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foundyou.online is a directory for new media art. You can browse artists, artworks, organizations, and events. You can also search by location, and sort by tag or decade.

From Art & Electronic Media:

In 1956, Philips engineers helped Nicolas Schöffer create CYSP I, which employed an “electronic brain” connected to sensors that enabled the human-scale kinetic sculpture to respond to changes in sound, light intensity and colour, and movement, including that of the audience. The whole sculpture moves on four rollers and its sixteen polychrome plates, which pivot and spin at different rates depending on external stimulus. It premiered in a performance with the Maurice Bejart dance company, interacting with the dancers on the roof of Le Corbusier’s Cité Radieuse, accompanied by concrete music composed by Pierre Henry. This early responsive, robotic sculpture is perhaps the first work of art to explicitly incorporate the principles of cybernetics (CYSP is an acronym formed from the first two letters of the words cybernetic and spatiodynamic). It has had an extensive exhibition history and the sculpture survives in the artist’s estate.

From Leonardo Archive:

The whole is set on a base mounted on four rollers, which contains the mechanism and the electronic brain. The plates are operated by small motors located under their axis. Photo-electric cells and a microphone built into the whole catch all the variations in the fields of color, light intensity and sound intensity. All these changes occasion reactions on the part of the sculpture consisting of combined travel and animation.

For example: it is excited by the color blue, which means that it moves forward, retreats or makes a quick turn, and makes its plates turn fast; it becomes calm with red, but at the same time it is excited by silence and calmed by noise. It is also excited in the dark and becomes calm en intense light.

Inasmuch as these phenomena are constantly variable, the reactions are likewise ever changing and unpredictable, which endows the mechanism with an almost organic life and sensitivity.

From Hackers of Resistance:

The Hackers of Resistance (HORs) is a queer transfeminist hacker collective of artists, activists, researchers, cyborgs, witches, and technologists, of color. Co-conspirators, we build tools to defend our community, educate people to be secure, to demand and make ourselves heard, to fight back and hack tools of oppression. H0Rh0use is 0ur imm3rsive mUltim3dia heisT.

From Ada Gender New Media & Technology:

Hackers of Resistance (HORs) is a hyperreal-multimedia-installation-performance-video-game reimagining feminist activism. It’s immersive theater, video installation, and game design—but mostly, it’s a universe. A power fantasy of the oppressed, we subvert traditionally-white-American-centered dystopian narratives by placing WoC hackers as superheroes willing to risk it all for solidarity (our vision of utopia). Our stylized hyperreality uses shimmery-neon aesthetics, socially-aware comedy, and DIY charm to address serious concerns like the fate of minorities in the hands of the current administration. Some of the projects the HORs are developing and tinkering with are cybersecurity labs, anti-facial recognition, counter-surveillance, social engineering, bio-hacking, dildo-hacking, and DIWO 3D printable abortion kits in collaboration with our incarcerated sister organization Marias Clandestinas.

From URME Surveillance:

The URME Personal Surveillance Identity Prosthetic demonstrates the latest in 3D printing technology. Made from a pigmented hard resin, this mask is both a 3D scan of artist Leo Selvaggio's face, as well as photo realistic rendering of his features, such as skin tone, texture and hair. This technology is made possible by the folks over at ThatsMyFace.com. Their products have been seen on CNN, MSNBC, Gizmodo, The Big Bang Theory, and now on URME Surveillance.

People have been hiding from surveillance since the begining of networked cameras. Unfortunately wearing a ski mask in public makes you a pretty easy target. its fairly easy to track on camera, and even if the camera doesn't see you, EVERYONE else will. "Why is that dude wearing a ski mask?" Etc, etc. In response, URME Surveillance has developed a state of the art identity replacement tech in the Personal Surveillance Identity Prosthetic. The basic gist is that rather than hide from cameras, simply give them a face other than your own to track without drawing attention to yourself in a crowd. In other words, when you're out in the world doing whatever you are doing, all your actions, which are being recorded are documented as the actions of someone other than yourself, freeing you from any threat of surveillance.

From Wikipedia:

VNS Matrix was an artist collective founded in Adelaide, Australia, in 1991, by Josephine Starrs, Julianne Pierce, Francesca da Rimini and Virginia Barratt. Their work included installations, events, and posters distributed through the Internet, magazines, and billboards. Taking their point of departure in a sexualised and socially provocative relationship between women and technology the works subversively questioned discourses of domination and control in the expanding cyber space. They are credited as being amongst the first artists to use the term cyberfeminism to describe their practice.

From VNS Matrix:

The first of their works (a large scale billboard), inspired by such theorists as Donna Haraway and Sadie Plant, featured their seminal text “A Cyberfeminist Manifesto for the 21st Century”. It was in this manifesto that the term “cyberfeminism” first appeared, and this work was widely distributed. In the manifesto, VNS Matrix stated that, “we are the modern cunt/positive anti reason/unbounded unleashed unforgiving” and that, “we are the virus of the new world disorder/rupturing the symbolic from within/saboteurs of big daddy mainframe/the clitoris is a direct line to the matrix/the VNS Matrix”. The group disbanded in 1997, but occasionally work together on selected projects and presentations. Their parting manifesto “Bitch Mutant Manifesto” gave the finger to all technopatriarchies and capitalist infospheres with the words “suck my code” amongst other blasphemous exhortations.

