development

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Paper, wood, and traditional media aren’t tied to one vendor. They don’t require licenses or agreements. They aren’t, generally speaking, incompatible. If digital art is going to provide artists with the same freedom, it stands to reason that artists working with computation will find ways to make any pixel their medium.

Processing is a good example. It takes some time, but eventually, the understanding dawns upon you: Processing is more a design for how to code, an API, than it is a specific platform. Taken further, heck, it’s more like a way of life – sketch on paper, write simple code, prototype fast, make something happen.

 
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Audiovisual technology has returned to spectacle. Artists are armed with new technologies for fusing space and image, sound and sight. What they tend not to have is permanent spaces. And that lack of venues has made audiovisual artists nomadic and provisional, constrained to hastily-provisioned, rectangular, sometimes dim projections. In short, for revolutions to happen, you do need special venues, not just special artists.

 

Open-pit zinc and lead mine devours Peru’s “Royal City of Mines.”

“Like it or not, we depend on this main industry to maintain any semblance of development.” AP/Yahoo News

 
Book Details
Issue: 
36 - Summer 2009
Publication Date: 
2009
In Stock: 
no
Order: 
bookstore@eyebeam.org

Summer 2009

Grey Room brings together scholarly and theoretical articles from the fields of architecture, art, media, and politics to forge a cross-disciplinary discourse uniquely relevant to contemporary concerns.

Publishing some of the most interesting and original work within these disciplines, Grey Room has positioned itself at the forefront of the most current asthetic and critical debates. Featuring articles, translations, interviews, dossiers, and academic exchanges, Grey Room's emphasis on aesthic practice and historical and theoretical discourse appeals to a wide range of readers, including architects, artists, scholars, students, and critics.

 
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