Electronic Art

[Karen ann Donnachie, PhD // Doctoral Thesis: Full-text]
This multidisciplinary, practice explores the phenomenon of the selfie (understood as a networked, vernacular, photographic selfportrait) in order to propose a new critical understanding of its effect on wider photographic self-portrait practice, and photography in general.

Significantly, “The Human Use of the Human Face” depicts the selfie as more than a mere vernacular object or action and is not satisfied with the dismissal of the selfie as a direct remediation of the traditional self-portrait. Instead this thesis maps the complex, and sometimes controversial genre of amateur self-portraiture as it sits somewhere between performance, narcissism, social tic, intrinsic desire for self-projection and a possibly irrational quest for authenticity in the photographic image.

This practice-led research is articulated through the creation of original digital and electronic artworks including speculative camera design, social media web apps and immersive installation; through interviews with contemporary artists; and finally through the discussion of cultural, aesthetic and photographic theory. This research examines the privileged position the selfie holds inside a rapidly expanding and evolving social media ecology as it becomes both vehicle and tool, a symbol of personal, social, cultural and political identities. Along with the prevailing concerns surrounding the selfie and its reflection on contemporary society, this thesis inserts notions of human affect, connectedness, belonging and being human into the discussion concerning the motivations behind, and social consequences of, the selfie in three areas: first life, second life, and afterlife.

This thesis was presented in 2016 for my PhD (Art), awarded from the School of Design & Art, Curtin University, Western Australia, 2017.

a cura di Valentino Catricalà e Laura Leuzzi 527 Tavola cronologica 1952 VIDEOTAPE / PROGRAMMI TELEVISIVI CREATIVI / VIDEOINSTALLAZIONI VIDEOTEATRO Fontana insieme ai firmatari del Manifesto del Movimento Spaziale per la Televisione registra un programma televisivo sperimentale, girato in pellicola, in cui, secondo fonti storiche, vengono riprese negli studi RAI di Milano alcune opere illuminate dalla luce di Wood. Di tale esperimento rimangono purtroppo solo testimonianze scritte. PUBBLICAZIONI Manifesto del Movimento Spaziale per la Televisione (Esce, edito dall'Edizioni dell'Ateneo SNC, il testo a cura del regista televisivo Angelo D'Alessandro, Lo spettacolo televisivo, in cui viene dedicata una intera parte alle possibilità artistiche della televisione. Nel volume è tradotto per la prima volta in Italia il testo di Jean Epstein Le possibilità creative della televisione. 1958 VIDEOTAPE / PROGRAMMI TELEVISIVI CREATIVI / VIDEOINSTALLAZIONI VIDEOTEATRO Nel novembre, John Cage viene invitato da Luciano Berio a Milano presso lo studio di Fonologia Musicale della RAI-Radiotelevisione Italiana. Cage realizza Fontana mix per nastro magnetico, Aria per voce sola, i nastri audio Sound of Venice, e scrive Variation 1 per qualsiasi numero di esecutori su qualsiasi strumento e Music Walk per pianoforte. L'artista Pino Pascali inizia a creare in pellicola e in video (fino al 1968, anno della sua morte) spot pubblicitari e sigle televisive innovative per numerose aziende e in particolare per la Rai. 1959 VIDEOTAPE / PROGRAMMI TELEVISIVI CREATIVI / VIDEOINSTALLAZIONI VIDEOTEATRO Durante la sua permanenza in Italia, John Cage prende parte per cinque settimane come persona nota alla trasmissione condotta da Mike Buongiorno Lascia o Raddoppia. In una 528 KINEMA. IL CINEMA SULLE TRACCE DEL CINEMA puntata, Cage presenta due performance musicali ad apertura del programma, Sounds of Venice e Water Walk, con un complesso composto da un pianoforte, due radio, un frullatore, un innaffiatoio, un gong, un bollitore. 1960 VIDEOTAPE / PROGRAMMI TELEVISIVI CREATIVI / VIDEOINSTALLAZIONI VIDEOTEATRO Mario Sasso gira in pellicola la sua prima sigla televisiva per il programma Non è mai troppo tardi di Alberto Manzi. 1963 CENTRI DI RICERCA / FONDAZIONI / GALLERIE / COLLETTIVI ARTISTICI Pietro Grossi fonda, con finanziamenti propri, lo studio di Fonologia Musicale di Firenze S 2F M. Uno dei primi centri al mondo ad occuparsi di musica elettronica e immagini numeriche, videoarte compresa. 1964 CENTRI DI RICERCA / FONDAZIONI / GALLERIE / COLLETTIVI ARTISTICI Nasce il CRAUS (Centro di Ricerche Attività Umane Superiori) sotto la direzione di Carmelo Genovese. Il Centro -anticipato da ricerche che datano dal 1958 -fonda il suo lavoro principalmente sullo studio delle possibilità creative ed estetiche delle tecnologie elettroniche, in particolare della grafica computerizzata. Le attività del Centro terminano nel 1998.

