i-DAT Launches: OP-SY.com

i-DAT Launches: OP-SY.com

i-DAT launches OP-SY.com – a central repository for its Operating Systems.
i-DAT is developing a range of ‘Operating Systems’ to dynamically manifest ‘data’ as experience in order to enhance perspectives on a complex world.The Operating Systems project explores data as an abstract and invisible material that generates a dynamic mirror image of our biological, ecological and social activities.


The Operating Systems project proposes a range of tools and initiatives that have the potential to enhance our ability to perceive and orchestrate this mirror world.The intention with the range of Operating Systems outlined on this site is to make the data generated by human and ecological activity tangible and readily available to the public, artists, engineers and scientists.

Update: OP-SY.com is now retired but can be found here:
https://i-dat.org/op-sy-2/

Examining Life at a Nano Level. Dr Paul Thomas.

Examining Life at a Nano Level. Dr Paul Thomas.

Stonehouse Lecture Theatre Portland Square
17.00-18.00 on Friday 3rd December.
Examining Life at a Nano Level.
In this talk Paul Thomas will demonstrate via the nano art project ‘Nanoessence’, ideas on what constitutes the real and the artificial. The ‘Nanoessence’ project aimed to create a visual expression of life at a sub-cellular level, re-examining boundaries and materiality within the human context. A single engineered immortal skin cell was scanned in vitro with an Atomic Force Microscope (AFM) to create a visualisation of the space between, life and death at a nano level. The presentation will explore how nanotechnological research is challenging humanistic ideas concerning life and what constitutes materiality.
Paul Thomas: Dr Paul Thomas, is currently Head of Painting at the College of Fine Art, University of New South Wales. Paul chair numerous international conferences and is the co-chair of the Transdisciplinary Imaging Conference 2010. In 2000 Paul instigated and was the founding Director of the Biennale of Electronic Arts Perth.
Paul has been working in the area of electronic arts since 1981 when he co-founded the group Media-Space. Media-Space was part of the first global link up with artists connected to ARTEX. From 1981-1986 the group was involved in a number of collaborative exhibitions and was instrumental in the establishment a substantial body of research. Paul’s current research project ‘Nanoessence’ explores the space between life and death at a nano level. The project is part of an ongoing collaboration with the Nanochemistry Research Institute, Curtin University of Technology and SymbioticA at the University of Western Australia. The previous project ‘Midas’ was researching at a nano level the transition phase between skin and gold. Paul has recently completed working on an intelligent architecture public art project for the Curtin Mineral and Chemistry Research Precinct. In 2009 he established Collaborative Research in Art Science and Humanity (CRASH) at Curtin http://crash.curtin.edu.au
Paul is a practicing electronic artist whose work has exhibited internationally and can be seen on his website http://www.visiblespace.com
download the invite…

Boundary Work I

Boundary Work I

i-DAT is collaborating with Boundary Work 1:
Boundary Work I is the first in a series of exhibitions designed to facilitate a survey of work that operates in the space between art and science and as such aims to encourage a dialogue between the sub-disciplines of these fields.
New Media Art can stimulate a mental image of a genre that breeds on techno-aesthetics alone. However, such a view short-changes the diversity of opportunities opened up in recent years through moves such as artists-in-labs programmes and the development of programming tools for artists. More significantly there is a growing public consciousness that evolving technologies hold significant implications for future human cultures. Such developments have assisted in the emergence of wet or living art, the growth of networked and intelligent artefacts, and a vision of the world enabled through new instrumentation designed for the investigation of macro or nano scale material environments. In addition to new genres, supported through access to new technologies, existing established practices in the arts have critiqued or been inspired by the technology and market driven actions in science.
So while science and art are often identified as opposing fields of knowledge technology can be seen as a common driving force in both. This gallery event attempts to draw activities in both of the worlds of art and science together in a dialogue where technology is the common agent.
The exhibition therefore is a representation of work that treads the boundary between art & design and science and an invitation to participate was extended to artists, designers, and researchers in practices particularly relating to science and/or technology.

http://www.transculturetek.com/boundarywork/index.php

MARCEL·LÍ ANTÚNEZ ROCA. NEW TECHNOLOGIES AND PERFORMING ARTS, TRANSDISCIPLINARY APPROACHES.

