NetBehaviour - is an open email list community engaged in the process of sharing and actively evolving critical approaches, methods and ideas focused around contemporary networked media arts practice.
NetBehaviour- is for networked media artists, researchers, academics, soft groups, writers, code geeks, curators, independent thinkers, activists, net sufis, non nationalists and net mutualists.
NetBehaviour - encourages individuals, small groups of mutual interest and representatives of organisations to announce and promote their own projects and events on the list along with the exchange of related concepts/ideas/information/resources.
NetBehaviour - is a place where creative minds can share contemporary ideas and concepts, without either the censorship or endorsement of a centrally imposed hierarchical canon, stunting their creative interests. All disputes are settled by all subscribers in the public forum of the email list.
We are the medium - the context - the source of networked creativity.
Leonardo da Vinci, “Salvator Mundi” (c.1500), oil on panel, 25 7/8 x 18 in.(65.7 x 45.7 cm) (courtesy Christie’s)
“Salvator Mundi” (c. 1500) sold at Christie’s for $450,312,500 (inc. buyer’s premium) after just under 20 minutes of bidding, becoming the most expensive artwork ever sold at auction. Christie’s hired an outside PR firm for the first time in order to conduct its marketing campaign — branded “The last da Vinci” — which included a video of viewers stunned in awe before the painting. The record price was set despite concerns regarding the precise attribution of the work from figures like Michael Daley, Frank Zöllner, and Jerry Saltz. A Guardian article published last month regarding Walter Isaacson‘s new biography of Leonardo was later revised with an editor’s note explaining that the piece “is the subject of a legal complaint made on behalf of Christie’s International Plc.” Isaacson subsequently took to Facebook to clarify his stance that the work was created by Leonardo.
Daniel Crooks’ Phantom Ride alludes to cinema history to create a seamless journey through a composite reality. By manipulating digital footage as though it were a physical material, the artist has constructed a collaged landscape that takes us through multiple worlds and shifts our perception of space and time.
The employees at Factum Arte are world-class art forgers. But this Madrid-based company is no criminal enterprise. Each piece they create is intended to preserve and protect our cultural heritage. The company has even developed advanced technologies to scan, document and recreate a vast array of objects. From priceless Renaissance paintings to a life-size replica of Tutankhamun’s tomb, founder Adam Lowe says that creating these facsimiles is one of the best ways to protect the originals.
This is my tribute to Pablo Picasso’s most famous artwork, Guernica (1937). The main reason to do this is to echo Picasso’s antiwar message, which I strongly believe is needed more than ever. The backside of this artwork I added a few other Picasso’s artworks to advocate peace, however washed out and fragmented it is. The ox, the “sleeping” soldier, and Pegasus are from one of his early Guernica sketches. The others, most notably his Bouquet of Peace (1958), are sampled from his later works with peace theme. The only 3 animated elements are the flower, the lamp, and the light bulb. To me the flower symbolizes life, the lamp represents hope, and the light bulb embodies technological destruction. As long as life continues and hope lasts, humanity will goes on.
In July 2016, MoMA PS1 invited artist Katharina Grosse to transform a decaying former military building at Fort Tilden, Queens, into a monumental, sublime artwork using a specialized technique to spray brightly colored paint directly onto the structure. Grosse’s approach highlights the potential of painting as a medium, and encapsulates the stark beauty of this manmade structure and its natural surroundings.
The Pannini projection is a mathematical rule for constructing perspective images with very wide fields of view. It is named in honor of Gian Paolo Pannini, an 18th Century Roman painter and professor of perspective, who may very well have used it to draw spectacular views such as the one above; for it can be realized with drawing instruments almost as easily as the standard rectilinear perspective projection. However it is not now taught in art schools, and was apparently never described in print before its recent rediscovery by a team of open source software developers.
How NASA, ESA and MIT joined forces with a Dutch artist to create a bizarre work of art using the International Space Station, the James Webb Telescope and the Universe itself.
Rekall est un logiciel destiné à l’ensemble des arts de la scène (théâtre, danse, musique, cirque, marionnettes, performance…) et aux installations interactives.
