The exhibition Passages. Travels in Hyperspace (16.10.2010 - 21.02.2011), clearly represents an attempt for the LABoral Centro de Arte y Creación industrial of Gijon, Asturias, to make a qualitative leap. It doesn't mean that previous exhibitions were less ambitious - the big events the center has been hosting, starting with the first productive effort (Feedback, 2007), have few equal in the world. Indeed, the Spanish center has been curated by the world best curators (from Christiane Paul to Steve Dietz and Susanne Jaschko) who have been able to create projects that could not be conceived anywhere else.
(Italiano) È una frase fatta e come tale mi vergogno ad usarla, ma in questo caso vera: UBERMORGEN.COM, il duo fondato nel 1999 da lizvlx e Hans Bernhard, non ha bisogno di presentazioni.
Apart from what is produced, we have to say that everything in a virtual world is, first of all, a cultural construct . And everything, including the artist, can be considered as an artistic project. In other words, an avatar artist who works in Second Life, no matter the means he uses, is the artistic project of a real artist in Second Life platform.
In the last years, we saw an increasing development of artistic activities in virtual worlds. At the beginning, these virtual worlds were just game-places (MMORPG)  or communication tools (chat, MOO, etc...)  , and included art as a mere peripheral issue, that was seldom supported and often refused by other users.
The Gate (or Hole in Space, Reloaded) is an installation created for the opening exhibition of iMAL Center for Digital Cultures and Technology in Brussels (4th - 10th October 2007).
The Gate (or Hole in Space , Reloaded ) is an installation realized for the opening exhibition of the iMAL Center for Digital Cultures and Technology in Brussels (4 th -10 th October). Come up in Yves Bernhard's mind, manager of the iMAL Center , the installation was created to handle a only apparently simple question: how to build a bridge between real space and virtual worlds. The objective in mind was the enjoyment of virtual spaces and the interaction with their inhabitants in the physical space without the interaction of a graphic interface.
Dal 16 dicembre 2006 al 16 gennaio 2007, il Casoria Contemporary Art Museum ha proposto una colossale mostra itinerante progettata e curata da Agricola de Cologne e da Antonio Manfredi. Ma il piccolo e intraprendente museo napoletano non si fermato l', accogliendo questa ampia scelta di opere - 260 opere multimediali, audio, video e fotografiche pi 100 testi di scrittura creativa e poesia visiva, per un totale di 360 artisti - nella sua collezione permanente.
Pixxelpoint was born in Nova Gorica ( Slovenia ) in 2000. It grew up during the years to the point of trespassing the borders and incorporating (from 2005) a series of events managed by the Dams of Gorizia . It is now at its seventh edition and Pixxelpoint it is not one of the digital arts festivals spread all around the world.
The widespread tendency to identify new technology with innovation, leads to a rather banal misunderstanding, according to which new media artists are all innovators. The artists able to use the tool in an innovative way are actually a few. Eddo Stern is probably one of the few cases where both of the two preliminary remarks are actually fulfilled
The love affair between art and videogame has a long history at his back, which could be dated back in the mid Nineties. A series of shows and publications sanction, along the years, stability, and yet the news of their marriage reaches us as a surprise
In the long list of festival that follows during the year, and that gets longer and longer, The Influencers conquered an enviable position as a cult event. Organized in Barcelona by the d-i-n-a network, creator in Italy of net.art events part of the history, The Influencers is carried out in one of the Sonar headquarters, the Centre de Cultura Contemporanea de Barcelona
What happens on the screen of our computer can tell a lot about us, of our tastes as well as of our daily existence. Back in the far- off 1997, the project Desktop IS, by Alexei Shulgin, showed how a simple desktop screenshot might be an effective self-portrait
Nowadays the adjective collaborative, referred to an art work, sounds old and arouse a stupid smile typical of our infant memories. Its glorious moment was in the middle 90's, when the new creative possibilities given by the Net were a new entry, as the interactivity
According to Jay D. Bolter and Richard Grusin, new media absorb and emulate old media. They call this phenomenon remediation and it can be seen both as the direct expression and invisibility of medium and hyper-mediation or display of medium and its characteristics. One of the most interesting characteristics of this process is it's multidirectional action
Let's start from the beginning: The Dumpster is an online project born on Valentine's day, visualizing with a cool design, a huge number of data, collected from blogs and related to people, usually teens, dumped in a romantic affair. Its author is Golan Levin, that created and realized the project together with Kamal Nigam and Jonathan Feinberg
Game Art originates often in the combination of two big passions: love for programming and for videogames. Besides, it happens quite often that those two passions originate together, and many are the hackers and the programmers who have discovered the delight of the code playing at Super Mario Bros
When we leave a first mark/the page is no longer empty/the symmetry is broken/ and the drawing starts to live. This is the incipit of Mobility Agents. A Computational Sketchbook , by John F. Simon, Jr
(Italiano) Per molti versi, Vuk Cosic un artista di altri tempi. Il paragone con Marcel Duchamp stato lui il primo a proporlo, e non sar certo io a smentirlo. Come Duchamp, sembra seriamente impegnato a fare il meno possibile. Gli ultimi anni hanno visto qualche conferenze qua e l, alcuni allestimenti, il Padiglione Sloveno alla Biennale 2001. Per quanto ne so, non si vedeva un lavoro nuovo di Vuk Cosic dai tempi di ASCII Unreal e ASCII Architecture