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No, we’re not talking piercings. The latest in interactive installations are on view at the 2010 Ars Electronica, the same festival where NMD students Kristen Murphy, Max Langton, Matt James, and John Bell presented in 2002.

http://feeds.wired.com/~r/wired/index/~3/MarPwmaPkY4/ via Byline Robots, phantom limbs and a nostril-powered digital painting take center stage at Ars Electronica 2010. Organizers for the digital arts festival, a longtime magnet for madcap interactive designers, describe this year’s exhibition as “a response to impending doom….”

Italian artist Sonia Cillari exhales through a cable connecting her left nostril to the center of a big screen. Her breathing defines the contours of a digital creature called “feather.”

The first in a series of reports from Montreal’s DOCAM conference on preserving art endangered by technological or cultural obsolescence. What’s going to kill off your installation? Analog media–analog TV signals, video projectors, and even food–are probably the fastest poison.

More…

relationships, space, architecture, intermedia

#imag1#Ward Shelley is an artist who creates architectural constraints (“Stability”, “Flatland”) that confine performers to negotiate together a shared space. It’s a great example of how you can investigate new forms of social interaction with pulleys and rebar instead of computers and Web sites.

They’re reminiscent of MTAA’s 1-Year Performance Project (hosted by U- Me)–or better yet, life in a submarine.

http://www.wardshelley.com/

relationships, space, architecture, intermedia

#imag1#Ward Shelley is an artist who creates architectural constraints (“Stability”, “Flatland”) that confine performers to negotiate together a shared space. It’s a great example of how you can investigate new forms of social interaction with pulleys and rebar instead of computers and Web sites.

They’re reminiscent of MTAA’s 1-Year Performance Project (hosted by U- Me)–or better yet, life in a submarine.

http://www.wardshelley.com/

Ward Shelley is an artist who creates architectural constraints (“Stability”, “Flatland”) that confine performers to negotiate together a shared space. It’s a great example of how you can investigate new forms of social interaction with pulleys and rebar instead of computers and Web sites.

They’re reminiscent of MTAA’s 1-Year Performance Project (hosted by U- Me)–or better yet, life in a submarine.

http://www.wardshelley.com/

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