Christophe Bruno. L'Etre, la Machine et le Néant . 2019 Aujourd’hui, l’apprentissage du savoir-faire artistique par la machine suit les règles de l’Académie : l’Intelligence Artificielle est nourrie d’histoire de l’art et entraînée à reconnaître des styles picturaux. Ses réseaux de neurones sont alors capables de créer des oeuvres « à la manière de » tel ou tel artiste. Ainsi, tandis qu’un néo-académisme machinique est en marche, il est urgent d’apprendre à désapprendre aux machines : à l’égal des peintres de la modernité, L’Être, la Machine et le Néant intègre dans le processus d’apprentissage la friction, l’erreur, l’anachronisme, le défaut, la schize, le bug, le néant. Le dispositif cherche à retrouver la dynamique de l’art : la rupture. Le projet a été réalisé en collaboration avec l’historienne de l’art Chrystelle Desbordes et avec la participation de diverses Intelligences ArtificiellesAvec le soutien d’Arcadi Île-de-FranceAvec la participation du DICRéAM
Alsagora Sur votre agenda : A Mulhouse, Terre des Nouveaux Possibles 2012 (17-25 novembre) Terre des Nouveaux Possibles : Le festival qui promeut l’audace entrepreneuriale et la culture de l'innovation via un vaste programme d’animations. Mulhouse, Terre des Nouveaux Possibles le festival de l'imagination entrepreneuriale et de l'innovation, en est à sa seconde édition. Dans cette ville post-industrielle innovante à fortes compétences numériques, l'ambition est de repousser les limites du quotidien des entreprises et des individus en explorant des voies nouvelles. Et ce, via un riche programme d'une vingtaine de rencontres proposées sur toute une semaine. Le TEDx Alsace ouvre le programme de la semaine Avec douze témoignages placés sous le signe de l'émotion, thème de cette année, le TEDx Alsace met d'emblée le public dans l'ambiance de la semaine qui suit en «ouvrant les possibles». Un salon de la création d’entreprise et des conférences marketing sont plus particulièrement destinés aux entreprises.
mr. div all in our heads // video 16,984 notes Kris Menace ‘The Entirety of Matter’ // Album art by Mr. Div www.entiretyofmatter.com Check out the first in a series of 'gif videos’ for the album here: Kris Menace - Mona 827 notes Pascal Dombis Obsolete Future, 2022-2024 The Ends of Words, 2023 / Exhibition view, Voltaje, 10th edition, Bogotá, Colombia / Cut letter plates & algorithmically composed video installation on 3 screens The Ends of Words, 2023 / Exhibition view, Voltaje, 10th edition, Bogotá, Colombia / Cut letter plates & algorithmically composed video installation on 3 screens The Ends […] Remix, 2021-2024 Post-Digital Surface (Remix) (B1)(B2), 2023 / Lenticular print on aluminum composite / 2 panels, 0.90 x 1.20 m each Post-Digital Surface (Remix) (B1), 2023 / Lenticular print on aluminum composite / 0.90 x 1.20 m Post-Digital Surface (Remix)(X3), 2023 / Lenticular print on aluminum composite / 1.80 x 1.80 m Post-Digital Surface (Remix)(X3), […] Meta-Google, 2015-2018 Meta-Google, 2017 / Consciência Cibernética ?, Itaú Cultural, São Paulo, BR / Lenticular print on cut black aluminum composite, 1.10 × 1.80 m (each panel) Meta-Google, 2017 / Consciência Cibernética ? What_Next, 2009-2012 What Are We Here For ?
