Microcodes by Pall Thayer

Microcodes are very small code-based artworks. Each one is a fully contained work of art. The conceptual meaning of each piece is revealed through a combination of the title, the code and the results of running them on a computer. As works of art these are the creative work of Pall Thayer. As programs they may be copied, distributed, modified and used under the terms of the GNU General Public License v.3 or (at your option) any later version. GPL v.3. If you're interested in running any of these but don't know how, see a brief HowTo. Also, see Rob Myer's review of Microcodes.

You are the moon - Remix (on Open Source Cinema)

r a d i o l o g y a r t - The Inner Beauty of pop objects and foods: A Cultural Scan

In the summer of 2007, artist and medical student Satre Stuelke started the Radiology Art project. Dedicated to the deeper visualization of various objects that hold unique cultural importance in modern society, this project intends to plant a seed of scientific creativity in the minds of all those inclined to participate.

Stuelke acquires the images on an older four-slice CT scanner that is used for research. Most scan parameters include a 120kV tube voltage, 100mA current, 0.625mm slice thickness and interval, 1:1 pitch, 1.25mm beam collimation, and a speed of 1.25mm/rotation. The resulting DICOM images are then processed in Osirix software on a Macintosh iMac computer. Colors are assigned based on the varying densities of materials present throughout the object. Depending on the spread of densities within a particular subject, black or white backgrounds are chosen. Images are further processed in Adobe Photoshop for proper contrast and balance.

Satre Stuelke lives and works in New York City. He has shown his work across the globe in numerous gallery and museum exhibitions and has also sold work through Sotheby's ArtLink. He has an MFA from the School of the Art Institute of Chicago and has taught at many prestigious institutions including the School of Visual Arts in Manhattan.

http://www.radiologyart.com/

http://www.nytimes.com/2009/03/24/science/24scan.html

Harold Cohen

Harold Cohen, former director of the Center for Research in Computing and the Arts (CRCA), was an English painter with an established international reputation when he came to UCSD in 1968 for a one-year Visiting Professorship. His first experience with computing followed almost immediately, and he never returned to London. Cohen is the author of the celebrated AARON program, an ongoing research effort in autonomous machine (art making) intelligence which began when he was a visiting scholar at Stanford University's Artificial Intelligence Lab in 1973. Together, Cohen and AARON have exhibited at London's Tate Gallery, the Brooklyn Museum, the San Francisco Museum of Modern Art, Amsterdam's Stedelijk Museum and many more of the world's major art spaces. They have also been shown at a dozen science centers, including the Ontario Science Center, the Boston Science Museum and the Los Angeles Museum of Science and Industry. Cohen represented the US in the World Fair in Tsukuba, Japan, in 1985. He has a permanent exhibit devoted to his work in Boston's Computer Museum.

One of the few artists ever to have become deeply involved in artificial intelligence, Cohen has given invited papers on his work at major international conferences on AI, computer graphics and art technologies. His work is widely cited in the literature, and it is the subject of Pamela McCorduck's AARON's CODE: Meta-Art, Artificial Intelligence, and the Work of Harold Cohen (Freeman).

In more than two decades AARON has produced many thousands of drawings, to a few dozen of which Cohen has added color. The goal of his current research -- by far the most difficult to date, he says -- is to have AARON do its own coloring. This phase of the project is now well under way. The painting machine with which AARON colored real drawings in the real world was premiered at an exhibit at the Computer Museum in Boston in the spring of 1995.

http://www.viewingspace.com/genetics_culture/pages_genetics_culture/gc_w05/cohen_h.htm

Intersections of Art, Technology, Science & Culture - Links

Steve Wilson's Intersections of Art, Technology, Science & Culture - Links is a database in which systematically documents which artists have explored each area of science and technology
"These links are part of the research for Wilson'sbook Information Arts (MIT Press,2002) and Art, Science, and Technology Today. See the book for more details about the artists, organizations, and texts listed in these links and for extended analysis of the relationship of art and research. The links are constantly being revised and suggestions are welcomed. Feel free to use these resources but please attribute source".
Copyright, 1999-2009 Stephen Wilson.

Art after Crisis

Art After Crisis is a website by traveling writer Chris Keulemans. Ever since his first visit to wartime Sarajevo, he has been fascinated by the way artists reinvent their work, their city and their life after a period of war or dictatorship.
The next year, Keulemans will continue his trips through these cities. Sarajevo, Sofia, Algiers, Beirut, Prishtina, Tirana, Jakarta, Kabul, Buenos Aires, New York, Baghdad...
Along the way, all the material he collects will be on the site. Travel stories, audio interviews, video shots, the photographs of his girlfriend and co-traveler Riette Mellink. And of course, the new art of all these cities itself.
Each city tells its own story through the artists who live there. But it seems that art also follows universal patterns when reinventing the place it comes from: from the original euphoria through the emotional backlash to the emergence of truly new places and ideas. Check out the Beirut Metro Map, the Tirana pyramid, the erotic imagination of Jakarta, the Anne Frank of Sarajevo and all the others...

