iARTA News

Alicia Eggert's public art exhibition “You are (on) an island” was installed in the Hilton Head Airport in Hilton Head, South Carolina.

This neon sign's message is animated by the word "on" flashing on and off at regular intervals, transforming an initially obvious statement into a reflective and philosophical inquiry.

The sculpture was originally made in 2011 for the Sacred and Profane Art festival on Peaks Island, Maine. Neon Workshops invited Mike Fleming and I to bring "You are (on) an island" to the UK in 2013, and to present it as a mobile billboard. We installed the sign on the back of a flatbed truck, powered it with a small generator, and toured the sculpture around the UK for two weeks. The project culminated in a limited-edition publication.

November 02, 2018

iARTA is very pleased to announce that artist Carola Dreidemie will visit UNT in a residency November 2–16. She will be working on a research project as well as presentations and meetings with arts/technology students in the College of Music and College of Visual Arts.

Carola Dreidemie is Associate Professor and Researcher at UNRN Universidad Nacional de Río Negro, located in the town of Bariloche, in Patagonia - Argentina. She is Director of the Laboratory of Visualization and Creative Coding LVCC at UNRN. Carola is a visual artist working with code (mainly Processing PDE and Max MSP Jitter/Pure Data) and animation tools to create visual art. She is currently leading an interdisciplinary project with scientist from University of La Rochelle that formulates artwork from data collected from bee hive tracking done in Argentina and in France. Her background is in sculpture (MFA 1993 Pratt Institute, NY-USA) and photography (MFA 2003 Texas Woman’s University, TX-USA).


April 20, 2018

The 2018 North Texas Digital Fabrication Symposium was hosted at Texas Woman’s University April 20–21, 2018. Artists, researchers, makers and students came together at TWU to discuss digital fabrication, its practice, pedagogy and curation. The theme Humanizing the Digital inspired fascinating proposals from artists and researchers working with digital fabrication in a variety of applications.

The symposium events were organized around three sub-themes: Embodiment & Technology, Adaptation & Play, and Process & Practice. This two-day symposium brought together an exciting group of artists and researchers to share their work through moderated panel presentations, workshops, roundtable discussions and a corresponding group exhibition.

James Thurman's work was featured at the 2018 American Association of Woodturners Annual Symposium. Although the final form is a basic plate with a stand, a variety of non-traditional approaches are incorporated into it. The plate is made of “Thurmanite®,” a material I developed which is made of layers of recycled paper epoxied together with an eco-resin (this particular plate is made from different sections of a World Atlas). Then laser engraved with a pattern inspired by Charles Rennie Mackintosh, as a tribute to this major figure in the Symbolist Movement.  The hammerformed copper stand emphasizes the importance of the handwork throughout all of the processes utilized in this piece.

iARTA Participant Marco Boungiorno Nardelli's MaterialsSoundMusic project creates data-driven music through an algorithm that maps a material’s energy bands onto the 88 keys of a piano. Buongiorno Nardelli, who is now a professor of physics at the University of North Texas (UNT), conceived his project at the time of the Materials Genome Initiative, which the White House launched in 2011 to accelerate the discovery of new materials. As part of this initiative, he participated in the development of AFLOWLIB—an online database cataloging the properties of millions of existing or theorized materials. Researchers around the globe can freely access the database to fish for a superconductor, metal, or ceramic that best suits their application.

In developing this database, Buongiorno Nardelli pondered two questions. The first had to do with sifting through AFLOWLIB’s massive amounts of data. How could the properties of a material be represented so that researchers can quickly perceive and evaluate them? The second was an outreach challenge. Materials aren’t as sexy as black hole mergers or the “God particle.” How could electronic properties or crystal lattices be made more appealing to the public’s imagination? For Buongiorno Nardelli, who’d been playing and composing music since the age of six, the obvious answer to both questions was to use sound...

iARTA Affiliate Seth Shafer's "the machine is the artist is the artist the machine" is an interactive, web-based timeline of art history. This is a collection of artwork and writings about artwork made in collaboration with machines given some degree of autonomy. This art goes by many names – cybernetic art, computer art, telematic art, generative art, algorithmic art, etc. – but share many common features in their use of a machine as an active, creative agent. The machine, too, has many names – the mainframe, the personal computer, the laptop, the microcontroller, the embedded microchip, etc. – but all share the commonality of extending the abilities of human creativity.

Faculty composer Joseph Klein will present an academic paper titled "Practical Applications of D’Arcy Wentworth Thompson’s On Growth and Form on Musical Materials and Structures" at the On Growth and Form Centenary Conference, 13-15 October 2017 at the University of St. Andrews (Scotland).  The paper includes an analysis of three original compositions that are related to Thompson's research: the road in its unfoldingsOccam's Razor, and Interstices.  

Martin Back is currently involved in an ongoing collaboration with Sean Miller investigating how digital processes which simulate real-world phenomena can reify those phenomena when imprinted onto and/or coupled with physical materials. This work has and will continue to take the form of generative audio-visual installations and the production of objects made with computer controlled industrial tools, such as laser cutters and CNC routers. One of these works Diffusion Imprint has been recently featured in the End and the Beginning group show, curated by Danielle Avram, in the East/West Galleries at Texas Woman’s University, Denton, TX.

Marco Buongiorno Nardelli has started the miniature opera project from the idea of making space become an interactive score and of allowing the audience to create unique musical sequences by acting directly on a physical art piece. These installations are designed as a large interactive electronic “game boards” made of numerous “electronic tiles” that can be connected to each other in a completely reconfigurable way. Each tile contains a light sensor that triggers a unique sound event when covered. Among the electronic tiles, we place “word (or guide) tiles”, typically marked with specific words or characters’ names, to provide the participants with a stage for an operatic libretto. The audience is then invited to create connections between guide tiles by placing bean bags on the tiles of their choice, thus activating the light sensor circuit and starting the associated musical gesture. The miniature opera project installations are first and foremost “games” for the audience, whose reward is the creation of a unique piece of music that they will be able to bring home on their own portable device.

David Stout, Cory Metcalf, Reilly Donovan
Premiered at CURRENTS International New Media Festival

Vesica Pisces is a hybrid virtual reality and multi-channel projected video installation that provides a speculative glimpse into an inter-dimensional state where the viewer-participant enters a world nested within a world within a world.  The term, Vesica Pisces refers to a symbol made from two circles of the same radius, intersecting in such a way that the center of each circle rests on the perimeter of the other. The artist team of Donovan, Metcalf and Stout utilize generative techniques in realtime algorithmic image, sound and music synthesis to create a tangible experience that allows the viewer-participant to traverse liminal boundaries.   The work is a continuum of the landscape tradition that explores classical figure ground relationships within a simulated environment that allows for powerfully visceral experiences including extreme fluctuations of scale revealing seemingly infinite heights and horizontal expanses. This vast scale is contrasted by moments of intimate interaction with impossibly small objects that are able to retract into, or emerge out of, a single point within the apparent fabric of reality.