reblogged 5 hours ago on 3 September 2014 WITH 74,847 notes »reblog
via fabulazerstokill // originally clintisiceman

Gloria Richardson pushes a national guard bayonet out of her face during a 1963 civil rights protest in Maryland.


VR Kinect Demos of Drew Skillman

Interactive experiments which utilize the Oculus Rift, Kinect 2, Unity game engine (and sometimes Leap Motion) that have an undeniable Cyberpunk aesthetic - various examples embedded below:

You can find out more at Drew’s blog here

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Light Barrier

Open air art installation by Kimchi and Chips produces geometric forms in air with an array of computer controlled mirrors and lights - video embedded below:

Kimchi and Chips create phantoms of light in the air, crossing millions of calibrated beams with their work Light Barrier, 2014. The light installation creates floating graphic objects which animate through space as they do through time.

A fascination with natural light drove the technique of the impressionist painters, they explored new qualities of colour and the trail of time. Kimchi and Chips’ study of digital light discusses a new visual mechanic, their installation adding to the visual language of space and light. As the artist’s inquiry deepens, brush strokes become descriptive like code, detailing reality and allying light with canvas.

You can find out more background about the project at Creative Applications here


URME Surveillance

Anti Face-Rec art project by Leo Selvaggio where he offers his facial likeness as surveillant data disinformation - video embedded below:

URME represents artist-driven, anti-surveillance devices made for the public. Working as an artist in Chicago, the most widely surveilled city in the nation, and seeing how it has affect the way I behave and think about public space,  I have an overwhelming urge to protect the public from such surveillance …

… I have researched several of the strategies out there and there are two major themes. You can either wear a ski mask and hide your face, which looks very suspicious or you can destroy private or public property vis-a-vis security cameras. URME offers a different way. With facial recognition technology being widely used now a days, rather try to hide or obscure one’s face from the camera, these devices allow you to present a different, alternative identity to the camera, my own. When you wear these devices the cameras will track me instead of you and your actions in public space will be attributed as mine because it will be me the cameras see. All URME devices have been tested for facial recognition and each properly identifies the wearer of me on facebook, which has some of the most sophisticated facial recognition software around. 

More at Indiegogo here


Chinese Doctors Use 3D-Printing in Pioneering Surgery to Replace Half of Man’s Skull

Surgeons at Xijing Hospital in Xi’an, Shaanxi province in Northwest China are using 3D-printing in a pioneering surgery to help rebuild the skull of a man who suffered brain damage in a construction accident.

Hu, a 46-year-old farmer, was overseeing construction to expand his home in Zhouzhi county last October when he was hit by a pile of wood and fell down three storeys.

Although he survived the fall, the left side of his skull was severely crushed and the shattered bone fragments needed to be removed, which has led to a depression of one side of his head.

Due to his injuries, Hu cannot see well out of his left eye, experiences double vision (diplopia) and is also unable to speak and write.

Read more

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via we-are-star-stuff // originally emergentfutures


Eating food could be replaced by nanorobot nutrient delivery system.

By early 2030s, experts predict nanorobots will be developed to improve the human digestive system, and by 2040, as radical as this sounds, we could eliminate our need for food and eating.

   This is the vision of futurist Ray Kurzweil and nutritionist Terry Grossman, M.D., in their popular book, Fantastic Voyage: Live Long Enough to Live Forever. In the coming decades, the authors claim, “We will be able to reengineer the way we provide nutrients to our trillions of cells.”

Full Story: ieet


Ecstatic Computation

Thesis project by Michael P Allison explores the possibility of merging spiritual and technological ideas in a VR experience / performance - video embedded below:

Ecstatic Computation is a technoshamanic virtual reality ritual that addresses the intersection of spirituality and computation.