MARCEL·LÍ ANTÚNEZ ROCA. NEW TECHNOLOGIES AND PERFORMING ARTS, TRANSDISCIPLINARY APPROACHES.

MARCEL.Lì ANTUNEZ ROCA. NUOVE TECNOLOGIE E ARTI PERFORMATIVE, APPROCCI TRANSDISCIPLINARI

11 October 2010 – 12 October 2010

Laboratorio multimediale “Guido Quazza” – Palazzo Nuovo, Via Sant’Ottavio 20, Torino Accademia delle Belle Arti – Via dell’Accademia Albertina 6 Torino

Officine Sintetiche 2010 organises a study day and a workshop dedicated to the artist Marcel·lí Antúnez Roca (co-founder and ex-member of the Avant-garde theatre group La Fura dels Baus), in order to analyse theoretical approaches and artistic practices influenced by the use of the new information and communication technologies.

The Media and the New Media transform the art practice and generate new ways of expression, as a result of the interaction between technological material and artistic creativity. Technicians, artists, engineers and creators tend to work in closer and closer contact, and establish new procedures that are very strongly influenced by the nature and the particularities of the communication technologies.

The resulting new theater platform has in Marcel·lí Antúnez Roca one of its most important and international representatives. He brings together on the stage interactive video and sound, techno-body interfaces, sensors and network devices, thus enhancing a performativity that dis-unites the traditional boundaries of the artistic disciplines. Theatre, cinema and contemporary art get nowadays confronted on the new grounds of technological creativity.

11 OCTOBER STUDIES DAY

Free entrance. Laboratorio multimediale “Guido Quazza” – Palazzo Nuovo, Via Sant’Ottavio 20, Torino.

9.30-11.00 Opening session with Marcel·lí Antúnez Roca. Keynote speaker: Emma Zanella, Director of the MAGA-Museo Arte Gallarate, and Francesca Consoni, MAGA-Museo Arte Gallarate.

11.00-13.00 Round-table discussion on “MULTIMEDIA DRAMATURGY”. In the last two decades we have witnessed an increased development of the digital performances. Marcel·lí Antúnez is one of the pioneers of the new-dramaturgy that designs the performance and brings together interactive art and performance. In addition he has carried out a specific approach to narrative and drama through the lens of hypertext and multimedia. How does his practice challenge the modern and postmodern performance? Do we have to reconsider the concept of stage dramaturgy under the light of the interactive media? Is digital performance better seen as a continuation of the Avant-garde theatre or does it represent a rather unbridgeable rift?

Participants:
Antonio Pizzo – Università degli Studi di Torino
Steve Dixon – Brunel University of London
Lorenzo Mango – Università degli Studi di Napoli – L’Orientale
Federica Mazzocchi – Università degli Studi di Torino

15.00-17.00 Round-table discussion on “TECHNOLOGICAL PERFORMATIVITY AND CREATIVITY”. Nowadays creativity is deeply altered by the technological practices. The structural and practical features of the digital technologies strike and transform the performativity involved in the artistic creation. This represents a radical breaking point. What are the consequences of such a transformation? What are the new scenarios of technological performativity in the world of art?

Participants:
Tatiana Mazali – Università Telematica Internazionale Uninettuno di Roma
Gianni Corino – i-DAT / University of Plymouth
Mike Phillips – i-DAT / University of Plymouth
Alessandro Amaducci – Università degli Studi di Torino Domenico Quaranta – Accademia di Belle Arti di Brera, Milano

12 OTTOBRE

Accademia delle Belle Arti – Via dell’Accademia Albertina 6 Torino WORKSHOP, conducted by the artist Marcel·lí Antúnez Roca and his technical team, on the interactive systems applied in the performance COTRONE, which début will take place on November 14th at the Cavallerizza Reale, Maneggio di Torino.