Este libro reúne un conjunto de ensayos sobre la historia y la actualidad del arte tecnológico en América Latina. Organizado en cuatro capítulos temáticos, brinda un panorama sobre el desarrollo histórico de esta producción, las reflexiones y nociones estéticas que pone en movimiento, las consecuencias sociopolíticas de su aparición y los desafíos que abre su circulación institucional y presentación expositiva.

Published in 2009 by Ediciones Polígrafa with a foreword by Lynne Cooke, 640 pages and nearly 1000 illustrations, this highly readable monograph is the most comprehensive and in-depth treatment of Gary Hill’s work to date, written in close connection with the artist, and offers an essential theoretical and  scholarly frame for continuing study.

Gary Hill (Santa Monica, 1951), one of the most accomplished artists of his generation, is regarded as a major contributor to new media art from the 1970s into the present. His early forays into the interconnections between language and electronic imaging and the discovery of a principle of “electronic linguistics” opened new territory in art, with implications for language art, consciousness, thinking, and extended possibilities in electronic composition. His work generates resonant philosophical and poetic insight as he explores the formal interplay of electronic visual and audio elements, often in conjunction with the physical body and with exploration of many aspects of “physicality.” With experimental rigor, conceptual precision, and imaginative leaps of discovery, Hill’s work in video is about, and itself comprises, a new form of writing.

The authors, George Quasha and Charles Stein, poets/writers/artists themselves, met Gary Hill in the mid-1970s and have worked interactively and performed with him for three decades. Their long direct experience of the work enables them to reveal and analyze the main currents running through the artist’s whole career. They pay special attention, for instance, to the single-channel video work that is the foundation of Gary Hill’s better known installations. In addition to detailed discussions of the major works from the 1970s to the present, presented in a Prologue, seventeen chapters, and a long two-part conversation between the authors and the artist, there is a selection of seminal writings by the artist; a descriptive index of the 104 works discussed, including production and technical details; full bibliographical, biographical, and exhibition listings; and an index of names, titles, and concepts.

NOTE on the present text: This is a PDF of the book that served as the final proof, which retains some very minor typographic errors. For readability we recommend enlarging the text on screen. Updates on Gary Hill's work and the publication of this text in an enlarged edition will appear on www.garyhill.com.

'Toward Responsive Architectures' is a part of the exploration of the interconnectedness of what surrounds us. The focus of the Responsive Architectures: Subtle Technologies collection is on a new generation of interactive systems within science, art and architecture that are based on constantly evolving relationships. Using a wide definition of architecture that includes both built and natural realms, we examine dynamic systems and environments of scales from molecules to cities. A responsive environment can be described as a networked structure that senses action within a field of attention and responds dynamically with programmed and designed logic. Focusing the issue of responsiveness more precisely within the field of architecture raises multiple questions: which parameters of such environments might a designer address in order to imaginatively employ their capacities for dynamic transformation and interaction? These projects cast light on the subject of responsive architecture from diverse viewpoints derived from current architecture, science, and art practices. They examine the relation between a physical environment and its inhabitants and focus in particular on professional practice. How do responsive systems affect us? Scientific research, art and architecture come together in this multidisciplinary forum documenting the 2006 Subtle Technologies Festival of Art and Science. Subjects include electronic art and performance installations, research in cell structures and natural systems, and design of interactive buildings. Discussions include historical context and contemporary implications.

This paper discusses three methodological themes employed by contemporary media artists who reuse obsolete information technology hardware in their work. Methodologies include the exploration of the hidden “blackboxed” layer of technology by circuit bending artists like Reed Ghazala, the tactical use of technologies to bring social change by artists like Natalie Jeremijenko, and the archaeological use of outdated technologies to intervene in history by artists like Tom Jennings. These themes are presented as useful tools to construct a language of reuse which serves a valuable function in a culture increasingly confronted by electronic waste and assists in critiquing assumptions of obsolescence, technological progress and understanding digital culture primarily within the framework of “new media.”

