I challenge any serious-minded New Aesthetician to make an aesthetic decision here: tell us whether Marius Watz “did a good job” as Makerbot Artist in Residence.

As Casey Reas recently stated, that Processing is not intended as “software,” but as a method for exploring visual ideas. If that’s the case (and Reas should know, because he built it) then what you are really looking for within generative art is “process.” The appreciation of generative art requires an aesthetics of process. An aesthetics of watching code in execution.

houseoffutures.dk

Digital Aesthetics Research Center (DARC) is committed to research the relationship of art and aesthetics to the culture and future development of information technology.

Tom Schofield
Works with Jamie

Precarious work describes non-standard employment that is poorly paid, insecure, unprotected, and that cannot support a household. In European policy discussions, the term “atypical work” is often used; in the U.S. we’re more likely to hear terms such as “casual labor,” “flexible work,” “temporary labor,” “contingent labor,” “part-time,” “adjunct,” “intermittent work,” “freelance,” “self-employment,” and “home-based work.” And for out-of-work executives, “consulting.”

At the same time, with constantly changing hardware and software development, designers or video editors are pushed to spend a great deal of time learning the newest, constantly changing tools, at their own expense.

Speedup was the common term in traditional manufacturing to describe the technique of the employers increasing productivity by increasing the pace of an assembly line... But why do workers go along with such speedup? In part their acquiescence is a response to management’s creation of a “crisis” atmosphere.

In a well-known study, the Dutch economist (and artist) Hans Abbing asks, Why Are Artists Poor? He points out that the economy of the arts defies one of the basic postulates of mainstream economics. ... As Abbing’s research shows, they largely find the activity so personally satisfying that they are willing to trade economic security and success (except for a small number of celebrity artists at the top of the pyramid).

LEAP supports the advancement of experimental
artistic pratice and production in the area of emerging
technologies and performance.

LEAP is an innovative interdisciplinary project that
forges dynamic relationships connecting Art, Science
and Technology.

Met at Bring Your Own Beamer Cph 2011-05

Artist Chris Jordan shows us an arresting view of what Western culture looks like. His supersized images picture some almost unimaginable statistics -- like the astonishing number of paper cups we use every single day.

Friend of Ishac from SF

Guy making trees from electric wires

Guy I got in touch with when sending paper to Computational Aesthetics

artist statement

Yellow Arrow is a global public art project of local experiences.

Interview with GMUNK about the team's process

The sadness of art is that it does not know its future. The sadness of computer art is that it does not know its past.

Using state-of-the-art technology merely produces state-of-the-technology art.

The computer is best characterised not as an information processor but as a general-purpose representation processor.

Festival w Poznaniu na ktorym chcialbym sie wystawic

syntfarm is a collective which explores and preserves expressions and structures of dynamic (eco)systems on our planet.

Joanna Berzowska is Assistant Professor of Design and Computation Arts at Concordia University and a member of the Hexagram Research Institute in Montreal.

Some stuff people are printing
in my room over the internet