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23 JANUARY 2011

OSA: actively collecting, preserving, and making openly accessible documents related to recent history and human rights

"The Open Society Archives (OSA) at Central European University is an archival laboratory. While actively collecting, preserving, and making openly accessible documents related to recent history and human rights, we continue to experiment with new ways to contextualize primary sources, developing innovative tools to explore, represent, or bridge traditional archival collections in a digital environment. Our approach to acquisition is increasingly proactive and inclusive, and we actively seek out non–traditional material, material previously marginalized based on its content, social origin, or form. At OSA Archivum, professional archival work is integrated with public programs, and our Galeria Centralis serves as the focal point of exhibitions, performances, film screenings, lectures, and seminars. Through all of these endeavors, we advocate: open access and transparency in public administration; equal rights to information; the ethical use of private data; open formats and open standards; and broad access to cultural heritage."

(The Open Society Archives, Hungary)

TAGS

archival laboratory • archival work • archive • broad access to cultural heritage • Central European University • collectcollectioncontextcontextualisationcultural formscultural heritagedigital culturedigital environment • equal rights to information • ethical use of private dataethics • Galeria Centralis • Hungaryinformation in contextintegrationknowledge commons • non-traditional material • old mediaopenopen access • open formats • Open Society Archives • open standards • OSA • OSA Archivum • preservationprimary sources • recent history • social construction of knowledgesocial constructionism • social origin • traditional archival collections

CONTRIBUTOR

Simon Perkins
17 JANUARY 2011

Drawing with Code: Works from the Anne and Michael Spalter Collection

29 January to 24 April 2011, deCordova Sculpture Park and Museum, Lincoln, Massachusetts, USA.

"Drawing with Code brings together a selection of computer–generated art by the form's earliest and most important practitioners from the 1950s to today. The Providence–based collection of Anne and Michael Spalter is one of the largest and most important of its kind in the U.S. and shines a new light onto a darkened corner of the art historical record.

In our current digital environment when just about everyone holds the processing power of a full computer in their pocket, it is difficult to remember a time when computer technology was not involved in every aspect of our lives. In the arts–visual, cinematic, musical, dance, and theater–the computer has become not only an accepted, but in many cases, an intrinsic tool for artistic expression. The artists featured in Drawing with Code emerged in the early computer–era when the technology was rudimentary by current standards and its capabilities rarely extended beyond the world of computation. Merging their interests in art and coding, these practitioners came to be known as 'Algorists,' artists who employed original algorithms to create images. In addition to works on paper, Drawing with Code presents the work of two filmmakers, Lillian Schwartz and Stan VanDerBeek, who were brought into Bell Labs Research by Kenneth Knowlton to make some of the first computer art animations. These six animations were collaborations using Knowlton's BEFLIX (Bell Flicks) programming language for bitmap computer–produced movies.

The artists in Drawing with Code represent some of the earliest innovations in computer–generated art from the U.S., Europe, and Asia, pioneering a new form of collaboration between technology and art that pushed the boundaries of both.

Featured artists: Yoshiyuki Abe, Manuel Barbadillo, Jean–Pierre Hébert, Desmond Paul Henry, Sven Höglund / Bror Wikstörm, Sture Johannessen, G. F. Kammerer–Luka / Jean–Baptist Kempf, Hiroshi Kawano, Kenneth Knowlton, Ben F. Laposky, Manfred Mohr, Vera Molnar, Frieder Nake, George Nees, Lillian F. Schwartz, Stan VanDerBeek, Roman Verotsko, Mark Wilson, and Edward Zajac.

This exhibition is organized by guest curator George Fifield, Director, Boston Cyberarts Inc. and is part of the 2011 Boston Cyberarts Festival."

(deCordova Sculpture Park and Museum, 2011)

Fig.1 Ben Laposky (1954–1956). 'Electronic Abstraction 4', oscilliscope, high speed film, photo paper, 16 1/2 inches x 13 inches, Collection of Anne and Michael Spalter.

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TAGS

1950s2011 • Algorists • algorithm • Anne and Michael Spalter Collection • Anne Spalterartart and coding • BEFLIX • Bell Flicks • Bell Labs • Bell Labs Research • Ben Laposky • bitmap • Boston Cyberarts Festival • Bror Wikstorm • codecomputationcomputer artcomputer-generatedcreative practice • Desmond Paul Henry • digital art exhibitiondigital environmentdigital pioneersdrawing with codeearly computer-era • Edward Zajac • exhibitionfilmmakerFrieder Nake • G. F. Kammerer-Luka • generativeGeorg Nees • Hiroshi Kawano • influential worksinnovation • Jean-Baptist Kempf • Kenneth KnowltonLillian SchwartzManfred Mohr • Manuel Barbadillo • Mark Wilson • Michael Spalter • musicPierre Hebertpractitionerprogramming languageRoman Verostko • Stan VanDerBeek • Sture Johannessen • Sven Hoglund • technologytheatreVera Molnarvisual arts • works on paper • Yoshiyuki Abe

CONTRIBUTOR

Simon Perkins
06 JANUARY 2009

Digital Songlines project

"Launched by the Australasian CRC [Cooperative Research Centre] for Interaction Design (ACID), Digital Songlines is a project to develop protocols, methodologies, and toolkits to facilitate the collection and sharing of Indigenous cultural heritage knowledge in Australia. The title of Digital Songlines represents the blend of new media technology, simulation technology, and high–end computer visualisation systems to depict Aboriginal culture and heritage. Through the virtual sharing of oral histories, herbarium data, dreamtime myths, legends, and stories, organisers hope to protect, preserve and promote Indigenous cultural practices and their survival techniques in accessible, interactive, creative ways."

(Ethnos Project Resources Database)

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TAGS

20063DAboriginal culture • Aboriginal heritage • Aboriginal mythologyancient heritageartworksAustralasian CRC for Interaction DesignAustralia • Brendan Ledwich • Brett Leavy • Craig Gibbons • cultural heritage • culturally sensitive • culture preservation • dancedigital environmentDigital Songlines (2006)digital storytelling • Ethnos Project Resources Database • flora and faunafood gathering activitiesIndigenous AustraliansIndigenous communitiesIndigenous cultural knowledge • Indigenous custodians • Indigenous heritage • Indigenous knowledge • Indigenous leaders • Indigenous people • Indigenous practices and languages • Indigenous traditional • interactive immersive simulation experienceinteractive visualisation • James Hills • Joti Carroll • multilayered stories • nonlinearoral historiesoral tradition • platform-independent software • ritualsonglinesstories • storytellers • Theodor Wyeld • toolkitvirtual environmentvirtual reality

CONTRIBUTOR

Simon Perkins
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