Chemists now routinely use software as part of their work. For example, virtual chemistry allows chemical reactions to be simulated. In particular, a selection of software is available for the visualisation of complex 3-dimensional molecular structures. Many of these are very beautiful in their own right. As well as being included as illustrations in academic papers, such visualisations are often used on the covers of chemistry journals as artistically decorative and attractive motifs. Chemical images have also been used as the basis of artworks in exhibitions. This paper explores the development of the relationship of chemistry, art, and IT. It covers some of the increasingly sophisticated software used to generate these projections (e.g., UCSF Chimera) and their progressive use as a visual art form.

This text is an investigation into planned obsolescence, media culture and temporalities of media objects; we approach this under the umbrella of media archaeology and aim to extend the media archaeological interest of knowledge into an art methodology, following the work of theorists such as Erkki Huhtamo [3] and others who have given the impetus to think about the complex materiality of media as technology – from Friedrich Kittler to Wolfgang Ernst and Sean Cubitt. Hence, media archaeology becomes not only a method for excavation of the repressed, the forgotten, or the past, but it extends itself into an artistic method close to Do-It-Yourself (DIY) culture, circuit bending, hardware hacking, and other exercises that are closely related to the political economy of information technology. Media in its various layers embodies memory: not only human memory, but the memory of things, of objects, of chemicals, and circuits.

The phenomenon of immersion mainly appears and relates to human existence in the interactive electronic environment. Immersion can produce an experience of electronically generated reality, which consists of feelings similar to those known from the experience of the physical world and can influence our sensuous and intentional attitude (Michal Heim).

A catalogue essay for the exhibition 'Video: an art, a history, 1965-2010' held at the Singapore Art Museum in 2011. The essay identifies three salient characteristics of electronic media that may be specific to their use and amplitude in Southeast Asian contemporary art.

The proliferation of information and network technologies has led to a situation where at least some degree of technological skill has become a precondition for social participation. The challenge of facilitating technological literacy has been addressed differently from various players, from the commercial providers of software and hardware, the official educational system, the 'maker movement' as well as from the critical approaches of 'open knowledge' communities. Do we all have to be 'makers'? What does technological critique mean in the 21st century? Artistic Technology inquires the " artistic " in technological arts, in a world which is largely dominated by technology. The conditions of technological interventions are questioned, with artistic-technological research and practice. The focus is on the engagement of communities of artists and interdisciplinary researchers with the intention to facilitate technological literacy and to inspire a critical understanding of the social consequences of technology.

Art and science have encountered each other since the beginning of time, in all kinds of interesting ways - cave paintings, medical history, architecture or Leonardo da Vinci. One of the more recent encounters - and most relevant for the field of electronic art - was in 1967, when Billy Klüver, an electrical engineer at Bell Telephone Laboratories, founded Experiments in Art and Technology (E.A.T.) with Robert Rauschenberg. The artists involved in the project are now legendary in the contemporary art world but little is known of this initiative in the contemporary science communications world. Perhaps no wonder—the engineer at the helm decries any effort to force art and science into a meaningful union.

Find out more about Billy Klüver in this interview with Garnet Hertz from 1995.

El presente trabajo se enmarca dentro de mi tesina de grado de la Licenciatura de Gestión del Arte y la Cultura en esta misma Universidad, titulada “Formatos digitales, música y memoria. Experimentación sonora en la Ciudad de Buenos Aires”. En esta ocasión se analizará uno de los casos en el trabajo: la obra “Oveja eléctrica”, un software que diseñó Santiago Peresón entre 2003 y 2008. La idea de Peresón fue crear una máquina que pudiera componer música de manera independiente, sin interacción humana. El resultado es un agente de Inteligencia Artificial, el cual invoca varias problemáticas que se explorarán en el artículo.

La preocupación por la identidad cultural en el diálogo entre lo vernáculo y lo extranjerizante, lejos de ser una cuestión clausurada en los programas artísticos e historiográficos del siglo XX, plantea desafíos que se renuevan en la agenda multiculturalista del arte global. El presente trabajo retoma esta problemática para el terreno, aún poco indagado, del arte low-tech. Como parte de una etapa de investigación todavía exploratoria, se ensaya una estrategia de lectura heterocrónica del campo, con el fin de rescatar algunas fibras temporales (vinculadas a un imaginario técnico-científico local de larga data) que tienen el potencial de organizar una perspectiva localizada del fenómeno. El objetivo es ampliar el horizonte desviacional con el que generalmente se caracterizan las estrategias estéticas low-tech, para descubrir en ellas la presencia de memorias descentradas.

