geekgirl (r)osiex aka the metal cupcake publishing about interesting things for a really long time!
  • New Archive of Digital Art [#geekgirl]

    ADA

    “The new ARCHIVE OF DIGITAL ART (former Database of Virtual Art) goes Web 2.0! Artists, scholars and scientists are invited to actively contribute to the archive and to work collaboratively on the documentation and analysis of digital art.

    The ARCHIVE OF DIGITAL ART has recently undergone an extensive turn in terms of technology and usability: In the course of a relaunch, the already established database and its team aim at evaluating and implementing cutting-edge web tools to align with the expanding needs of artists and scholars. New functionalities will be tested and implemented and will incorporated the invaluable input of a growing number of interested individuals. In return, artists, scholars and the interested public will benefit not only from the extensive efforts in documentation, which are accomplished by the ADA since its beginnings, but also from an improved, collaborative tool that reflects on the multifarious aspects of Digital Art.”

  • Game of Thrones Transit Maps [#geekgirl] [#GoT]

    [Image Credit: Michael Tyznik]

    [Image Credit: Michael Tyznik]

    [From an article at tyznik.com] “Inspired by the work of Cameron Booth and his awesome Transit Maps Tumblr, I created these rail maps of Westeros and The Known World. Hopefully fans will notice some small touches — the closed stations along the Wall Line, for example.”

  • “Art is Dead. Jeans are Alive….” [#geekgirl]

  • Interview with Constant Dullaart [#geekgirl]

    [Via Happy Famous Artists]

    [Via Happy Famous Artists]

    [From Happy Famous Artists] “Entering Constant Dullaart’s show Stringendo, Vanishing Mediators at Carroll/ Fletcher is like stepping into a Matrix. An immersive world where Photoshop filters, brushstrokes, masks and marching ants come to life in unexpected forms, where Google search box recites its Terms of Service in a seductive voice and where a lonely piano plays an autistic version of Together in Electric Dreams.”

  • 2059: FutureCoast [#geekgirl]

    [FUTURECOAST: Image Via Fast Company]

    [Image Via Fast Company]

    [Via Fast Company] “FutureCoast, launched in early February with the help of a National Science Foundation climate education grant and Columbia University, has at least a hundred other messages like the Last Lobster. Some are funny: Like the one woman in the seaside town of Brighton who can’t get home because the tide’s gotten too high and needs to seek shelter in a “flotel” for the night. Others are devastating. In one message, a woman with a trembling voice asks her friend in government if he might be able to help her locate her partner, who’s gone missing after having gone to interview protesters at a “refugee rights” demonstration.

    The emotional tenor and imagination of the messages range widely, but the futures aren’t actually that far off. In the FutureCoast world, voice messages are leaking into the present day from futures between 2020 and 2065. And some, like the disappearance of certain flora and fauna, mass political unrest, and water shortages, are incredibly realistic–just go and read the latest IPCC report.”

  • #Transfield Quits the @biennalesydney [#geekgirl]

    [As reported by The Guardian in this article] ‘The chairman of the Sydney Biennale and of its major sponsor Transfield Holdings, Luca Belgiorno-Nettis, has resigned his position with the festival.

    Organisers have announced that they will cut all ties with Transfield Holdings and with Transfield Services, a contractor for Australia’s network of immigration detention centres.

    “We have listened to the artists who are the heart of the Biennale and have decided to end our partnership with Transfield effective immediately,” organisers said in a statement.

    “With deep regret, the board reluctantly accepted the decision of the chair to resign. We gratefully acknowledge the personal contribution of Luca as chair over the past 14 years. We also acknowledge the enormous contribution of the Belgiorno-Nettis family over 41 years.”

    Belgiorno-Nettis said in the statement: “I wear two hats: one as chair of the Biennale of Sydney and the other as a director of Transfield Holdings; both organisations conceived by my father and nurtured by my family over many decades. I am deeply thankful to the many friends of the Biennale, and my personal friends who have supported me and the teams throughout my tenure, especially in recent weeks.”’

