EARLY COMPUTER ART IN THE 50’S & 60’S

Funded by the Swiss National Research Fund, Discarded Digital is a field research project conducted by Nicolas Nova, Anaïs Bloch and Thibault Le Page about the use/re-use/repurposing of digital technologies from the recent past. Both an inquiry into the second (and probably third) life of digital rubbish and an exploration of alternatives to e-waste recycling businesses this project aims at (1) documenting lesser known practices in the field of art, design and preservation, (2) grasping the kind of artifacts that emerged from them, and (3) understanding the skills they rely on and the knowledge they produce.

What ideological, social and biophysical factors have precipitated the current environmental crises? What leverage is available for transformative practices and imaginaries to overcome the continuous growth of our energy consumption? The Post Growth Toolkit invites us to challenge the dominant narratives about growth and progress, and re-envision social metabolism through an understanding of the energy it requires, reconnecting human survival with the living, material qualities of the biosphere, drawing on ecofeminism, indigenous knowledge, environmental accounting and historical materialism.

This passage occurs as part of an argument that it’s possible to port videogames between platforms without changing the underlying game design (an argument that I ultimately agree with). However, I think that Emily Dickinson is—for reasons I’ll get into shortly—an inopportune choice as an example of a poet whose work “can survive a transcription.” In fact, I think Emily Dickinson’s work is an example of how, in fact, nothing survives transcription, and that’s the statement that I set out to prove in this talk. But along the way, it occurred to me that the converse is also true: nothing doesn’t survive transcription, and that the tension between these two seemingly opposite claims actually informs and explains them both.

Covered was a blog from the late 00s where artists would redraw famous comic book covers and they’d be shown side by side.

I never managed to submit anything but I was reading along, I loved it. This one, a cover of Walt Disney’s Comics and Stories 211, was my fave.

Paintings. Eerie mix of sharp and fuzzy, light and shadow, ornate and plain.

MSCHF, AS A PRACTICE AND AS AN ENTITY, MANIFESTS THE AMBITION FOR CREATIVE WORK / A CREATIVE ENTITY TO WIELD POWER (IN CULTURE; ON THE WORLD STAGE) COMPETITIVE WITH THE CULTURAL POWER HELD BY WORLD-STRADDLING CORPORATIONS, CELEBRITIES, AND MEDIA ENTITIES.

A complete guide to mixing and applying wheatpaste to put up posters. Make the walls speak!

A complete guide to mixing and applying wheatpaste to put up posters. Make the walls speak!

An extensive guide to sketching, delves into everything from techniques to equiptment in great detail

Wiki for Arts and Studies

A space for developing collective approaches to everyday technology.

Wiki for Arts and Studies

a tutorial on ditherpunk using javascript and html canvas. the text refers to “Return of the Obra Dinn” as inspiration. but i’ve also been watching the hundredrabbits crew doing a lot of 1 bit art and also porting oquonie over to uxn, and have found that style of art intriguing and inspiring in its simplicity and limitations.

Excerpt from the site: […] Dries Depoorter is a Belgium artist that handles themes as privacy, artificial intelligence, surveillance & social media. […]