The art of Wojciech Bruszewski, developed within a broadly understood field of media art and new media, lies among the most precious achievements in this area of artistic practices in Poland. The artist, who died in 2009, was artistically active mostly in the area of photography, experimental film, video and transmedia art created with the use of computer technologies (or without using them, but still in dialogue with their algorithmic logic). In Poland, in those two latter domains, he was one of their main originators. He was also one of the forerunners of interactive installation art in Poland, as well as generative art. In this text, due to its modest capacity, I cannot even be tempted to analyse Bruszewski's art in detail. By focusing on film, video, installations and computer art, I will attempt to point out to their most characteristic features. Therefore, I am analysing not individual works but holistically recognized creation and artistic approach (due to lack of space, I am not referring here to photographic achievements, which I consider slightly less significant in Bruszewski's works, although full analysis of his works obviously must not leave this field of his artistic life out). Reflections taken here should allow to outline the vision of Wojciech Bruszewski's art and emphasise its position in the context of the latest trends in artistic world.

El final del siglo pasado sirvió de escenario a múltiples y variadas formas de expresión artística que llevaron hasta sus últimas consecuencias el proceso iniciado por los movimientos de vanguardia. Muchas de estas nuevas manifestaciones fueron posibles gracias a la utilización de nuevas tecnologías y recibieron en ocasiones denominaciones ligadas a los procedimientos de que hacían uso.

Bikini Beach Zombie Massacre was designed as a critique of the tensions between sex and violence in digital games.  It was created as a part of the Critical Gameplay project.  The project is an ongoing effort to create alternate play experiences that critique the conventions of digital play.  The games in the collection are designed to reevaluate player perspective on gameplay experiences.  They are offered as social critique demonstrating that conventional play is riddled with its own problems, complications and assumptions.  Bikini Beach Zombie Massacre is unique to the 10 game collection in that it relies on conventional mechanics, but unique content.  The game contains a collection of sexual images, innuendo and cultural references that are explicitly sophomoric and hyper-masculine.

In the field of computer music research the development of new input devices for musical performance and sound in- teraction plays an important role. This paper explores the cultural implications embedded in the use and concept of the notion of the instrument in such fields. Cultural implications in this particular context are the meaning structures that evolve from knowledge expressed through language and developed through practices. The main focus of this inquiry is based on the potential to detect the impact of new computer music research on its socio-cultural environment. Concepts such as assemblage and ecology will propose alternative ways to address the hybrid relational (interdisciplinary) networks that create such input devices. This approach proposes alternative models to conceptualize interaction as performative relations between humans and non- humans, as outlined in the domain of Science and Technology Studies. Computer research interweaves the cultural dimensions with a social context and foregrounds the political implications signified by its practices and technologies.

Keywords: instrument, (epistemic) cultures, ecology, environment, network, assemblage, apparatus

We present two modules from a series of works that explore the relationship between corporeality and the algorithmic. Each module or Körper (body) is realised as an environmentally coupled, sensitive installation with the digitally composed modalities being primarily sound and moving image. A module is comprised of heterogeneous internally coupled algorithms that react in a non-direct way to ambient perturbation. Körper α uses a number of continuous-signal ultra-sound circuits, Körper β uses a video camera image.

El arte electrónico es la primera experiencia artística que ha nacido al mismo tiempo que su crítica e historia, y evoluciona al paso de la tecnología en que se sustenta. Además de los agentes habituales que encontramos en los otros caminos del arte, esto es, artistas, críticos/historiadores y un público muy participativo, aquí debemos citar a científicos y tecnólogos. Su relación con los medios de comunicación y su experiencia de caseta de feria, condujo algunos trabajos-no siempre los más logrados-hacia los titulares periodísticos casi desde sus comienzos. Esta popularidad lo ha teñido con un cierto halo de magia y cosa extraña. ¡Pasen y vean!

Publicado en 2013 en el nº 253 de Litoral. Revista de poesía, arte y pensamiento. "Arte y ciencia, vasos comunicantes". ISSN: 0212-4378

This paper outlines the development process of an augmented reality video game prototype that combines a classic arcade driving game with a real world vehicle. In this project the user, or driver, maneuvers the car-shaped arcade cabinet through actual physical space using a screen as a navigational guide which renders the real world in the style of an 8-bit video game. This case study is presented as a seamful augmented reality (AR) system: a project that exploits inevitable technical limitations of AR. We propose that the concept of seamfulness has important design implications for both AR and electronic media art projects and illustrate this through a description of the OutRun system development process.

