Photos: Mathieu Bertrand Struck

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Lôart et le numérique

Loin de se contrarier, lââ?¬â?¢art et la science informatique sââ?¬â?¢épousent parfaitement. Technique moderne de production, de présentation ou bien encore de création, lââ?¬â?¢art numérique a naturellement élargi ses frontií¨res : spectacles multimédias ou hypermédias, expositions en ligne, installations interactives ou génératives, tout un ensemble dââ?¬â?¢interventions extrêmement variées se produisent ici, maintenant, partout et í  chaque instant, attirant un nombre de plus en plus grand de créateurs comme de spectateurs. Pourtant, le manque de lieux fixes, musées ou centres dââ?¬â?¢art adaptés, empêche encore que lââ?¬â?¢on suive facilement tout ce qui se produit dans ce domaine. Cââ?¬â?¢est pourquoi, í  travers les articles de différents spécialistes, ce nouveau volume des Cahiers du numérique établit un panorama, sinon exhaustif du moins suffisamment complet, de tous les domaines concernés par lââ?¬â?¢art numérique, de leurs perspectives et de leurs enjeux.

Extrait en ligne ici/Trecho online aqui.

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Open source art

Two recent exhibitions provided an introduction to the videos and altered software projections of computer artist Cory Arcangel, who makes his work with various collaborators
Art in America, Sept, 2005 by Sarah Valdez

Most artists would consider opening two prominent gallery exhibitions in Manhattan within the same month–especially solo debuts–at least a little daunting. But not Cory Arcangel, the prolific, unassuming 27-year-old computer geek who, despite the fact that he never set out to make art at all, has been captivating audiences by showing off his witty hacks on the biennial circuit and elsewhere for the past couple of years. (He has accomplished such feats, for instance, as writing binary code to transform Nintendo’s once-popular gun game Hogan’s Alley into I Shot Andy Warhol, which gives gamers points for picking off a pixilated likeness of the famous artist, as opposed to the Pope or Colonel Sanders; for a live performance at the Whitney last year, Arcangel had pepperoni pizza from Domino’s delivered to the museum, using his Pizza Party software–anyone can download it for free.) His latest offerings included a slick installation involving a projection of a hacked Mario Bros. video game at Deitch Projects and a sloppily displayed but nonetheless very clever assortment of projects at Team.

Arcangel recieved his undergraduate degree from Oberlin, where he initially studied classical guitar and music composition, but switched to computer science at the last minute, figuring that was more likely to help him earn a living. While in school, he befriended the likeminded souls Paul B. Davis, Joe Bonn and Joe Beuckman; the four banded together to form the record label/programming ensemble Beige, which collaborated on both recent exhibitions–if not in actual deed, then at least as conspirators in developing and promoting a zany esthetic based on fondness for old-school technology (think DJ battles with cassette tapes). Also contributing resources for the Deitch exhibition was Paper Rad, the Providence, R.I., music/ programming/art collective consisting of Benjamin Jones, Jacob Ciocci and Jessica Ciocci. They made the “set” for the Deitch show and assisted in its programming. (Alexander Galloway, the essayist for a catalogue published for the Deitch show–which consists of 136 pages of microscopic, mostly numerical text that is the code for the Mario Bros. projection–compares programming to sculpture and describes the motivation for collaboration: “[Beige and Paper Rad] work in collectives for the same reason that punks play in bands: it’s funner [sic] that way, and it’s easier to make more noise.”)

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