It is compulsory to submit a participation request to tatiana.mazali@polito.it before October 7th.

Scientific Committee and organisers:

Tatiana Mazali, Federica Mazzocchi, Antonio Pizzo.

Information:
www.officinesintetiche.it

tatiana.mazali@polito.it

federica.mazzocchi@unito.it

antonio.pizzo@unito.it

Roy Ascott @ INDAF LPDT2/Syncretica

Roy Ascott @ INDAF LPDT2/Syncretica

LPDT2

i-DAT has contributed to LA PLISSURE DU TEXTE 2 (LPDT2) (Incheon International Digital Art Festival 2010 (INDAF), 01-30/09/2010, Tomorrow City, Songdo, Incheon, Korea) a Twenty First Century reimagination of Roy Ascott’s famous telematic work LA PLISSURE DU TEXTE from 1983. This Second Live version (built and enacted by Elif Ayiter , Max Moswitzer and Selavy Oh, in association with Heidi Dahlsveen) is installed at INDAF incorporates an Artificial Intelligence which enables the public to enter into an SMS conversation with the LPDT2 metaverse.

http://www.indaf.org/e_sub02_02.asp

LPDT2

LPDT2

THE SECOND LIFE OF LA PLISSURE DU TEXTE

Roy Ascott 2010

LPDT2 is the sequel to Roy Ascott’s initial La Plissure du Texte, the generic telematic project about distributed authorship, and the pleasure and pleating of the text, created for the exhibition Electra at the Musée d’Art Moderne, Paris in 1983

<http://artelectronicmedia.com/artwork/la-plissure-du-texte>.

Now, three decades later, LPDT2 seeks a new level of artistic creativity and technological expertise, dealing with distributed authorship in the metaverse of Second Life, involving textual mobility and the fluidity of an emergent poesis. Just as, in the first LPDT, when artists explored the telematic technology of the early 1980s, LPDT2 involves leading artists and designers in Second Life, and their associates, in the conception and construction of worlds of non-linear text, transforming the metaverse into a purely textual domain. The field of operations is a horizontal screen: the table-top motif that runs throughout Ascott’s oeuvre.

Principal Co-Authors

Elif Ayiter aka Alpha Auer is a designer and researcher specializing in the development of hybrid educational methodologies between art & design and computer science, teaching full time at Sabanci University, Istanbul, Turkey. She has presented creative as well as research output at conferences including Siggraph, Consciousness Reframed, Creativity and Cognition, ISEA, ICALT, Computational Aesthetics (Eurographics) and Cyberworlds. She is also the chief editor of the forthcoming journal Metaverse Creativity with Intellect Journals, UK and is currently studying for a doctoral degree at the Planetary Collegium, CAiiA hub, at the University of Plymouth with Roy Ascott. http://syncretia.wordpress.com/ http://alphatribe.tumblr.com/ http://www.citrinitas.com/

Max Moswitzer, born1968, lives and works in Vienna and Zurich. Moswitzer’s output is in Fine Art and the construction of playful situations, using dérive and détournement as methodology for transformation and reverse engineering of networked computer games and art systems. Since 1996 provides his own server <http://www.konsum.net> and is founding member of www.ludic-society.net <http://www.ludic-society.net> . In 2007 Moswitzer moved some of his creative practice into the metaverse, i.e., Second Life. His architectural installation „Whitenoise“ was one of four winners for the first Annual Architecture & Design Competition in Second Life, an internationally juried event of Ars Electronica 2007. He recently completed „Ouvroir“, a virtual museum in Second Life for Chris Marker commissioned by the Museum für Gestaltung, Zürich.

