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Laboratory provides space and support for interactive art in Spokane, Washington. What is interactive art? We want to support artistic experiences that go beyond either ‘something on a wall’ or ‘something on a stage’. We’re interested in art that creates experiences, where the viewer/user is an integral part in their own experience, where they can touch, manipulate, and, well, interact with the stuff they’re seeing. We want people to feel that art is something that they’re a part of, not just something they look at from a distance and move on. [1]

Laboratory is focused specifically on supporting the development of interactive art. So, we’re interested in artists whose work changes or reacts to audience participation, the changing environment, or other sources of real-time data. Because of this, we tend to have a lot of people who do digital/new media work, but we try hard to be open to other media too. Is your project a wall of paint that people are encouraged to come up and smudge around? A sculpture to be climbed on? Great! Basically, anything that actively involves the viewer, or relies on some kind of data, we’re all for it. [2]

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.

Since 2008, CreativeApplications.Net (CAN) has been at the forefront of innovation—facilitating and driving the conversations about technology, society and critical making. It has played an instrumental role in uncovering and contextualising noteworthy work, featured on the festival and gallery circuit or developed as academic research. With over 3,500 catalogued projects, experiments, texts and reviews, CAN plays an instrumental role in shaping the innovative creative practices of tomorrow.[1]

Neural is a printed magazine established in 1993 dealing with new media art, electronic music and hacktivism. It was founded by Alessandro Ludovico and Minus Habens Records label owner Ivan Iusco in Bari (Italy). In its first issue (distributed in November 1993) there was the only translation in Italian of the William Gibson’s Agrippa (a book of the dead) book.[1]

The first topics covered were: cyberpunk (both as a literally and political movement), electronic music, networks and BBS, virtual reality, media, science fiction and UFO. The magazine’s mission was to be a magazine of ideas, becoming a node in a larger network of digital culture publishers. The magazine was also committed to give its topics a proper visual frame: focusing on graphic design and how it could have expressed the electronic culture in a sort of printed ‘interface’, exploiting at the same time the “sensorial” possibilities of the printed page. So, for example the page numbering was strictly in binary numbers for 3 years, then decimal figures were added aside. There was a department with stereogram pictures and the centerfold hosted a few optical art artworks. The graphic design included a fixed space in every article for contact and links, being inspired by the Whole Earth Catalog experiments.[1]

References: 1. http://neural.it/about/

Brighton Digital Festival is a platform that supports and encourages people across the city to experience and explore digital technology in all its forms. The festival celebrates [Brighton's] creativity, its innovative digital economy, and top-level arts scene, and provides space for meaningful critique of the role of digital technology in reshaping life and culture. BDF supports the community to produce an open programme of events on the nexus of digital arts, technology, and society alongside education programming.[1]

FILE – Electronic Language International Festival is a non-profit cultural organization that sparks a reflection on the main aspects of the contemporary digital and electronic universe; disseminating the electronic language across Brazil and South America through events and publications since the year 2000.

FILE gathers works of aesthetic expression that capture the main trends and movements of our contemporary culture, which are diversified amongst the main categories of the festival:

Electronic Sonority: Sound Performance, Sound Installations, Sound Art, Genetic Music, Biologic Music, Classical Electronic Music, Pop Electronic Music, Dramatic Radio Broadcasting, Radio Art, Sound Landscape, Sound Robotics, Music Video, Sound Poetry, Sound Robotics, etc.

Interactive Art: installations, performances, internet projects, virtual reality, augmented reality, multitouch tables, digital objects, outdoor projections, phone projects, electronic graffiti, VRML, etc.

Digital Language: digital games, animation, digital theatre, machinima, digital video, digital architecture, digital fashion, digital design, robotics, artificial life, biological art, transgenic art, software art, new interfaces, animes, hypertexts, non-linear scripts, artificial intelligence, programming language, digital poetry, digital dance, etc.

Founded in the year 2000 by Ricardo Barreto and Paula Perissinotto, FILE aims to magnify technological discussions in the cultural scope. Besides the traditional annual event in São Paulo city, the festival expands itself across national and international borders to cities such as Rio de Janeiro, Vitória, Belo Horizonte, Curitiba, Porto Alegre, São Luis and Brasilia.

FILE’s mission is to promote wider access from the general public to technologic languages demonstrating how our contemporary world builds itself on the advances of new and digital media.[1]

V2, Lab for the Unstable Media is an interdisciplinary center for art and media technology in Rotterdam (the Netherlands). V2 presents, produces, archives and publishes research at the interface of art, technology and society. Founded in 1981, V2 offers a platform for artists, designers, scientists, researchers, theorists, and developers of software and hardware from various disciplines to discuss their work and share their findings. In V2's view, art and design play an essential role in the social embedding of technological developments. V2 creates a context in which issues regarding the social impact of technology are explored through critical dialogue, artistic reflection and practice-oriented research.[1]

V2 organizes public programs ranging from exhibitions to workshops, presentations, and community events. These V2events showcase the most exciting developments in the field of art and technology, present V2's research and development, and function as a platform for debate. V2's events offer artists opportunities to present new work to our audience and to exchange ideas with other artists, researchers and technicians. Besides events that take place at V2's venue in Rotterdam, V2 also organizes events at parter institutes and participates in international festivals and symposiums.[2]

V2 has published a number of books on interactive art and related subjects like sociology, media theory, biology, and technological innovation.[3]

The UCLA Department of Design Media Arts (DMA) offers a comprehensive, multidisciplinary approach to media creation that fosters individual exploration and innovative thinking. Our internationally renowned faculty provides each student with a creative and intellectual foundation for constructing a unique contribution to culture. DMA is committed to educating conscientious creators by emphasizing production within the context of history and theory. The core curriculum is augmented by series of vital lectures, workshops, and other events, and we actively encourage our students to pursue additional interests within the university.[1]

Within the context of the department, design is a process and way of thinking, and media arts foreground experimental media creation. We synthesize practice, history, and theory and hybridize technologies, discourses, and audiences. The results emerge in and on books, galleries, game consoles, installations, films, magazines, performances, public spaces, televisions, and websites. We strive to create socially and culturally relevant objects, experiences, and spaces.[1]

Rhizome champions born-digital art and culture through commissions, exhibitions, digital preservation, and software development. Founded by artist Mark Tribe as a listserve including some of the first artists to work online, Rhizome has played an integral role in the history of contemporary art engaged with digital technologies and the internet. Since 2003, Rhizome has been an affiliate in residence at the New Museum in New York City.[1]

Gray Area Foundation for the Arts, Inc. is a 501(c)3 non-profit organization supporting art and technology for social good in San Francisco, California. Gray Area hosts exhibitions and music events, software and electronics classes, a media lab and resident-artist program. Gray Area Foundation for the Arts’ stated purpose is to bring “together the best creative coders, data artists, designers, and makers to create experiments that build social consciousness through digital culture.” [1]