Rekall permet de :
Rekall est conçu pour :
Rekall documente un spectacle à plusieurs moments de sa vie :
http://www.monegraph.com/
What had become clear was that, for any given digital work, it only takes two steps to ensure its originality. First, a public claim to ownership or creation of that work has to be asserted. And second, that claim and a representation of the work itself has to be captured in the block chain, so there is a public record in the ledger and a way to record any transfers of that title in the future. Thus, there are just three key parts to verifying digital art with monegraph (here with examples of each):
« Claude Levi-Strauss : les artistes bricoleurs se retrouvent face à ensemble d’objets hétéroclites qu’ils interrogent pour comprendre et imaginer ce que chacun d’eux pourrait signifier. Chaque élément représente un ensemble de relations à la fois concrètes et virtuelles, ce sont des opérateurs. La particularité de ces objets est qu’ils ont déjà servis et les possibilités de leur ré-emploi demeurent toujours limitées par ce qui subsiste en eux de cette histoire passée. Leur usage originel fait d’eux des éléments pré-contraints et ouvrés ; ils ont donc été travaillés par un précédent auteur qui leur a attribué une signification précise et soumise à l’œuvre qu’il réalisait. Le second auteur s’affairera ainsi à démonter cet ensemble de signification afin d’en créer de nouvelles. Yann Beauvais et J-M Bouhour confirment, les deux lois fondamentales de détournement sont : - la perte d’importance allant jusqu’à la déperdition du sens premier de chaque élément autonome détourné, et en même temps - l’organisation d’un nouvel ensemble signifiant qui confère à chaque élément sa nouvelle portée. »
http://news.gestalten.com/motion/john-stezaker
In an image-saturated world, British collage artist John Stezaker rather creates more with less. Cutting up yesterday photographs, subtracting pieces, and juxtaposing faces, he transforms forgotten photographs and postcards into symbolic portraiture of modernism. Stezaker’s artistic interests in examining hidden relations between images have bestowed international success and recognition upon him and his collage art. Gestalten.tv had a precious opportunity to speak with the artist at his exhibition in Berlin’s Capitain Petzel Gallery. Featured in the celebrated group exhibition The Age of Collage, his topical work is now on display at Gestalten Space in Berlin until January 12, 2014. The accompanying book The Age of Collage: Contemporary Collage in Modern Art takes an insightful behind-the-scenes look at those working with this interdisciplinary and cross-media approach.
This library of arts and music videos features This or That (a burlesque game show), the Coffee House TV arts program, punk bands from Punkcast and live performances from Groove TV. Many of these movies are available for free download.
Comment fonctionne une œuvre d’art ? Par quelle magie ce que nous avons ordinairement devant les yeux peut-il se voir investi d’une aura particulière ? Comment, à partir de quelles ressources, l’artiste peut-il créer un monde, un univers, qui ne ressemble à rien d’autre et qui pourtant, par le regard, la lecture ou l’écoute, tisse au sein de notre intimité un lien unique qui devient un ancrage salvateur dans notre vie quotidienne ?
Premier temps de notre semaine: c'est aujourd'hui en compagnie de Michel Guérin, penseur du geste, que nous allons remonter en amont de l’œuvre d’art, au moment où ce geste inouïe va se saisir de la matière pour créer.
Quote from http://www.openculture.com/2013/09/william-s-burroughs-explains-what-artists-creative-thinkers-do-for-humanity.html
The interview clip above, from the 1991 documentary Commissioner of Sewers, puts a two-part question to Naked Lunch author, “cut-up writing” master, and counterculture eminence William S. Burroughs: “What is the original feel of the writer? What mechanisms should he consider, work on?” That may sound like a slightly odd line of inquiry — the interviewer, bear in mind, doesn’t speak English natively — but Burroughs responds with an important point, clearly made. “The word should should never arise,” he first insists, though perhaps self-contradictorily. “There is no such concept as should in regard to art — or anything — unless you specify. If you’re trying to build a bridge, then you can say we should do this and we should do that, with respect to getting a bridge built, but it doesn’t float in a vacuum.” All well and good for engineering. But what can art do, if not build a bridge?
“One very important aspect of art is that it makes people aware of what they know and what they don’t know that they know,” Burroughs says. “This applies to all creative thinking. For example, people on the sea coast in the middle ages knew the Earth was round. They believed the Earth was flat because the church said so. Galileo tells them the Earth was round, and nearly was burned at the stake for saying so.” Burroughs summons as examples Cézanne, whose studies of what “objects look like seen from a certain angle and in a certain light” at first made viewers think “he’d thrown paint on canvas,” and Joyce, who “made people aware of their stream of consciousness, at least on a verbal level,” but “was first accused of being unintelligible.” Yet Burroughs found he lived in a world where, this art already having expanded humanity’s consciousness, “no child would have any difficulty in seeing a Cézanne” and few “would have any difficulty with Ulysses. The artist, then, expands awareness. Once the breakthrough is made, this becomes part of the general awareness.” Such insight makes Burroughs, as one Youtube commenter puts it, “so down-to-earth that he’s far-out.”
Amongst the many freely available pieces of art released by Getty are a number of quite famous images, including work by Claude Monet, Vincent van Gogh, Rembrandt, and Leonardo da Vinci. The 4,600 pieces of artwork available are just the beginning, as well. Getty says that it's actively exploring the possibility of releasing much more art into the public domain, both from the museum's collection as well as materials from the Getty Research Institute's special collections. While Getty isn't the first museum to push forward with an open artwork initiative (the museum cited a number of institutions like the Walters Art Museum as inspirations for the movement), it's the latest example of how the internet is making classic, famous works more accessible.
Who Wore It Better is an ongoing visual research project presenting associations and common practices in contemporary art. This platform was created to promote formal and conceptual dialogue over originality.