<?xml version="1.0" encoding="UTF-8"?><rss version="0.92">
<channel>
	<title>Filter</title>
	<link>http://filter.org.au</link>
	<description>Art, Science and Technology - and everything inbetween...</description>
	<lastBuildDate>Mon, 17 Dec 2012 00:27:05 +0000</lastBuildDate>
	<docs>http://backend.userland.com/rss092</docs>
	<language>en</language>
	<!-- generator="WordPress/3.1.1" -->

	<item>
		<title>Translating Nature</title>
		<description><![CDATA[My artistic practice sits in the broad field of translating nature through technological means. A key aim is to perceive elements of the world from a different perspective, one suggested by the intervention of technology in natural systems, usually via some form of sensor. The interpretation of the data in these works is to some [...]]]></description>
		<link>http://filter.org.au/issue-79/translating-nature/</link>
			</item>
	<item>
		<title>Interpretations of Data From the Seismic Field</title>
		<description><![CDATA[Since the development of civilisation, humans have been feeling, recording and studying earthquake phenomena. The US Geological Survey (USGS) currently estimates that several million earthquakes occur in the world each year.(1) Early seismology began in 1880, when Englishman John Milne developed the first known horizontal pendulum seismograph, and in doing so founded the Seismological Society [...]]]></description>
		<link>http://filter.org.au/issue-79/interpretations-of-data-from-the-seismic-field/</link>
			</item>
	<item>
		<title>Data, Art and Sustainability</title>
		<description><![CDATA[In the 90s, art based on new technologies began to enter the public space. One aspect of this was that the use of computer systems enabled interactivity – a dynamic reaction to an input whereby the spectator could take the role of a contributor. This notion of technology as an enabler of social interaction came [...]]]></description>
		<link>http://filter.org.au/issue-79/data-art-and-sustainability/</link>
			</item>
	<item>
		<title>Art Against Information</title>
		<description><![CDATA[In digital, networked culture, we spend our lives engaged with data systems. Although our experience is shaped by interfaces, friendly surfaces, we are inevitably aware of their functional undersides. The web is increasingly a set of interfaces to datasets. In 2004, Alan Liu observed the page-based paradigm of the web being interrupted by database incursions [...]]]></description>
		<link>http://filter.org.au/issue-79/art-against-information/</link>
			</item>
	<item>
		<title>Art as barometer – uncovering a new breed of instrumental artists</title>
		<description><![CDATA[‘The arts are an even better barometer of what is happening in our world than the stock market or the debates in congress.’ &#8211; Hendrik Willem Van Loon (historian, 1882-1944) ba·rom·e·ter/bəˈrämitər/ (noun): 1.    An instrument measuring atmospheric pressure, used esp. in forecasting the weather and determining altitude. 2.    Something that reflects changes in circumstances or [...]]]></description>
		<link>http://filter.org.au/issue-79/art-as-barometer-%e2%80%93-uncovering-a-new-breed-of-instrumental-artists/</link>
			</item>
	<item>
		<title>FEEDBACK IS THE ULTIMATE KARMA:  DATA FLOW AND THE CLOSING OF THE LOOP</title>
		<description><![CDATA[I have argued elsewhere (1) that the artist is among the few readily equipped to take up the potential offerings of new technologies and new media, and to use them in unexpected ways, bringing about otherwise unforeseen capacities that these technologies may offer. In the contemporary world, and particularly regarding climate change and the turbulence [...]]]></description>
		<link>http://filter.org.au/issue-79/feedback-is-the-ultimate-karma-data-flow-and-the-closing-of-the-loop/</link>
			</item>
	<item>
		<title>Bridges 2011 Conference :: Coimbra, Portugal</title>
		<description><![CDATA[The Bridges is an international conference and festival on mathematics, music, art and architecture, held annually since 1998 at different locations. The conference attracts international scientists and artists who not only present their achievements in their particular disciplines, but also share the ideas and build bridges between mathematics, music, art, architecture and culture. This year the [...]]]></description>
		<link>http://filter.org.au/issue-78/2011-bridges-conference-in/</link>
			</item>
	<item>
		<title>ISEA2011 Istanbul :: A meeting of art and culture</title>