Social Networking Sites This page hasn't been completed yet. Do you know about social networking sites like Facebook, Linked in and others? Please contribute! Brief Description: (from Social Media Training):Social networks focus on online communities of people who share interests and activities, or who are interested in exploring the interests and activities of others. When to use: Create awareness. How to use: Tips for getting the best out of social networking sitesWhile there are quite a few sites that can be used to promote or publicize your activity, event or Center, it is wise to exercise restraint. Tips and Lessons Learnt (add yours) Examples & Stories Who can tell me more? (add your name/contact email) Michael Riggs (michael.riggs[at]fao.org) Related Methods / Tools / Practices Resources (add yours) Tags Author(s) Meena Arivananthan (m.arivananthan[at]cgiar.org) Nancy White Image credits:
Original Creators: Visionary Computer Animator John Whitney Sr Way before After Effects, before the annual Siggraph conference, before Pixar even, computer animation was around in its infant form. There were no feature films rendered entirely on a computer, no animated deconstructions of historic artworks. But there was someone who made all this possible and that man was John Whitney Sr. If you jumped in a time machine and kidnapped him from history to help you with a homework assignment and never returned him, the fate of computer animation may well go the way of the McFly clan in that disappearing photo from Back to the Future. Anyway, enough with the time-travel film metaphors. Whitney’s work stands out because not only was he an early, bold experimenter in the field of computer graphics, he was also explicitly using computers to create works of art. But perhaps his most famous and recognized work was his collaboration with Saul Bass on the title sequence for Alfred Hitchcock’s Vertigo in 1958. Mechanical Analogue Computers Catalog (1961)
"Erection". 2004. Pierre Rigal, Aurélien Bory. Erection, solo, est le premier spectacle de la compagnie « Dernière minute » créée par Pierre Rigal en novembre 2003. Né en 1973, Pierre Rigal étudie l'économie et les mathématiques, puis obtient un DEA de cinéma à l'Ecole Supérieure d'Audiovisuel de Toulouse. Sportif de haut niveau, il court le 400m et le 400m haies. Il rencontre des chorégraphes et metteurs en scène au cours de ses études, tels Heddy Maalem et Bernado Montet.En 2002, il intègre la compagnie de Gilles Jobin pour la création de Under Construction. Il tourne également des vidéo-clips et des documentaires. En mai 2007, il signe une installation photographique, La mort est vivante, et en 2008 un solo de 10 minutes, chorégraphie pour Mélanie Chartreux, Que serai-je serai-je ? Il collabore avec Aurélien Bory et la Compagnie 111 sur plusieurs spectacles, dont Arrêts de jeu créé au Théâtre national de Toulouse.
Heritage science The heritage science domain[edit] In adopting the term heritage science,[1] heritage science was seen as "key to the long-term sustainability of heritage: it is about managing change and risk and maximising social, cultural and economic benefit not just today, but in such a way that we can pass on to future generations that which we have inherited." Domains of research, where heritage science makes a particular input were recognised to be museums, galleries, libraries and archives; the built historic environment and archaeology, by the United Kingdom National Heritage Science Strategy documents.[2] With this wide definition, heritage science spans an enormous variety of scientific activities. Heritage science is performed by researchers in heritage institutions and in the academia alike. Despite its diffuse character, heritage science is a very lively science domain. Development of ‘Heritage Science’[edit] Two international professional associations have heritage science groups:
vvvv - a multipurpose toolkit | vvvv David Hokney "Remember you cannot look at the sun or death for very long". Mai 2021 (Times Square NY, Los Angeles, London, Tokyo, et Seoul) A new digital artwork by David Hockney, one of the world’s most celebrated living artists, will be unveiled across a network of the world’s most iconic outdoor video screens, uniting Times Square, Los Angeles, London, Tokyo, and Seoul this May. Hockney’s Remember you cannot look at the sun or death for very long brings a digital sunrise to these worldwide locations, offering a powerful symbol of hope and collaboration. As it reaches the screens of Times Square at three minutes to midnight, it transforms: the sun slowly crests a dark horizon, bringing color to the sky and landscape even as it sends shadows across the ground, and then turning brighter and brighter as the sun’s rays spread dramatically across the screen. Created during quarantine on the artist’s iPad in Normandy, France, Remember you cannot look at the sun or death for very long offers the opportunity for a spontaneous encounter with Hockney’s meditation on the arrival of spring. “What does the world look like?