The Philtre by Boris Nordmann

"Have you ever see yourself with the eyes of someone else ? This is
now possible, with the Philtre! The Philtre is an art installation and also
a patent."
www.lephiltre.com
Boris Nordmann

Dr. Naif Al-Mutawa the creator of 'The 99'

Dr. Naif Al-Mutawa is the creator of THE 99-the first group of superheroes born of an Islamic archetype. THE 99, has received positive attention from the international media including The New York Times, The Wall Street Journal, Time Magazine, Newsweek Magazine, Wired, Elle, The Washington Post and The Guardian. Recently, Forbes named THE 99 as one of the top 20 trends sweeping the globe.
http://www.al-mutawa.com/?Biography

The story of 'The 99' the comic
As the leader and mentor of The 99, Dr. Ramzi Razem directs the quest to find the lost Noor Stones of Baghdad, which is the comic book’s main plot line.

As legend has it, when the Mongols sacked Baghdad in 1258, they razed the largest library in the city, Dar al-Hikma. To erase any record of the civilization, they threw the books into the Tigris River, which ran black with ink. But the caliphate guardians, in a desperate attempt to save the vast knowledge of the library before it was destroyed, concocted an alchemical solution that would absorb the contents of the books. The solution solidified into the 99 Noor Stones, which supposedly contain the lost knowledge of the Library of Baghdad.

Ramzi believes the legend, including the idea that the stones activate superpowers within certain people. He conducts his search through the nonprofit 99 Steps Foundation, and although possessing no superpowers of his own, he helps other characters to use theirs.

Darr-The Afflicter (one of the characters), an American paraplegic who manipulates nerve endings to transmit or prevent pain.
http://www.the99.org/the99/
http://www.csmonitor.com/2008/0619/p04s01-wome.html

Superflex

“The work of Superflex is about
social-economic practice. Unlike many visual artists, we don’t offer
criticisms or critiques, we propose real solutions to real problems”
http://superflex.net/

Bjornstjerne Christiansen, Rasmus Nielsen, Jakob Fenger form the Copenhagen based art collective SUPERFLEX. They have worked together for fifteen years. The focus of SUPERFLEX’s exhibition at ARTSPACE, If Value, Then Copy is on copyright issues. Exploring concepts around branding, ownership of products, images and ideas, their ongoing practice in this area includes projects such as Guaraná Power. For this project SUPERFLEX worked with farmers in the Brazilian Amazon to create a drink called Guaraná Power, this involved the formation of a new brand that closely followed and yet subtly challenged the leading brand, whose monopoly on the market was impinging on the rights and conditions of the local farmers.

SUPERFLEX are committed to questioning dominant world power relationships and developing economically viable structures for specific communities. Their strategy includes what they describe as tools:

“The work of SUPERFLEX is about social-economic practice. Unlike many visual artists, we don’t offer criticisms or critiques, we propose real solutions to real problems.” Says Bjornstjerne, who is in Auckland till the end of October. “Our fundamental premise is that there is too much ownership in terms of intellectual property, trademark and copyright laws, and this excess of power needs to be challenged.”
http://www.artspace.org.nz/exhibitions/2008/superflex.asp

'Oblique Strategies' by Brian Eno/ Peter Schmidt

The Oblique Strategies are a deck of cards. They measured about 2-3/4" x 3-3/4". They came in a small black box which said "OBLIQUE STRATEGIES" on one of the top's long sides and "BRIAN ENO/PETER SCHMIDT" on the other side. The cards were solid black on one side, and had the aphorisms printed in a 10-point sans serif face on the other.

The deck itself had its origins in the discovery by Brian Eno that both he and his friend Peter Schmidt (a British painter whose works grace the cover of "Evening Star" and whose watercolours decorated the back LP cover of Eno's "Before and After Science" and also appeared as full-size prints in a small number of the original releases) tended to keep a set of basic working principles which guided them through the kinds of moments of pressure - either working through a heavy painting session or watching the clock tick while you're running up a big buck studio bill. Both Schmidt and Eno realized that the pressures of time tended to steer them away from the ways of thinking they found most productive when the pressure was off. The Strategies were, then, a way to remind themselves of those habits of thinking - to jog the mind.

