Later this week CreativeApplications.Net is joining the Moscow-based sound, art and technology community MIGZ for yet another edition of the Moscow International Festival “Circle of Lights” festival taking place between 10th and 14th October.
Competition submission by Moscow based collective Stain, renders the building as a wireframe, revealing colour which eventually deflects of its structure, slowly turning into a recursion of its structural elements.
Curated in collaboration with the Moscow-based sound, art and technology community MIGZ, we are pleased to announce the Educational Programme for the Moscow International Festival “Circle of Lights” taking place 5th and 6th October at the Red October district.
Gysin-Vanetti (Andreas Gysin & Sidi Vanetti) are an artist duo exploring images and patterns using the type geometries of multipurpose displays. What characterises the projects shown here is that their intention is to not modify the layout (or visual organisation) of the chosen hardware – they work with what the existing has to offer. Within these hard constraints they search for infinite visual permutation. Using only type and digit, Gysin-Vanetti build images, animations and generate patterns.
Created by Seoul based duo Kimchi and Chips, “The Light Barrier Third Edition” is the latest and largest in the series of works by the studio to create volumetric drawings in the air using hundreds of calibrated video projections.
Created by Copenhagen-based artist and researcher Tobias Ebsen, Poème Mécanique is an electromechanical sound sculpture produced for Espace culturel Georges-Émile-Lapalme, a public walkway connecting the Place-des-Arts metro and Complexe Desjardins in Montréal.
From November to January 2014, Muriel Guépin Gallery in NY was the home to ‘Bright Matter’, an exhibition of enigmatic works by five international artists widely recognized for their spatial-aesthetic research, creative engineering, and stunning perceptual hacks. We check in with the event’s instigator, curator, and participating artist Joanie Lemercier for a report, the back story, and a 2015 teaser.
Light Barrier by Kimchi and Chips creates phantoms of light in the air by crossing millions of calibrated beams, creating floating graphic objects which animate through space.
Created by Andreas Gysin in collaboration with Sidi Vanetti, Fari is a kinetic installation created with an array of moving light heads in a geometric configuration and programmed as a choreography.
Building on the experience of our past educational programming at ACT Festival, Resonate, and Circle of Light, CAN has partnered to launch a new initiative in Toronto this August. Our first North American event, A-B-Z-TXT is a school for 21st century typography.
At the upcoming (14th!) edition of Geneva’s Mapping Festival (May 9 – 12), CAN is proud to co-host Mapping LAB – a one-day educational program of 13 workshops run by leading artists, designers, and researchers in our field. Join us!
This weekend, February 3rd to 4th, we will join 230 TouchDesigner users at Derivative’s second ever TouchDesigner Summit in Berlin for an 48-hour marathon of workshops, masterclasses, and presentations.
Huge stroboscopic datastreams, hypnotic human-machine choreographies, a cacophony of Korean, Japanese, English, German, and French – ten weeks ago, from November 25th to 28th 2015, an unlikely cross-cultural exchange took over the all new ACT Center in Gwangju, South Korea. More than a hundred artists, designers, curators, and educators answered our invitation to add their work and voice to the inaugural edition of ACT Festival, an opening celebration for the center’s monumental facilities.
CAN is thrilled to announce the first edition of #ACTFestival – a four-day summit that combines a world class exhibition, a symposium, a performance and workshop program, and takes place November 25th to 28th / Gwangju, South Korea.
Latest work by Alexandra Gavrilova / Stain from HEAD Geneva – done in collaboration with CERN Idea Square.
By publishing (and many other) standards, HOLO just took its first steps. Yet nine months after the magazine’s launch, we look back and can’t believe how far we’ve come. What happened? Here’s a stocktaking, a travelogue, and a teaser. The middle of December is a somewhat special time for us. Two years ago this past Monday, the […]
CreativeApplications.Net was launched in October 2008 and is one of today’s most authoritative digital art blogs. While the site tirelessly beat reports innovation across the fields of art, media and technology, CAN is an active participator, curator, host and organiser of many events around the world, bringing artists/creators with their audience and facilitating forward looking […]
HOLO curates a series of critical conversations and hands-on exercises as part of the 20th Edition of MUTEK Monreal, Aug 20-25.
Report from the inaugural CAN-curated event series ‘Document #.’ examining new forms of cross-disciplinary art and design practice.
In Elektra’s 20th year common themes from throughout the history of the festival of machinic bodies and digital transcendence are explored in depth and pushed to their extremes.
