahí fuera que es capaz de atacar maliciosamente la mecanógrafa lamentablemente imperfecto, la historia de registro, etiqueta de Internet y datos personales. Inversamente, estas tácticas de guerrilla pueden ser usado hipotéticamente similarmente para atacar empresas con reputación moral dudosa, que es exactamente lo que un grupo de internet-engaño, denominado "The Yes Men", han hecho.
[video src=http://www.youtube.com/watch?v=3Mmb5aSscck] The Sheep Market es una obra de arte basada en Web que utiliza el sistema ‘Amazon Mechanical Turk «(MTurk) para involucrar miles de trabajadores en la creación de una base de datos masiva de dibujos. Aaron Koblin’s The Sheep Market is a web-based artwork that uses the ‘Amazon Mechanical Turk’ system to get thousands of workers involved in the creation of a massive database of drawings. La inspiración de Koblin para ‘The Sheep Market’ era tratar de explotar la creatividad humana, y al mismo tiempo arrojar luz sobre el papel insignificante que cada trabajador desempeña como parte de grupo. Pero Koblin era sobre todo curioso de cómo los trabajadores responderían a su tarea absurda: «Cuando vi la primera oveja venir a través del sistema, supe que había tomado la decisión correcta. Como yo esperaba cada oveja refleja verdaderamente el individuo y la humanidad detrás de él».
[video src=http://www.youtube.com/watch?v=LiWlvBro9eI align: left height: 200] There are innumerable strategies and motivations behind impersonation on the Internet. Some are legitimate hoaxes, others malicious, others satire. Take this typo for example: Gogle.com. Hypothetically, for every person with a sticky "o" key, or too fast of a double-keystroke, there is someone out there who is able to maliciously attack the unfortunately imperfect typist, logging history, Internet etiquette, and personal data. Inversely, one could hypothetically use similar guerilla tactics to attack companies of questionable moral standing, which is exactly what an internet-hoax group, referred to as “The Yes Men,” have done.
The Painting Fool is a computer program and artwork developed originally in 2001 by Simon Colton and researchers at the Computational Creativity Research Group at Imperial College, London. Colton’s ultimate goal for The Painting Fool was to create a piece that is seen as purely creative, what he refers to as “Computational Creativity”; he believed that to achieve this The Painting Fool was required to have behaviors that are skillful, appreciative, and imaginative. Skillful behaviors deal with the mechanical physical process of painting. The Painting Fool is able to take a scan of a photograph and determine the individual colors used within the composition, grouping them together in similar palettes. In addition The Painting Fool records the different pastel, pencil, and brush strokes as well as an analysis of the animation of strokes
During 1919 and some of 1920, russian architecht, Vladimir Tatlin, produced many sketches of a tower that would be The Monument to the Third International. … Leer más »«The Monument to the Third International» by Vladimir Tatlin
One of the double-sworded attributes of the digital era is the ease in reproduction of art. The reproduction of an image in order to publicize… Leer más »aftersherrielevine.com, Michael mandiberg
Designgraphik is a series of experimental interactive animations, the first of which was created in 1998. Nine total iterations have been created, the most recent of which was released in 2008.
Outerspace is a reactive robotic creature with lifelike interactive behaviour. The robot wants to explore the world surrounding him, or the outer space, exhibiting curiosity and waryness as an aprehensive animal might. A participant may put a hand up to the robot and cause it to pull away, as if surprised at the recognition of another being, then move forward searching for the thing that caught it’s attention. The concept that insprired the work was that an object, inherently not living, cannot have emotion. In order to create an emotional object (the goal), first the thing must be aroused, feel, have a emotion; then comes emotional expression. In technical terms, it must read input and display output.
[video src= http://youtu.be/deub5AMgblk? time:15s height: 220 align: right] In Given Time, artist Nathaniel Stern utilizes different forms of media, but maintains his focus on the relationship between bodies and art. This this video installation, Stern created two avatars in Second Life who stand apart facing one another. Their location within the in-game world is never disclosed, but they do occupy virtual space somewhere. In physical space, the two avatars are projected onto screens opposite one another in the gallery, as in Second Life. Viewers can approach the two virtual performers, while they hover as video projections, forever staring at one another. These representational characters are in fact, nobody. They exist only in the virtual plane, yet they are brought into existence via light and electricity.
Alma da Agua (Water of the Soul) seeks to re-connect all Portuguese speaking contries. Taking water samples from the eight countries (Portugal, Brazil, Angola, Mozambique, Cape Verde, Guine-Bissau, Sao Tome e Principe, and East Timor), Artists Richard Clar and Dinis Afonso Ribeiro intend to send the water samples into space inside a liquid mixing apparatus (shown above). The idea is to expose the water to low-gravity and mix the waters in a symbolic way and in a neutral environment.
The King’s Cross Phone-In was a co-ordinated effort by British artist Heath Bunting to disrupt the everyday routine of King’s Cross railway station. Bunting utilized various newsgroups and emails lists to distribute instructions for the event staged on August 5th, 1994.