Selavy Oh was created in 2007 as an avatar in Second Life, where she works using the virtual world as medium. She presented her work in solo exhibitions within Second Life, e.g. at IBM exhibition space, Arthole Gallery, and Odyssey. Her work was selected for the Final 5 exhibition of the mixed-media project “Brooklyn Is Watching” at the Brooklyn art gallery Jack The Pelican Presents. Her work has been covered by prestigious web publications such as SmartHistory and art:21. Selavy’s creator works as neuroscientist at the University of Munich investigating topics from spatial perception over computational neuroscience to human-robot interaction.

Associates

i-DAT is a networked entity catalyzing Art, Science and Technology research [www.i-dat.org]. Chris Saunders is a Research Assistant at i-DAT and a digital media developer for organisations as diverse as Deutsche Bank and Creative Partnerships. Mike Phillips is the director of i-DAT and Professor of Interdisciplinary Arts, University of Plymouth. His private and public sector grant funded R&D orbits digital architectures and transmedia publishing, with particular application to ‘Full Dome’ immersive environments and data visualization. i-DAT’s LPDT2 SMS augmentation enables visitors to the LPDT2 installation to SMS the system through an Artificial Intelligence (AI) that feeds the Second Life environment. The LPDT2 AI learns, interprets and evolves through its mediation between the installation and visitors.

Heidi Dahlsveen aka Frigg Ragu is a storyteller and assistant professor at Oslo University College, touring in Scandinavia as well as internationally, performing stories for children and adults. In 2009 she published her first storytelling book. Her main occupation and interest in the virtual world are the performing arts and how to tell stories through poses and animations. Dahlsven was was given a grant from the Norwegian Arts Council to research and compare performing arts in virtual world with real life in 2009/2010. <http://www.dahlsveen.no>

Scale Electric… 19 & 20/07/2010

Scale Electric… 19 & 20/07/2010

[Scale Electric PDF]

Introduction…

The Scale Electric workshop (19 & 20/07/2010) couples the power of the Atomic Force Microscope to touch the infinitesimally small with the potential of the Full Dome environment to immerse participants in visualisations of the incomprehensibly big.

Throughout the last Century we were reintroduced to the idea of an invisible world. The development of sensing technologies allowed us to sense things in the world that we were unaware of (or maybe things we had just forgotten about?). The Scale Electric – the invisible ‘hertzian’ landscape was made accessible through instruments that could measure, record and broadcast our fears and desires. These instruments endow us with powers that in previous centuries would have been deemed ‘occult’ or ‘magic’.

Our Twenty First Century magic instruments mark a dramatic shift from the hegemony of the eye to a reliance on technologies that do our seeing for us – things so big, small or invisible that it takes a leap of faith to believe they are really there. Our view of the ‘real world’ is increasingly understood through images made of data, things that are measured and felt rather than seen. What we know and what we see is not the same thing – if you see what I mean?

Our ability to shift scales, from the smallest thing to the largest thing has been described as the ‘transcalar imaginary. The workshop will enable participants to touch the nano level and then immerse themselves within it through visualisations and sonifications.

Context:

Scale Electric extends a series of collaborative projects orbiting i-DAT’s research agenda. It builds on:

practical workshops to explore the application of novel and innovative technologies to creative practice (http://www.i-dat.org/2006-slidingscale/, http://www.i-dat.org/far-away-so-close/, http://www.i-dat.org/ahobartletti-dat/, etc)

projects with the Immersive Vision Theatre (a 40 seat 9m Full Dome digital projection system) a transdisciplinary instrument for the manifestation of material, immaterial and imaginary worlds – modelling, visualization, sonification and simulation.

research projects such as Arch-OS and Ecoid’s which stream real time data to facilitate insights into complex temporal architectural and ecological systems (http://www.arch-os.com/)

and more recently nano technology projects in collaboration with the Wolfson Nanotechnology Laboratory and John Curtin Gallery, Perth, WA – Art in the age of nanotechnology, 5/02 – 30/04/2010 (http://johncurtingallery.curtin.edu.au/)

Output generated by this workshop will contribute to the Ubiquity Journal Published in 2011 by Intellect. (http://ubiquityjournal.net/, http://www.intellectbooks.co.uk/journals/index/).