A review, photos, and selection of highlights from the abundant offerings of the 4th edition of the International Digital Art Biennial (BIAN) in Montreal.
The 2017 edition of Eastern Bloc’s Sight + Sound festival put ‘capital I’ innovation in its cross-hairs and pulled the trigger. We journeyed to Montreal to its flagship exhibition and assess its spectrum of ‘non-compliant futures.’
Dan Tapper is a British artist based in Toronto that combines his interest in code and celestial form and his recent research project “Turbulent Forms” visualizes and sonifies various cosmic phenomena. To mark the recent exhibition of this work (and related collaborations with several composers) we present this extended conversation with the artist about cosmology and data aesthetics.
Ryoichi Kurokawa sets out a new phase of his use of space with light and sound, and how different mediums can be merged in space and time as single unit. node 5:5 fills the ACC in Gwangju, South Korea with mesmerising abstract information and imagery, intoxicating the viewer in an unforgettable visual, auditory and spatial experience.
In the final week of the last year’s fall 10-week program at the School for Poetic Computation (SFPC), students presented their work in progress and its underly ideas in a public showcase. Here is a selection of projects that were presented.
CAN’s report on the audiovisual highlights (and our participation) in the 17th edition of Montréal’s venerable MUTEK festival.
The Gray Area Foundation for the Arts has been active in San Francisco for a decade. On the eve of the second edition of their eponymous festival, CAN chats with the Gray Area team about their ongoing educational and programming initiatives.
This tutorial will introduce you to creative-coding on iOS with C4, a powerful framework for creating expressive artworks and user experiences. Written entirely in Swift, C4 takes a modern approach to working with animation, gestures and media.
In the countryside surrounding the town of Modena, immersed in peace and silence, a big luminous country farmhouse is home to one of the most up and coming protagonist on the Italian digital art scene: fuse*. We were lucky enough to have the chance to meet up with Mattia, to ask him about his, and his team’s, passion for using innovative techniques and aesthetics used in their work, continually seeking new ways and means: the secret of their relentless and overwhelming success.
CAN and Swiss artist and designer Jürg Lehni will join an eclectic cast of international creators at this year’s OFFF MX (24 – 26 September) to “feed the future”.
CAN reports on MUTEK 2015’s audiovisual performance programming and the ‘HOLO encounters’ live Q&A’s we did with artists Robin Fox and Hiroaki Umeda.
CentrePasquArt’s super-group show Short Cuts invites viewers to trace ideas, influences, and positions across five decades of work by merely taking a few steps.
Superflux are a design and foresight consultancy based in London. Founded by Anab Jain and Jon Arden in 2009, the studio produces prototypes and films that are simultaneously prescient, and playful—and now they can add ‘magazine publisher’ to that list of outputs. A few weeks ago the studio announced the first edition of Superflux, a Warren Ellis-edited periodical that would mutate with each edition. The first issue is a handsome A1 poster expanding on their recent work with drones and the duo has engaged in an interview with CAN about their new project.
Forest invites kids and adults alike to engage with a giant tactile colour mixer, with ‘spinner’ controls distributed across a 7 x 2 grid of custom-fabricated MDF panels. Built in collaboration between Micah Scott and a team at Ryerson University’s New Media Program, the interactive installation is currently showing at TIFF Kid’s digiPlaySpace. CAN goes behind the scenes to get a glimpse into this ambitious project’s conception and fabrication.
Tundra define themselves as a “collaborative artistic collective” whose members include musicians, sound engineers, programmers and visual artists. Their focus is to create “spaces and experiences by making sound, visuals and emotions work together” in audiovisual performances and interactive installations.
Series of works exploring the subject of drawing images in the space around the earth using latitude, longitude and altitude as a coordinate system.
Through an inspiring tutorial with 26 code examples Amnon Owed shows you how to use Processing to explore the creative possibilities of generative typography.
Lunar Surface is the latest in the series of projects by the Kimchi and Chips duo investigating digital light as a semi-material to articulate digital visual mass in physical space.
The Raspberry Pi is a very exciting low cost computing platform aimed at the educational market. It offers reasonable performance in a small package at a price of $25, making it very attractive for creative computing projects. Here we show you how to run openFrameworks on the Raspberry Pi.
Landscape Futures is a recent book edited by Geoff Manaugh that unpacks the wildest intersections of landscape architecture, technology and perception. CAN interviewed Manaugh about the book last week to provide a window into this ambitious curatorial (and now editorial) project.