Traditionally, computers and computation are just tools used by humans to accomplish complex digital tasks. Some of us now live in a world where the social and personal role of computation is playing an inextricable part in our lives. Computation is a window, a portal through which we see information, see entertainment, do our work and experience each other. Computers now create amazingly immersive screen-based experiences—I almost forget about the hardware entirely. That, however, is the root of my inquiry: what does it mean for me to spend so much time with this device what is my relationship to it?

More Here


Digital Revolution

First of two pieces on a day trip to London covering events related to digital arts. This one is about the Digital Revolution exhibition at the Barbican.

This was certainly an exhibition I had been looking forward to, being as it is on a subject close to this blog’s heart. The UK needed an exhibit like this, and it makes a refreshing change than the usual summer art shows of Modernist collections and big name retrospectives. Below I will put down some impressions, but in case this is TL;DR for some, the short answer is yes, it’s definately worth going if you are considering it, and generally works.

The first room is the Digital Archaelogy space (as you can see in the top GIF above). A spectacle of screens and old computing technology, it certainly had an old video arcade vibe to it. Computers from the 1970s onwards, most which you can play with (even an original Pac-Man machine, but did not catch any sighting of Space Invaders). A very good coverage of the last 40 years of popular digital culture, but incredibly dense in information - you would have to be patient to follow the content on the video screens high on the wall - it maybe familiar to the literate yet difficult to absorb there and then. Some very early computer art works, such as Ken Knowlton’s Nude or pieces by Georg Nees (2nd GIF above) could easily be missed (being just inside the wall at the entrance by some steps, and lacked contextual explanation). Personally I felt works like this do need further exposure which the show didn’t really accomodate. Of course, this is a logistical issue, but the subject of space and presentation, fitting everything into the allocated areas, was something noticeable throughout the rest of the show.

The show continued into areas of digital creativity, the computer as tool and medium. There are various monitors showing 3D animations by various creatives. All abstract and pretty, but shown on monitors about the size of the average familiar television screen - the works would have benefitted with larger presentation to impress. There are two installations showcasing computer effects of cinema: one based on the large scale city folding scene from Inception which the observer could interact with, and the other a flashy deconstruction of special effects made for Gravity. Great additions and relevant, yet made artworks nearby smaller. These pieces were very successful in getting your attention. A great inclusion to this section was CLOUDS, an interactive documentary featuring interviews captured with a Kinect, featuring many important artists and commentators of the current digital art community. Music videos were reduced to a quiet monitor wall with various examples but no insight, sadly.

Next were examples of interactive art - for the sake of brevity I would say they were fine examples, yet very safe and inoffensive. The show has taken a populist approach with their choices which is probably wise. A good sign of whether a show can be fun, though, is how children would react to the works, but I get a sense that most of the works are callibrated for adult frames - a missed opportunity for playfulness.

This all then leads to the closing of the main section, featuring a couple of examples of fashion tech (one piece worn by Lady Gaga, another with fitted LED lights), plus a few artifacts that wouldn’t fit elsewhere. There were two more sections (a room that looks like an internet cafe, with indie games to play, and an interactive darkroom of laser projected forms on the floor), but sadly these feel like satelitte afterthoughts which do not flow from the experience of the main exhibit (plus they were not easily locatable).

Which brings me to a point I brought up earlier. The exhibition could easily have been twice the size than what it currently is - it aimed to cover as many points on the Digital Revolution subject as it possibly could, but I felt that it touched rather than delved into it. Maybe I had some unreasonable high expectations where all the different areas could be given enough space for insight and showcasing (the accompanying book certainly expands areas the actual show didn’t, particularly the fashion area which could have been a fantastic extended section).

However, this show is a great primer for the unfamiliar, unintimidating, and fun most importantly, certainly not a show you could be easily bored by. I did enjoy it, and certainly will attend again (especially that a guerrilla augmented reality virtual exhibition, Hack The Art World, which lets you see hidden works planted by GPS location with a mobile device, has been unofficially created within this space!)

To find out more about the show, you can visit the Barbican’s website here