EuropeanaTech is pleased to present the newest issue of EuropeanaTech Insight.
The global survey of best practice, I’m pretty sure, that’s featured by The Best in Heritage and particularly by the dedicated special 2016 event IMAGINES, … Continue reading → Kraków, 2830″ September 2016 -with ‘co located’ events on 27thDI4R 2016 is the first cross ‘e infrastructure’ event organized jointly by EGI, EUDAT, GÉANT, OpenAIRE and RDA Europe.The DI4R 2016 might be held in Kraków on 28 30″ September The conference could be hosted by ACC Cyfronet AGH and gonna be the first user forum jointly organised by Europe’s leading ‘e infrastructures’ and projects.EGI,EUDAT,GÉANT,OpenAIREandRDA Europe.
With with that said, this was an international conference mainly for Dance/Art related academics. Archivists and practitioners, organized by SIBMAS, the international network of cultural heritage in the performing arts,on 31 May -… Continue reading → Terminology Management Platform.
Over the years, Europeana and its … Continue reading → Derry, ’11 12′ October 2016Digital Heritage Events at FabLab Nerve CentreCARARE Best Practice Network has joined forces withtheDiscovery Programme andtheFabLab Nerve Centre to organise two Digital days Heritage Events in Derry Guildhall, Northern Ireland withthefocus on looking at how we can promote digital cultural heritage data today launched a 121 million … Continue reading → The 1stedition of the European Congress of Qualitative Inquiry is an unique event for sharing knowledge and seeking new collaboration and partnerships.
Researcher, Artist, User! Demontstrator, that has been developed as indicated by all the requirements and expected functionnalities gathered in the course of the project, offers a set of tools for manipulating any kind of terminology.
It provides opportunities for addressing a regular challenges that qualitative researchers face in their own geographical regions or … Continue reading → a key event for museums and heritage professionals is to take place in Dubrovnik in September The Best in Heritage -video promoThe Best in Heritage and IMAGINES.
ESpace Dance Pilot in Copenhagenby Rosemary Kostic Cisneros.
Challenge the Hierarchy. It is simple lists of terms or ontologies can be imported within the TMP anf be mapped to the SKOS model, even if the TMP is thesaurus oriented. Which was and continues to be a pivotal focus of the EuropeanaTech Community’s RD efforts, with this issue we focus on annotations. David Foster, Chair … Continue reading → The Dance Pilot presented a panel during an international conference organized by SIBMASFreeze!
Rafael LozanoHemmer, Surface Tension, 1992, plasma or rearprojection screen, computerised surveillance system, custom‐made software.
Maxime Dufour. Courtesy the artist and Carroll/Fletcher.
Oftentimes in the September 2012 Artforum issue, art critic Claire Bishop caused a stir in a piece called the Digital Divide. Bishop claimed that the appearance and content of contemporary art are curiously unresponsive to the total upheaval in our labor and leisure inaugurated by the digital revolution. Let me ask you something. On this web page, that begins with the provocative statement, Whatever happened to digital art? Courtesy the artist and Seventeen Gallery. Then again, oliver Laric, Versions, 2010, airbrushed paint on aluminum composite board, in 10 parts. However, private Collection. With the horizon line lost in the distance, we are caught in swell. Anyway, the majority of the new media artists that Bishop passed over in 2012 as belonging to an obscure niche should be considered mainstream in Art museums now sponsor festivals of Internet Cat Videos.
While the digital landscape continues to shift and change quickly and often imperceptibly under our feet, we are still clearly in the throes of grappling with the question of what it means to think. And therefore filter affect through the digital. In the wake of exhibitions like the 2015 New Museum Triennial and the rise of the art world’s Instagram obsession, it seems that the digital revolution and the drastic changes it has wrought in any aspect of how we live, work, and play have become more central to the art conversation now. Whenever opening January 29, 2016, attempts to give some historical perspective to how computer and internet technologies have left their imprint on art making in the last 50 years, whitechapel Gallery in London. Significantly, the exhibition moves backwards in time, from 2016 to This orientation of the chronology is instructive in plenty of ways. Rather than launching us abruptly back into 1966 when computers took up whole rooms and were operated by punch cards and dials, by moving back in time, the exhibition eases us into the past.
As long as internet technologies are so pervasive in our daily lives, it can be difficult to distance one’s perspective from them. Amalia Ulman, Excellences Perfections, 2015, C Type print dry mounted on aluminium, mounted on grey edge frame. Works like Oliver Laric’s painting series Versions, artist Nam June Paik organized an ambitious live television program of performances by artists and pop musicians, from Laurie Anderson to the Thompson Twins, transmitted internationally via satellite and broadcast in the, Germany, and South Korea. Actually the exhibition begins with works of art made in the last decade or so, works that engage with the contemporary conditions enabled and engendered by the pervasive influence of the internet into our daily lives. Fact, frieder Nake, WalkThroughRaster Vancouver Version, 1972, screenprint on paper after computer generated drawing. Victoria and Albert Museum. It’s particularly fitting that the exhibition’s closing note strikes a chord on the notion of collaboration and networks.
Much of the art that is produced under the influence of the internet is collaborative involving the interaction of its digital audiences, for sake of example, or produced in collaboration with the technology, interface, or platform And so it’s on the basis of.
Sometimes the critics miss the point, in the moment.
Perhaps the fact that very much of our lives take place within this networked, technologically based world makes us somewhat blind to its effects. That’s where the artists come in, to can not see the importance of their efforts stright away. Writing about the first performances of in 1966, artist Robert Smithson pessimistically deemed it The Funeral of Technology.