Scale Electric explores some of the ‘transcalar” (http://www.elumenati.com/products/TInarrative.html) conundrums that are increasingly intruding into our daily consciousness.

Schedule…

Monday 19/07/2010

10.00-10.15: Introductions, Briefing: Location – Babbage 213

10.15-10.30: Presentation 1: Prof Mike Phillips.

10.35-10.50: Presentation 2: Dr Chris Speed.

10.55-11.10: Presentation 3: Prof Genhua Pan.

11.15-11.30: Presentation 4: Pete Carss.

12.00-12.30: Tour of the AFM & IVT

12.30-13.30: Lunch

13.30-14.30: Production Planning: Location – Babbage 213

14.30-17.30: AFM Scanning: Location – The Wolfson Nanotechnology Laboratory,

Tuesday 20/07/2010

10.00-10.30: Briefing: Location Babbage 213

10.30-12.30: Project development AFM & IVT

12.30-13.30: Lunch

13.30-15.30: Project development AFM & IVT

15.30-17.30: IVT Manifestations

Process…

A: Experiencing Atoms:

The first practical session will utilise the AFM in the Wolfson Nanotechnology Laboratory to produce data and images. The materials themselves will be defined during the morning session. Participants will be asked to propose matter and associated narratives for examination.

B: Modelling Experience

Software templates will allow the interpretation and visualisation of the data gathered by the AFM. These visualisations will be hacked, tweaked and ultimately experienced within the Immersive Vision Theatre.

Project Team…

Pete Carss (http://www.i-dat.org/pete-carrs/)

Prof Genhua Pan (http://www.plymouth.ac.uk/staff/gpan)

Prof Mike Phillips (http://www.i-dat.org/mike-phillips/)

Dr Chris Speed (http://fields.eca.ac.uk/?page_id=65)

Supported by…

The Institute of Digital Art & Technology: [http://www.i-dat.org/]

Manifest Research Group

The Wolfson Nanotechnology Laboratory

The Centre for Media Art & Design Research

Ubiquity Journal


FULLDOME UK 2010 – 10th July Plymouth UK

FULLDOME UK 2010 – 10th July Plymouth UK


Welcome to FULLDOME UK 2010. A celebration of the FullDome experience, we present a day of screenings, presentations, discussions and perhaps some realtime performance. The event takes place at the Immersive Vision Theatre (IVT) based at the University of Plymouth on Saturday 10th July 2010 and runs from mid-day until late evening.
The event is free, but numbers are limited so please let us know your interest via email or by using the online form. We will be updating this site with more information on a regular basis, with more details of the screenings and guest speakers coming shortly – go to:
http://www.fulldome.org.uk/



CO-OS IGNITE COMMISSIONS:

CO-OS IGNITE COMMISSIONS:

CALL FOR COLLABORATORS
The CO-OS community – http://s-os.i-dat.org/ – has commissioned artists from Austria, Brazil, Greece/Spain and UK to develop new work. These artists have just posted their ideas on the CO-OS online platform http://s-os.i-dat.org/. Would you like to collaborate with them in developing their ideas?

Until the 20 May you can ‘bid’ some of your ‘time’ to work with them and get ‘time credit’ to get others to work with you.
Just register on the website and get started. You can also pitch your own ideas and see what the community thinks. If they like it, you can find people with whom you can collaborate and develop your ideas.

ABOUT
CO-OS – is a growing online community of creators and do-ers, all coming together to collaborate and exchange creative ideas, skills and resources in a cashless system based on the concept of timebanking. Here ideas can be shared, evaluated and developed collaboratively through trading units of time in exchange for skills and resources.