I analyse five forms of images: electronic, digital, interactive, networked and living, all of which challenge traditional descriptions and expectations. I analyse them from the technical-ontological, phenomenological and cultural perspective to demonstrate different ways in which they discuss and deconstruct the notion of an image. Finally, I try to propose a new context for understanding the discussed forms of new imagery, i.e. the context of post-imagery.

The Library of Nonhuman Books centres around a custom-made reading-machine which uses machine-learning to abridge and ‘artificially illuminate’ physical books through a combination of algorithmic interpretation and digital palimpsest. Newly illuminated texts are offered as alternative futures of the book. The project speculates on the book to come, where a post-literate society defers its reading to nonhuman counterparts.

La Fundación Telefónica en Venezuela y la Universidad de Caldas en Colombia se reúnen en una iniciativa que convocó en el año 2014 a artistas de la región a participar en la X Muestra Monográfica de Media Art: Ecología desde el arte digital. Se les invitó a desarrollar una monografía y una obra de arte digital que mostrara maneras de sensibilizarnos creativamente sobre los cambios que estamos produciendo en el medio ambiente.

Too much time is lost is a thesis about the loss of time developed through an artistic process; it has as starting point from a personal experience of the artist, a series of events that lead to the reflection of time, existence in time and art and pain, it has reference points on how other artworks have been
developed around those subjects. A terrible experience of victimisation gave way to explore the aesthetic experience of drinking a cup of coffee and in that action finding a different timeline, a space of contemplation. In a search for hope the work is directed towards divination. What if that coffee cup could give faith a about the future? In that exploration the research describes the way how mankind has had the need for the unknown and how the coffee grounds tell the future, it shows how the artworks are developed with the coffee grounds readings and how that exploration leads to skepticism (sceptisism) the next topic that follows a realistic view of the
artist. In that rupture of faith the thesis examines formal artworks that use the concept of things that are broken and it concludes the artistic process of the experience with a reflection about the future. The uncertain future and faith concepts are seen through an optic where the future is built and the
forthcoming events are planned in the quotidian human lives, something that can be thought while drinking cup of coffee. Faith in the future in the artistic process is not envisioned as an oracle but as an idea that in the artist perspective evolved to an idea progress, as a column that gets built and it must continue even if too much time is lost.

There came a pin point in my life where I realised, I could not live without a mobile phone. It’s a simple technology yet, I depend on it get through the day. It dawned on me, we humans rely on technology 24/7 and without it functioning life would be chaotic. Today, electronic technology has become widespread and is difficult to survive even without basic means of it. The electronic technology evolves parallels with national development. Indirectly during the era of modernization has been to divide the Malay community with the temptations of secularism, set aside the question of deity and took Humanism whereas it is based on self-interest and the nature of greed (Zainal Kling, 2009)

And when unwanted and broken down technology are thrown away, they
become electronic wastes. And there’s an abundance of it. Though it is sad to see the wastes from these gadgets that we depend on so much destroy the environment and us slowly but surely. E-waste contains the electronic component that can be manifested and represents an aesthetics meaning, reaction of different era of technology (timeline/chronology) and a special history. This is because certain technology are created to suit especially for consumer needs. Foreseeing the danger, as an artist, this is a warning.

El presente ensayo tiene como objetivo explorar las ecologías de saberes y conocimientos técnicos, teóricos, metodológicos, experimentales y procesuales tejidos entre las artes electrónicas, el radio arte y las ciencias ambientales. Para cumplir con este propósito se consideran obras de tres proyectos latinoamericanos: el colectivo Interspecifics (Emmanuel Anguiano, Leslie García, Paloma López y Felipe Rebolledo), el colectivo Electrobiota (Gabriela Munguía y Guadalupe Chávez), y el Laboratorio de Ecologías Invisibles (Gabriela Munguía).
Interspecifics, Electrobiota y Ecologías Invisibles logran captar el cambio de la escucha de un ser-en-el-mundo en tránsito a ser-mundo mediante el proceso de censar la materialidad vibrante, energética, de entidades biológicas y/o geológicas con el propósito de escuchar redes cognocentes e inteligencias no-humanas. Sus trabajos proponen pensar la posibilidad de una ontología relacional sonoro-matérica, que para este ensayo evidencia un tecno-animismo interespecies mediado por epistemes sónicas.