Spectra Spectra Spectra Spectra
Ross Manning - Spectra III (2012), via QAGOMA
Ross Manning - Spectra IV (2014), via the artist

From transparencygrenade.com:

Equipped with a tiny computer, microphone and powerful wireless antenna, the Transparency Grenade captures network traffic and audio at the site and securely and anonymously streams it to a dedicated server where it is mined for information. User names, hostnames, IP addresses, unencrypted email fragments, web pages, images and voice extracted from this data and then presented on an online, public map, shown at the location of the detonation.

The volatility of information in networked, digital contexts frames a precedent for clamouring (and often unrealistic) attempts to contain it. This increasingly influences how we use networks and think about the right to information itself; today we see the fear of the leak actively exploited by law makers to afford organisations greater opacity and thus control..

This anxiety, this 'network insecurity', impacts not just upon the freedom of speech but the felt instinct to speak at all. It would now seem letting public know what's going on inside a publicly funded organisation is somehow to do 'wrong' -Bradley Manning a sacrificial lamb to that effect..

Meanwhile, civil servants and publicly-owned companies continue to make decisions behind guarded doors that impact the lives of many, often leaving us feeling powerless to effect change, both in and out of a democratic context.

The Transparency Grenade seeks to capture these important tensions in an iconic, hand-held package while simultaneously opening up a conversation about just how much implicit trust we place in network infrastructure; infrastructure that reaches ever more deeply into our lives.

The Lab The Lab's logo, designed by Colpa Press The Lab The Lab (San Francisco)

From The Lab:

The Lab gives funding, time, and space to traditionally underrepresented artists and art forms. The organization intentionally focuses on supporting and amplifying the work of experimental artists who identify as African and African-American; Latinx; Asian and Asian-American; Arab and Arab-American; Indigenous American; Pacific Islander; lesbian, gay, bisexual, transgender, queer; differently-abled; and female. We seek to reach visionary artists whose economic and cultural realities have been ignored for too long, to the impoverishment of us all. The Lab is, above all, a catalyst for artistic experimentation. As a site of ongoing iteration and indeterminacy, it seeks to transform alongside artistic practices in order to engage meaningfully with diverse communities in San Francisco's Mission District and beyond.

We believe it is important to constantly question our own organizational model and to deeply engage with new artistic practices and modes of thinking around the arts. The Lab embodies the desires of creative, critical, and compassionate individuals. We want audiences to be inspired by the way we work, not just what we produce.

To that end, The Lab is W.A.G.E. Certified. W.A.G.E. Certification is a program initiated and operated by working artists that publicly recognizes nonprofit arts organizations demonstrating a commitment to voluntarily paying artist fees that meet a minimum standard.

From Wikipedia:

James Turrell (born May 6, 1943) is an American artist primarily concerned with Light and Space. Turrell was a MacArthur Fellow in 1984. Turrell is best known for his work in progress, Roden Crater, a natural cinder cone crater located outside Flagstaff, Arizona that he is turning into a massive naked-eye observatory.

Access to Roden Crater is limited to friends, though devoted fans can gain access by completing the "Turrell Tour", which involves seeing a Turrell in 23 countries worldwide. During May 2015, Roden Crater was open to a select group of 80 people, as part of a fund raiser, by allowing visits of 20 people per day during the course of four days, at a cost of $6,500 per person. As Roden Crater has been long shrouded in secrecy, fans have attempted to sneak in without the artist's permission. Some have succeeded.

In the 1970s, Turrell began his series of "skyspaces" enclosed spaces open to the sky through an aperture in the roof. A Skyspace is an enclosed room large enough for roughly 15 people. Inside, the viewers sit on benches along the edge to view the sky through an opening in the roof.

From Ars Electronica:

Art, technology, society. Since 1979, Ars Electronica has sought out interlinkages and congruities, causes and effects. The ideas circulating here are innovative, radical, eccentric in the best sense of that term. They influence our everyday life—our lifestyle, our way of life, every single day.

The Festival as proving ground, the Prix as competition honoring excellence, the Center as a year-‘round setting for presentation & interaction, and the Futurelab and Ars Electronica Solutions as as in-house R&D facility extend their feelers throughout the realms of science and research, art and technology. Ars Electronica’s divisions inspire one another and put futuristic visions to the test in a unique, creative feedback loop. It’s an integrated organism continuously reinventing itself.

From Wikipedia:

Ars Electronica Linz GmbH is an Austrian cultural, educational and scientific institute active in the field of new media art, founded in Linz in 1979. It is based at the Ars Electronica Center, which houses the Museum of the Future, in the city of Linz. Ars Electronica’s activities focus on the interlinkages between art, technology and society. It runs an annual festival, and manages a multidisciplinary media arts R&D facility known as the Futurelab. It also confers the Prix Ars Electronica awards.

From Wikipedia:

Jenny Holzer (born July 29, 1950, Gallipolis, Ohio) is an American neo-conceptual artist, based in Hoosick Falls, New York. The main focus of her work is the delivery of words and ideas in public spaces.

Holzer belongs to the feminist branch of a generation of artists that emerged around 1980, looking for new ways to make narrative or commentary an implicit part of visual objects. Her contemporaries include Barbara Kruger, Cindy Sherman, Sarah Charlesworth, and Louise Lawler.

The public dimension is integral to Holzer's work. Her large-scale installations have included advertising billboards, projections on buildings and other architectural structures, and illuminated electronic displays. LED signs have become her most visible medium, although her diverse practice incorporates a wide array of media including street posters, painted signs, stone benches, paintings, photographs, sound, video, projections, the Internet, and a race car for BMW. Text-based light projections have been central to Holzer’s practice since 1996. As of 2010, her LED signs have become more sculptural. Holzer is no longer the author of her texts, and in the ensuing years, she returned to her roots by painting.