The project is part of ‘Creative Collaboration’, www.britishcouncil.org/creativecollaboration, a British Council arts initiative that builds networks for dialogue and debate across the arts communities of South East Europe and the UK. The programme aims to enrich the cultural life of Europe and its surrounding countries, as well as fostering understanding, skills development, trust and respect across borders.

Call for participation…

Project report….

The artists commissioned for CO-OS Ignite are:

AMMEBA: PABLO BERZAL & DAVID PASTOR (Greece/Spain)
TIM KNOWLES (UK)
CADU COSTA (Brazil)
EDUARDO BERLINER (Brazil)
FELIPE NORKUS (Brazil)
PAULO VIVACQUA (Brazil)
tat-ort: WOLFGANG FIEL (Austria)

The CO-OS Ignite commissions are developed in partnership with:
AMORPHY, Greece – www.amorphy.org
GALERIA VERMELHO, Brazil – www.galeriavermelho.com.br
i-DAT, UK – www.i-dat.org
PLYMOUTH ARTS CENTRE, UK – www.plymouthartscentre.org
SCAN, UK – www.scansite.org
tat ort, Austria – www.tat-ort.net

The ‘New platforms for innovation’ project conducted by i-DAT builds on existing platforms of open innovation and Co-OS (www.co-os.org) (formerly Co-Here) – an international digital network project which supports artistic innovation through collaboration. The Platforms for Innovation project has allowed us to explore more fully issues relating to online collaborative environments that have the potential to support and underpin economic innovation within the creative arts.

This research activity has been conducted in parallel to the production work carried out to develop the Co-OS platform and the negotiation with the project partners and collaborators. Co-OS has now been launched in beta version with the support of pump priming provided by the British Council’s Creative Collaboration, Partnership in the Arts funding.

i-DAT has been developing these models to explore and nurture innovation as a tool for economic development and sustainability of creative practice during and beyond the current international economic downturn.

i-DAT’s core activities for 2008-2010 have been focused on developing and strengthening partnerships and implementing new digital platforms for production, engagement and distribution of work. These activities are being framed as ‘Operating Systems’. These systems enable the collection and distribution of environmental data for artistic production, and are establishing a new mode of participation and production of artistic practise.

The Operating Systems has been developed through i-DAT’s unique environment for critical, collaborative and creative projects operating within HE institution, the University of Plymouth, but delivering and collaborating externally with other organisations, artists and companies. This provides an active research and knowledge base to build its’ activities, and further provides resources such as technology, venue, legal and administrable support, staffing etc.

i-DAT has also actively been developing mechanisms for enabling wider access to the knowledge and resources within these HE research environment for the wider arts community. In particular funding from British Council with project partners from 5 countries to develop the Co-OS project.

The range of ‘Operating Systems’ being developed are intended to dynamically manifest ‘data’ as experience and extend human perception. Arch-OS [www.arch-os.com], an ‘Operating System’ for contemporary architecture (‘software for buildings’) was the first i-DAT ‘OS’, developed to manifest the life of a building (currently being installed as the i-500 (www.i-500.org) in Perth Western Australia. More recently S-OS was released (Social Operating System) in collaboration with Plymouth Arts Centre and now C-OS is being released in beta form. The intention of these Operating Systems is to explore data as an abstract and invisible material. Data generates a dynamic mirror image of our world, reflecting, in sharp contrast and high resolution, our biological, ecological and social activities.

These activities are of particular importance to i-DAT as it does not have a core funded program but has over the last 4 years established a way of working which dynamic and flexible, and where all activities are developed in partnership to pool resources, reach audiences and share knowledge and expertise. The organisation feels that the notion of openness, collaboration and exchange (across organisational as well as cultural boundaries) are key to the development of innovative and new practises in the arts, in particular at times where resources are limited. Where previously this has appeared to be a limitation to i-DAT, this is now emerging as a strength and a necessity for the field in which the organisation operates. These issues are of critical importance to other organisations, collectives and individuals within the region and, as our research and collaboration has demonstrated, at a national and international level.