  • “Four more artists have withdrawn from the Sydney Biennale…” [#geekgirl]

    [From an article at Artshub] “Four more artists have withdrawn from the Sydney Biennale in response to its refusal to sever ties with Transfield. This brings to nine the number of artists who have pulled out of the Biennale because of its partnership with Transfield, which manages the offshore detention of asylum seekers.

    Agnieszka Polska, Sara van der Heide, Nicoline van Harskamp and Nathan Gray announced today they would not participate in the prestigious exhibition. They have asked the Biennale to leave their spaces blank so their protest will be obvious.

    Last week Libia Castro, Ólafur Ólafsson, Charlie Sofo, Gabrielle de Vietri and Ahmet Öğüt announced they would boycott the Sydney Biennale because they object to sponsorship by Transfield.

    ‘We withdraw to send a message to the Biennale urging them, again, to act ethically and transparently. To send a message to Transfield that we will not add value to their brand and its inhumane enterprise. Finally, and most importantly, we withdraw to send a message to the Australian Government that we do not accept their unethical policy against asylum seekers,’ the first group of artists said in a statement, which has been endorsed by the additional withdrawing artists.

    The boycotts came after a letter, now signed by 37 artists, asked the Biennale to cancel its partnership arrangement with Transfield.”

  • “The 1,000 Drones Project: an interview with Joseph DeLappe” [#geekgirl]

    [Via Joseph DeLappe and Furtherfield]

    [Via Joseph DeLappe and Furtherfield]

    [From the always-fantoobulous Furtherfield]:

    Marc Garrett: Could you tell us why you felt it was necessary to do this project even though there is already much media attention out there relating to the use of drones in domestic, military and commercial culture?

    Joseph DeLappe: There has indeed been much media attention surrounding the use of militarized drones as a part of US foreign policy. Our drone policies have received much attention yet, as with the coverage of civilian casualties from the Iraq war, the actual human costs of our drone strikes remains rather illusive. Through the work I am doing regarding drones that specifically focuses on memorializing civilian deaths I hope to actualize the estimates of civilian deaths and to call into question the moral issues surrounding such remote killings. You might say that drones have struck a nerve with me. There is something different about drones. They seem to perfectly combine aspects of our worst fantasies of digital technologies, interactivity, computer gaming and war. One might consider them a bit of a “gateway” weapon (the drug reference is of course intentional here). I suspect we have indeed opened a Pandora’s box leading to the further utilization of remote and robotized weaponry that will make our current drone usage seem quaint.”

  • The Ongoing #Design Impact of the “Unknown Pleasures” Album Cover [#geekgirl]

    Data Visualization Reinterpreted by VISUALIZED from VISUALIZED.

  • “The secret life of us” [#geekgirl] [#art]

    [From the fabulous Jeanette Winterson in the Guardian] “Modern art has become a media circus; a money-driven, prize-hungry extravaganza, dependent on marketing and spin, which may leave the public with a few extra names it recognises, but that makes everyone cynical about the product.

    The word gives it away: product. Art is being treated as a commodity. We doubt that it is special. Dead artists belong to the heritage industry. Live artists belong to the PR industry.

    It may be that capitalism will be as successful with art as it has been with religion, absorbing it to the point of neutrality. Capitalism, for all its emphasis on the free market, hates competition – that is, any challenge to its system. Anybody with a smattering of English history knows about the great conflicts between church and state. We know that traditionally there have been been two powers: the material world and the invisible world. God and Mammon…

    Don’t be fooled by the way capitalism co-opts art. It pretends to do it for money, but underneath money is terror. Terror that there might be a different way to live. There is a different way, and it’s not a William Morris utopia, or an Omega workshop niche; it’s a celebration of the human spirit. Art reminds us of all the possibilities we are persuaded to forget. Peace or war, we need those alternatives.”