Quizás nos preguntemos ¿qué tienen que ver las artes con la electrónica, la ingeniería, la robótica, la biología o la "biomimética"? Bueno, empezaré por lo que les une: el diseño. Vivimos en una realidad compartimentada, donde las artes y las ciencias son enseñadas como si se tratara de dos extremos de una cuerda, o tiras de un lado, o tiras del otro. Nos dicen que las humanidades y las artes son parte esencial de quienes somos, pero al mismo tiempo, nos exigen que seamos productores y consumidores de tecnología.
Cuando escuchamos hablar de investigación, desarrollo e innovación (I+D+i), los ejemplos provienen de una "high­tech" producida muy lejos de aquí, a la que debemos acercarnos para progresar. Nos educan para ser dependientes de avances producidos en otro lugar, a reproducir las ideas de personas y países "más desarrollados", en una carrera contra el tiempo, amedrentados/as por el miedo a quedarnos atrás, sin acceso a la "sociedad de bienestar" prometida por el neoliberalismo. Resulta interesante pensar como ni la inversión pública ni la inversión privada consideran la necesidad de una cultura tecnológica decolonial, que promueva la desobediencia epistémica a estos valores de competencia neoliberal, y en su defecto, nos entrenan para servir a las empresas transnacionales de "high­tech", como mano de obra barata y altamente calificada, en lugar de potenciar un pensamiento y diseño tecnológico sustentable, que colabore en transformarnos, tal y como deberían hacer las humanidad y las artes.

ISEA2014, the 20th International Symposium on Electronic Art, was memorable. The plethora of workshops, lectures, exhibitions, performances and other events realized during ISEA2014 generated a wide range of discussions, observations and results that for some were life changing. The main intention was for ISEA2014 to build bridges — for new ideas and encounters to dispel cultural myths and exaggerations while facilitating learning and also inspiring future interactions. While capturing highlights of the symposium, it is also important to include emerging artistic practices, both locally as well as in the larger scope of the Arab world.

Le propos que nous souhaitons développer se situe dans les rapports physiques et les relations au virtuel. En effet une nouvelle ère de création artistique est apparue depuis plusieurs décennies.
Quels en sont les enjeux ? quels en sont les outils de compréhension, théoriques et pratiques ?
Les axes de recherches se trouvent tout à la fois :
Dans la corporalité avec les notions de présence, d’espace, de distance, de puissance sonore, de projection, de performance…, dans les échanges de data, ou encore  dans le contrôle à distance…Et enfin dans l’effacement de certaines frontières notamment entre public et artistes avec la  participation, les ateliers, les échanges, les démonstrations et l’interaction.

Sydney Olympic Park is known internationally as a first class venue for elite sport. Known as the site of the first ‘green’ Olympics, it was cleaned of residual pollution, its natural environments restored and protected, it is powered in part by solar energy. But Sydney Olympic Park is much more than that. The site is enormous, 100 hectares, and encompasses a complexity of inter-facing environmental, cultural and social histories that the administrators, Sydney Olympic Park Authority (SOPA), have carefully preserved and enhanced.  The site specific group exhibition, Buffer Zone, an initiative of COFA's Environmental Research Initiative for Art, funded by an ARC Linkage Grant, explores these complexities.

Books are always transforming. The book we hold today has arrived through a number of materials (clay, papyrus, parchment, paper, pixels) and forms (tablet, scroll, codex, kindle).

The book can be a tool for communication, reading, entertainment, or learning; an object and a status symbol.

The most recent shift, from print media to digital technology, began around the middle of the 20th century. It culminated in two of the most ambitious projects in the history of the book (at least if we believe the corporate hype): the mass-digitisation of books by Google and the mass-distribution of electronic books by Amazon.

The survival of bookshops and flourishing of libraries (in real life) defies predictions that the “end of the book” is near. But even the most militant bibliophile will acknowledge how digital technology has called the “idea” of the book into question, once again.

To explore the potential for human-machine collaboration in reading and writing, we built a machine that makes poetry from the pages of any printed book. Ultimately, this project attempts to imagine the future of the book itself.

Como extensión al arte electrónico, las artes electrónicas suelen referir un conjuntos de mecanismos y conocimientos para encarar el nexo entre arte ciencia y tecnología, que no necesariamente es aplicado a la creación de obra artística,  utilizando estos conocimientos de distintas formas, entre ellas para la creación de bienes y servicios relacionados al arte.