Co-OS, a ‘Reciprocity Engine’, is a cultural brokerage and social networking project which facilitates a radical new network model of collaborative creative production, consolidating and building on i-DAT and partners existing activities and network of audiences, participants, artists, and collaborators from across the City of Plymouth, the region and through a national and international network.

Co-OS is establishing a social networking platform that incorporates web 2.0 (tagging, blogging, streaming media and dynamic media posting, etc), technologies in an open and reciprocal exchange of ideas, knowledge, skills and resources. The key innovation which has received so much interest from i-DAT’s partner organizations is the coupling of an open Web 2.0 online network environment with a modified LETS (Local Exchange Trading System) scheme. ‘LETS’ are local community-based mutual aid networks in which people exchange all kinds of goods and services with one another, without the need for the direct exchange of money.

A credible and stable technological infrastructure to support the Co-OS project has been established through a number of i-DAT online projects (see below). A network of collaborators who are committed to pump prime the activities of the Co-OS community has been developed and design work for the web interface has been commissioned and completed, providing a look and feel for the site. Development continues of the back end database and mechanisms to calculate and balance the various transactions that will take place through the Co-OS community.

The project will offer radical new opportunities for:

• engaging with new audiences within the Creative Industry sector.

• developing rich interactions between audiences and creative producers

• establishing access for artists/designer/producers to high end resources (research, software and technologies)

• sharing off skills, knowledge and resources in mutual beneficial relationships

• enable creative practitioners in developing economies access to knowledge, skill, ideas and resources

• trading of skills, knowledge and resources on a non-monetary basis

• a system of evaluation based on LETS (Local Exchange Trading Schemes)

• commissioning new works within the sector

• curating high profile activities that operate on a local, regional, national and international level.

Co-OS creates an open access and distributed environment for individuals (artists, producers, coders, audiences, researchers etc) to high-end innovation, research and development within institutions, and these institutions will be provided with access to new ideas, skills and knowledge. This will generate new opportunities, practices and collaborations in mutually beneficial or reciprocal relationships capitalising on available resources and those generated through new non-monetary trading model.

Co-OS use interest-free credit so direct swaps does not need to be made. For instance, a member may earn credit by providing software-programming skills for one person and spend it later on access to another member’s technological resources. Each transaction is recorded and generated by the network software system and evaluated by its members in a distributed relationship with all data open to all members, in a mutual credit system.

Co-OS is being created on an experiential, anecdotal and theoretical understanding of shared networks and resources forming a major part of creative industries ‘working culture’. It is intended to address practical issues around production and practice that leads up to the dissemination of works. Primarily but not exclusively these works would have been previously been described as ‘New Media’ products, however as these practices and processes are now endemic to all areas of the sector such distinctions are worthless. This sector is a resource heavy field that relies on good will and exchange in order to function. Co-OS aims to address these issues and to attach value to the actions and services that people provide in a network and to formalise that exchange of  knowledge within the sector. It also looks to expand the resources out beyond traditional geographical networks through e-learning/exchange and knowledge sharing online. A major part of the scheme will be to measure the value that is placed on particular activities and resources and how this fits into the creative economy.

According to the recent NESTA Research report: Creating Innovation, Do the creative industries support innovation in the wider economy? (Bakhshi, H. et al. February 2008) there are huge assumptions made about the creative industries sector.

“There is also a widespread belief that the ‘creative economy’, as a focal point for creativity, has a particularly important role to play in innovation throughout the economy (Potts, 2007). But there is little quantitative evidence for this.” (Bakhshi, H. 2008)

Co-OS has the potential to provide highly accurate data on the behaviour and activities of its participants.

