First launched in 1997 by the Nation to Nation collective CyberPowWow was one of the first major online art exhibitions which took place on the web and in The Palace, a multi-user, graphical chat environment, now obsolete, writes Dragan Espenschied in an article describing the digital preservation approach of the CyberPowWow project.
John Maxwell Coetzee received a Nobel Prize in Literature in 2003. Before a career as a scholar and writer he was a computer programmer in the early years of the industry’s development (1962–1965).
Its less known fact that he was also creating “computer poetry,” that is, he wrote programs for a computer that used an algorithm to select words from a set vocabulary and create repetitive lines. Coetzee never published these results, but edited and included phrases from them in poetry that he did publish.
More in an article in the Ransom Center Magazine.
A bit to my surprise one of the academic services provided me with the following text: The Timeline of Slovene Electronic-literature written by myself. I don’t recall publishing this text anywhere, It was made as an internal document and only a part of the task and papers written during my MA studies. Well since the ghost is out of the bottle, I might as well share it also here, with hopes it might serve some purpose if the issues turn into the direction of e-literature.
Računalniški muzej, zasnovan v Kiberpipi deluje že od leta 2004. Doslej so v muzeju pripravili prek 50 dogodkov in razstav, mednarodnih gostovanj in skupnih projektov s kulturnimi institucijami v Sloveniji. Leta 2012 so skupaj z muzejem novejše zgodovine postavili pregledno razstavo domačih računalnikov Goto 1982, ki si jo je ogledalo 15.000 ljudi.
18. junija 2022 po daljšem času “zaprtih vrat” odpirajo svoje nove prostore na Celovški cesti 111 v Ljubljani.
Vera Molnár (born 1924) is a Hungarian media artist living and working in France. Molnar is widely considered to be a pioneer of computer art and generative art, and is also one of the first women to use computers in her art practice.
In the 1940s and 50s, she created non-representational paintings. By 1959 she was making combinatorial images; in 1968 she would use a computer to create her first algorithmic drawings.
In the 1960s she founded two groups in France concerned with the use of technology within the arts: the Groupe de Recherche d’Art Visuel and Art et Informatique.
She was selected as one of 213 artists for the 59th Venice Biennale in 2022.
Festivals featured a multidisciplinary span of artists engaging with digital technology such as computer graphics, synthesized music, performances, poetry, and a robust film and video screening series.
Available through April 29th 2022, EAI presents a selection of 19 titles from the Computer Art Festivals’ screening programs from its first three years, including works by Doris Chase, Dimitri Devyatkin, Ed Emshwiller, Bill and Louise Etra, Pat Lehman, Nam June Paik, Lillian Schwartz, Stan VanDerBeek, and Jud Yalkut, alongside programs and materials from the events.
The Sword of Damocles was the name for the mechanical tracking system and not the head-mounted display, and is widely considered to be the first augmented reality HMD system, although Morton Heilig had already created a similar apparatus (known as “Stereoscopic-Television Apparatus for Individual Use” or “Telesphere Mask”) earlier, patented in 1960.
The Sword of Damocles was created in 1968 by computer scientist Ivan Sutherland with the help of his students. More at Wikipedia.
Art1 by Richard Williams was an early program (developed 1968, at the University of New Mexico) that enabled Frederick Hammersley, Katherine Nash, and others to produce pioneering computer art in the late 60’s and early 70’s.
Eric F. built repository to support running Art1 from the Fortran IV source code.
Related article: Computer Program for Artists: ART 1 (1970) https://doi.org/10.2307/1572264
V okvirih projekta Trajnostna digitalna hramba slovenske novomedijske umetnosti in v sodelovanju z Laboratorijem za nove medije Moderne galerije, bo v torek, 11. 1. 2022 ob 15. uri potekal pogovor z avtorjem tudi danes zanimivega, a tehnično obsoletnega dela Nacija – kultura (2000).
Vuk Ćosić bo predstavil delo na rekonstrukciji in dokumentiranju projekta Nacija – kultura. Delo bo predstavljeno tudi v programu Moderne galerije v letu 2022.
Sledila bo razprava in pogovor, ki bo vezan na teme projekta Trajnostna digitalna hramba slovenske novomedijske umetnosti.
Vuk Ćosić je predlagal nekaj iztočnic za razmislek o projektu, kot pravi ima projekt Nacija-Kultura več ravni:
- ohranjanje “born-digital” dediščine
- vprašanje razstavljanja spletne umetnosti
- netrivialno temo stika med književnostjo, duhom nacije in AI
- družbeno angažirano komponento