Rhizome is dedicated to the creation, presentation, preservation, and critique of emerging artistic practices that engage technology. We support artists working at the furthest reaches of technological experimentation, as well as those responding to the broader aesthetic and political implications of new tools and media.

I’m Google (2011)- Dina Kelberman

3 days ago

Introduction to net.art (1994-1999) - Alexei Shulgin & Natalie Bookchin

 

5 days ago

6 days ago

prostheticknowledge:

Prosthetic Knowledge Picks: Computational Sculpture Before 3D Printing

For my latest submission for rhizomedotorg, a selection of sculptural projects from the mid-60s onwards that employ the computer in the creative process.

As with all fields of the arts, the role of computing in the field of sculpture and form-fabrication is rapidly growing. 3D printing is the most obvious example, with its now familiar method of taking a 3D design file and producing a physical object to match, line upon line from the supporting surface upwards. Also, with the assistance of programmable electronics, installations of arranged matter can be maneuvered into various forms and performances, receptive to local stimuli or external data, all of which is connected to an out-of-range laptop orchestrating the spectacle. 

For this submission, though, the aim is to explore some of the earliest examples of computing and sculpture, by artists who were in a position to explore the potential in an at-the-time esoteric field. These artists glimpsed the possibilities and problems that emerge when the object becomes a digital entity, long before the rise of 3d printing.

Artists include Zdeněk Sýkora, Robert Mallary, Nicholas Negroponte, José Luis Alexanco, Ron Resch and Isa Genzken.

You can read the whole submission at Rhizome here

via prostheticknowledge

1 week ago

"

Sheepdogs could lose their jobs to robots after scientists learned the secret of their herding ability.

Rounding up sheep successfully is a simple process involving just two basic mathematical rules, a study found.

One causes a sheepdog to close any gaps it sees between dispersing sheep. The other results in sheep being driven forward once the gaps have sufficiently closed.

A computer simulation showed that obeying these two rules alone allowed a single shepherd – or sheepdog – to control a flock of more than 100 animals.

The discovery has implications for human crowd control as well as the development of robots that can gather and herd livestock, the scientists said. […]

To conduct the study, the researchers fitted a flock of sheep and a sheepdog with backpacks containing highly accurate GPS satnavs.

Movement-tracking data from the devices was programmed into computer simulations to develop the mathematical shepherding model.

Writing in the Journal of the Royal Society Interface, the researchers concluded: “Our approach should support efficient designs for herding autonomous, interacting agents in a variety of contexts.

"Obvious cases are robot-assisted herding of livestock, and keeping animals away from sensitive areas, but applications range from control of flocking robots, cleaning up of environments and human crowd control."

"

via new-aesthetic

2 weeks ago

Secret Recipe’s Happy Foot Sad Foot gif.

More at Rhizome Today.

3 weeks ago

Tonight, 11:59:59pm EST is the last moment when you can submit a proposal for one of FIVE $500 internet art microgrants.
SUBMIT.

Tonight, 11:59:59pm EST is the last moment when you can submit a proposal for one of FIVE $500 internet art microgrants.


SUBMIT.

3 weeks ago

via humancomputer

3 weeks ago

Games like Fuck Everything carry burdens greater than production; they contest a gaming culture where the primacy of the default male gaze is to be protected violently.
Fuck Everything is also a new artwork, on the internet. And it’s great. Play it.

Play this game.

Our thoughts about it.

3 weeks ago

$500 (x5) for Artworks... on the Internet

1 month ago

1 month ago

danielrehn:

Any Color You Want by John Pound (2014). Read more at Wired about how “the guy behind Garbage Pail Kids has been cartooning with code for 20 years.”

John Pound started his code cartooning journey in the late ’80s by teaching himself PostScript, an Adobe-made programming language used for commercial printing. He coaxed it to draw some rudimentary scenes. They were just a few shapes against a horizon line at that point, but the artist found the results fascinating nonetheless.

danielrehn:

Any Color You Want by John Pound (2014).

Read more at Wired about how “the guy behind Garbage Pail Kids has been cartooning with code for 20 years.”

John Pound started his code cartooning journey in the late ’80s by teaching himself PostScript, an Adobe-made programming language used for commercial printing. He coaxed it to draw some rudimentary scenes. They were just a few shapes against a horizon line at that point, but the artist found the results fascinating nonetheless.

via danielrehn

1 month ago

1 month ago

kickstarter:

Project of the Day—We’ve seen a lot of really great stuff at New York’s experimental performance space Issue Project Room, so it was exciting to see them launch Distributed Objects, a publishing imprint that will bring that unique experience directly to your home in the form of records, books and a whole lot more.

via kickstarter

1 month ago

oneterabyteofkilobyteage:

original url http://www.geocities.com/CapitolHill/7931/
last modified 1999-05-06 16:46:25

oneterabyteofkilobyteage:

original url http://www.geocities.com/CapitolHill/7931/

last modified 1999-05-06 16:46:25

via oneterabyteofkilobyteage

1 month ago