		<description><![CDATA[Electronic art, like Istanbul, is misunderstood and often stereotyped by people who make assumptions without experiencing the richness of its many forms. And, like Istanbul, electronic art is a vast amalgamation of forms informed by many cultures and histories. Attending ISEA2011 was an opportunity to connect to and be part of the international electronic arts [...]]]></description>
		<link>http://filter.org.au/issue-78/isea2011-istanbul-a-meeting-of-art-and-culture/</link>
			</item>
	<item>
		<title>Resistance is Fertile :: Curating ISEA2013</title>
		<description><![CDATA[A lot has happened since the groundbreaking TISEA (the third ISEA), hosted by Sydney in 1992. Electronic art and digital media have gone from the esoteric to the mainstream. The then nascent World Wide Web is now the backbone for media, communication and global culture, and provides a powerful platform for creativity and connectivity around [...]]]></description>
		<link>http://filter.org.au/issue-78/resistance-is-fertile-curating-isea2013/</link>
			</item>
	<item>
		<title>Breaking down Resistance :: ISEA2013 Sydney, Australia</title>
		<description><![CDATA[Last June I was appointed to the role of Artistic Director of ISEA 2013 in Sydney. Considering that about 5 years ago I told anyone who listened that I would never do another festival again, many have taken it upon themselves to remind me of the flat-out hypocrisy of this. I’d said no to several [...]]]></description>
		<link>http://filter.org.au/issue-78/breaking-down-resistance-isea2013/</link>
			</item>
	<item>
		<title>Electronic Art: Resistance is Futile?</title>
		<description><![CDATA[“Resistance is futile. You will be assimilated.” The Borg, Star Trek Twenty-five years ago when the First International Symposium on Electronic Art (FISEA) was held in Europe, electronic art was in its infancy and occupied a marginal position in relation to the mainstream art world and everyday life. Clunky computers the size of micro-waves were [...]]]></description>
		<link>http://filter.org.au/issue-78/electronic-art-resistance-is-futile/</link>
			</item>
	<item>
		<title>On Leadership and Responsibility: ISEA2013 and Australia’s place in the world</title>
		<description><![CDATA[As an Australian going to the International Symposium on Electronic Art (ISEA) for the first time, you will encounter something you never expected at an international arts conference: evidence of Australia’s dominance in this artistic genre. It is a reflection on how we view our country’s role in the in the art world that one [...]]]></description>
		<link>http://filter.org.au/issue-78/on-leadership-and-responsibility-isea2013-and-australia%e2%80%99s-place-in-the-world/</link>
			</item>
	<item>
		<title>Rezon8 :: From Starving Artist to Sustainable Business</title>
		<description><![CDATA[Rezon8 is an Adelaide-based digital media company that specialises in the development and implementation of interactive and immersive digital installations for the urban planning, advertising and art industries. It produces work that aims to change the way digital media is delivered, consumed and measured in public space.  Rezon8 Creative Director, Jimmy McGilchrist, an artist with [...]]]></description>
		<link>http://filter.org.au/issue-77/mega-from-starving-artist-to-sustainable-business/</link>
			</item>
	<item>
		<title>Democratising Manufacture</title>
		<description><![CDATA[The creation of works of art, craft and bespoke design requires more than an individual&#8217;s possession of &#8216;talent&#8217;.  The creative process also requires an investment of time for research, design and manufacture -  and the provision working space and materials.  The problem with this working model is, despite their investment, the maker can only sell [...]]]></description>
		<link>http://filter.org.au/issue-77/democratising-manufacture/</link>
			</item>
	<item>
		<title>Appeal: Crowd Funding, Bartering and Nontraditional Learning Environments as Articulations of New and Renewed Forms of Exchange and Value</title>
		<description><![CDATA[Kickstarter, an online platform launched in Spring 2009 and based in New York City, calls itself &#8220;a new form of commerce and patronage&#8221; [1]. It enables creative projects in need of funding to be presented online and allows interested parties to consider their merits and potentially fund them &#8211; a method frequently called &#8220;crowd funding.&#8221; [...]]]></description>
		<link>http://filter.org.au/issue-77/appeal/</link>
			</item>
</channel>
</rss>