To date the Web 2.0 environments such as the Community Recycling Network and social networking sites such as LinkedIn and Facebook and established tools such as Rhizome and lists such as Spectre, Nettime, Syndicate, Empyre and CRUMB provide network of links, contacts and information exchange. However, there is no facility to build an open exchange of human and technical resources which can be openly ‘traded’ and valued by the community. In a distributed region such as the South West, networks are focused on urban centres which undermine to potential offered by digital technologies geographical independence. Co-OS effectively separates location from the production process by placing a tangible value on traditionally ephemeral ‘artefacts’ such as ideas and social networks.

Festival International de la Vidéo d'Art de Casablanca.

Festival International de la Vidéo d'Art de Casablanca.


Festival International de la Vidéo d’Art de Casablanca.
Musaab Garghouti travels to Casablanca with the 5 meter inflatable dome to install Marc Fournel’s VOID (and other work) in the Festival International de la Vidéo d’Art de Casablanca.
VOID involves 3 wireless interfaces and live video manipulation. The invitation to Marc from the festival extends on Marc’s collaboration with i-DAT funded by the Canadian Council for the Arts research grant. The dome installation incorporated the Pure Data dome correction tool developed during Marc’s residency at i-DAT. Check out….
http://ciam.dyndns.org/~mfco/fr/?q=fisheye
More to follow….

Le corps jouable, Marc Fournel, vidéos et installations.

Le corps jouable, Marc Fournel, vidéos et installations.

lecorps
DAGAFO and [Séquence] are pleased anounce the launch of The Playable Body, Marc Fournel, videos and installations at OBORO on March 26, 2010 from 5 to 7 pm, 2001 rue Berri, Montréal.
The Playable Body, Marc Fournel, videos and installations is a publication about the artistic work of Marc Fournel from 1995 to 2009 that comprises texts in English and French by authors Fabrice Montal, Caroline Seck Langill, Jean Gagnon, and Mike Phillips. The monograph also includes a short text by the artist about the enigmatic titles of his works. The hardcover book is illustrated with color photos.
The Gallery [Séquence] in Chicoutimi and DAGAFO have collaborated for this publication. Volumes, essays, and critical articles on works of contemporary Quebecer artists whose approach is based on new media are rare. This edition makes us discover a particular figure in the landscape of media art, while at the same time contributing to the necessary documentation of these artistic practices.
Marc Fournel, after some videographic productions between 1995 and 1998, begins to more systematically explore the application of informatics and softwares, particularly open-source softwares. Since 2004, he has devoted himself full-time to his artistic research, which has allowed him to produce a number of works, but also to develop his informatics tools and instruments. His artistic work has been presented nationally and internationally, notably at OBORO in Montreal, [Séquence] in Chicoutimi, Interacess in Toronto, at the International Festival of Video Art of Casablanca, at L’IRCAM in Paris, and at the Foundation Telefonica in Buenos Aires.
DAGAFO is a non-profit organization founded in Montreal in 2007 by Ricardo Dal Farra, Jean Gagnon, and Marc Fournel. DAGAFO supports, develops, and produces projects—by means of exhibitions and publications —that foster cultural exchange and relations on a national or international level. DAGAFO thanks [Séquence], Chicoutimi (QC) and i-DAT, Faculty of Technology, University of Plymouth (UK) for their collaboration in this publication, as well as the Canada Counsel for the Arts for its financial support.
[Séquence] is an important regional center in Saguenay for the production and presentation as well as the development of media art and new media in Quebec. The center’s implication in the development of international relations has allowed it to put in place a strong network of exchange, presentation, and production of media art works. [Séquence] would like to thank: DAFAGO, the Conseil des arts et des lettres du Québec, the Conseil des Arts de Saguenay, and the city of Saguenay.
Available after book launch through the website of RCAAQ: http://rcaaq.org/librairie/