http://www.rtqe.net/ObliqueStrategies/OSintro.html

"Collision: Interarts Practice and Research" _ Book

Contents from "Collision: Interarts Practice and Research" book

Part V: Performative Collisions and Collisions in Performance
Chapter Eighteen ...................... 261
Feminist Performance, Community, and Violence: Conversations
between Elizabeth Chitty, Margaret Dragu and Julie Lassonde
Julie Lassonde
Chapter Nineteen ...................... 277
Interarts Performativities: Writing-Drawing-Architecture
Leoni Schmidt
Chapter Twenty ........................ 299
The Aesthetics of Disappointment
Andreas Kahre and Heidi Taylor
Chapter Twenty-One ................ 315
Ruptured Flesh, Gaps in Time: Between Performance and Pain
Christine Stoddard

http://www.c-s-p.org/Flyers/Collision--Interarts-Practice-and-Research1-4438-0031-7.htm
.pdf sample http://www.c-s-p.org/Flyers/978-1-4438-0031-0-sample.pdf

The Marcel Duchamp Studies Online Journal

http://www.toutfait.com
more on Art Science Research Laboratory
http://www.asrlab.org/

Edward Ihnatowicz

Edward Ihnatowicz was a Cybernetic Sculptor active in the late 1960's and early 1970's. His ground-breaking sculptures explored the interaction between his robotic works and the audience, and reached their height with The Senster, a large (15 feet long), hydraulic robot commissioned by the electronics giant, Philips, for their permanent showplace, the Evoluon, in Eindhoven in 1970. The sculpture used sound and movement sensors to react to the behaviour of the visitors. It was one of the first computer controlled interactive robotic works of art.
http://www.senster.com

Panoscope 360 by Luc Courchesne

http://panoscope360.com/
http://tot.sat.qc.ca/dispositifs_panoscopes.html
http://www.lamic.ulaval.ca/recherche/lieux_de_recherche/laboratoire_de_visualisatio
http://www.pfoac.com/zOLDSITE/artists/lc-english.htm
http://www.pfoac.com/index_FR.html#VIEW
http://www.din.umontreal.ca/courchesne/

"There is nothing in a Caterpillar that tells you it's going to be a Butterfy"

by R. Buckminster Fuller

The Buckminster Fuller Challenge Idea Index
http://challenge.bfi.org/ideaindex

The Whitney's Buckminster Fuller: Starting with Universe
http://www.whitney.org/www/buckminster_fuller/about.jsp

Urban Life Intervensions

Watch the Guerilla London 2007 set of 6 videos.
More here.

CVM - Center for Visual Music

http://www.centerforvisualmusic.org/
http://www.centerforvisualmusic.org/Library.html
http://www.si21.com/interakt/

Craig Baldwin

is a filmmaker and curator whose interests lie in archival retrieval and recombinatory forms of cinema, performance, and installation. He is the recipient of several grants, including those from the Rockefeller Foundation, Alpert Award, Creative Capital, Phelan, AFI, FAF, and California Arts Council. Over the last two decades, his productions have been shown and awarded at numerous international festivals, museums, and institutes of contemporary art, often in conjunction with panels, juries, and workshops on collage and cultural activism. His own weekly screening project, Other Cinema, has continued to premiere experimental, essay, and documentary works for over a quarter century, recently expanding into DVD publishing.
http://www.othercinema.com/cbfilmography.html
http://www.othercinema.com/

Synthazards

Synthazards are synthetic fabrications of natural hazards which forms are generated by various algorithms and machines. They are manufactured by using different rapid prototyping techniques, laser cutouts, and cnc. The following natural hazards are prototyped: earthquake, drought, whirlpool, lightning, volcano, tsunami, tornado and lava. The objects are focusing on formal aspects of these phenomena. What is apparent in fabrications is a unique synthetic form, which is given by algorithms and inscribed in the language of prototyping machines.
http://www.syntfarm.org/projects/synthazards/
by http://syntfarm.org/
syntfarm (Germany/Serbia/Singapore) is founded by Andreas Schlegel and Vladimir Todorovic in April 2007 in the very clean city of Singapore. The group focuses on the preservation of expressions and structures that are found in various dynamic (eco)systems.

http://www.ktonycia.com/

http://www.improvisa.es/

Edu-Factory

Conflicts and Transformations of the University
http://www.edu-factory.org/edu15/

Bonnie Prince Billy - Workhorse

directed by Harmony Korine

Leonard Shlain

Dr. Shlain is a best-selling author of three books, Art and Physics: The Parallel Visions of Space, Time and Light, Alphabet Vs. The Goddess: The Conflict Between Word and Image and Sex, Time & Power: How Woman’s Sexuality Shaped Human Evolution. A favorite among artists, scientists, philosophers, anthropologists and educators, he has lectured at such venues as Harvard, The New York Museum of Modern Art, Cern, Los Alamos, The Phillips Collection, Florence Academy of Art and the European Council of Ministers. His fourth book about Leonardo Da Vinci “Leonardo’s Brain: The Right - Left Roots of Creativity” is nearly completed and in typical Leonard Shlain fashion he is determined to finish it, however he will be canceling his currently scheduled speaking engagements.
http://leonardshlainsbrain.com/site/