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:: Boston CyberArts Festival ::

In Art, Feature, Interview, News on April 28, 2009 at 2:25 pm
- Children of Arcadia -

- Children of Arcadia -

Presented at the 2009 Boston CyberArts Festival by the Cambridge Arts Council, Children of Arcadia was created by artists Mark Skwarek, Joseph Hocking, Arthur Peters and Damon Baker.cyberartsfest_rgb

Luminous Garden by Beth Galston

Luminous Garden by Beth Galston

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Conceptualized and organized by George Fifield, the Boston Cyberarts Festival is an electo-digital fine arts festival “dedicated to the presentation and exploration of artists working with new technologies.”  Click here to visit the Boston CyberArts Flickr Photostream.

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- (video still) Nature...can be fabulous by Halsey Burgund -

- Nature...can be fabulous by Halsey Burgund -

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The 2009 Boston CyberArts Festival

An Interview with George Fifield

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Hi George, welcome to AD Mag

Thanks Max, it’s my pleasure

So this year celebrates another Boston CyberArts?

Yes, that’s right.

And how long has it been going on?

Well this year marks the 10th Anniversary of the festival. And since the festival is a biennial (held in alternate years) the 2009 festival marks the 6th of its kind.

That’s impressive, that a [digital] new media arts festival has had such continued success for more than a decade now.

Yes, but your see, Boston has for many years been at the forefront of new technology. Most people know of MIT, which of course is well-respected in the science and technology fields, but the Greater Boston area was also the place for the first “art television” experiment (experience) called the New Television Workshop.

Really, all those years back! That’s before I was born!

But there’s more, because from the first show, Media and Medium, the Paik Abe synthesizer was used to create the first artistic video distortions. This then paved the way for what would be the first “virtual reality” interactive computer installation; an exhibition in 1993 called “The Computer is not Sorry.”

Amazing. Truly, this is a lesson in history. But sticking with your event, I’m not sure, but it appears to be a group of events? So my next question is, how or why did the Boston CyberArts come into existence and what’s it’s structure…how’s it organized?

As it’s founder, I created the Boston CyberArts festival to celebrate the history of the New Television Workshop; also acknowledging the overall legacy of new media in Massachusetts…in Boston. The organization serves in two distinct capacities. The first is that it is an exercise in collaboration between many, many arts organizations; . The second opportunity that the festival presents is that it’s a place where all mediums are celebrated and appreciated. In other words, this is not just about computer based art, it’s ALL new media, from the performing arts, literary arts, digital prints and everything in between.

That’s an interesting phenomena in the new (art) technology realm. You serve a lot of people.

Yes we’re an umbrella organization. We do the organizing and set the tone and theme. Each year, we have a different theme. For instance, this year our theme is virtual reality. As a result, an exhibit will be going on over at Second Life, the virtual reality world. It’s called “Traversing Sweet Reality.”

I’ll be sure to check that out. And lastly, could you tell me about the Children of Arcadia. I saw that piece on your site. It’s very interesting.

Yes, that one seems to be drawing a lot of attention. The Children of Arcadia is a virtual reality of a the Wall Street area in NYC. It’s a sequence of moving images that respond to the current financial situation. If the markets are faring well, the video shows a beautiful scene, clear skies and all. But when the markets go sour, it’s a different story. The buildings crumble and the streets rip themselves apart.

Well, I think it’s a wonderful piece…very dramatic. And with that, I’d like to thank you for taking the time to speak with me.

You’re welcome, glad to be here.

"Cracking" by Dawn Kramer

"Cracking" by Dawn Kramer

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April 24, 2009 - May 10, 2009

April 24, 2009 - May 10, 2009

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Electronic Space Print

In News on February 7, 2009 at 4:30 am

- click image to access document -

- click image to visit site -

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“Electricity exists in our bodies and in nature Thus, it stands to reason that the eco, geo, bio and digital can live as one — symbiotically, happily, peacefully, in harmony”

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E / S / P

by Max Eternity
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– Electronic space Print –

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Though in the Introduction of my first, peer-reviewed white paper, Collecting Digital Prints, I use a quote from a fine art print specialist, the late Yale University artist and art historian, Gabor Perterdi — because it is such a compelling statement — I feel inclined to included it in this document as well. For it is my observation that Mr. Perderdi — many years back — saw the writing on the wall; that printing and fine art prints were continuing – as they had in the past – to evolve, requiring new analytical critiques, nomenclature and identifying, attribution verbiage. In that quote, reprinted by Encyclopedia Britannica, Mr. Perterdi states:

Certain modern processes for reproducing texts and illustrations, however, are no longer dependent on the mechanical concept of pressure or even on the material concept of colouring agent. Because these processes represent an important development that may ultimately replace the other processes, printing should probably now be defined as any of several techniques for reproducing texts and illustrations, in black and in colour, on a durable surface and in a desired number of identical copies. There is no reason why this broad definition should not be retained, for the whole history of printing is a progression away from those things that originally characterized it: lead, ink, and the press.

So, is space a durable surface? Of course it is. We know this, because purchasing goods — through electronic, financial transactions — over the Internet – in Cyberspace – costs the same, renders the same result, as purchasing the same goods in person. With, information transmitted over a computer, fax or phone, being just as valid – just as durable — as information transmitted in a face-to-face conversation.

Edging our way from the ashes of manufacturing and industry — to the full embrace of intellectual property, recycling, electronic commerce and clean [weightless? Spaceless?] energy sources like solar and wind power — with the slow phasing-out of printed news, magazines, bills, contracts and ephemera — it seems we find ourselves living in an increasingly paperless world. And by all appearances these newer methods of exchange and productivity seem to be reliable, yet more efficient. At this stage, clearly there’s no turning back now. So instead of standing agape in pure speculation, denial, panic and/or paranoia, one might hold the belief that now is the time to dig in – to do the work — to invest in the intellectual challenge – so as to proactively define the fine art, electronic future in the best, most uniform, pragmatic way one knows how and is capable of.

– Max Eternity 2009

Digital Art In Beijing

In News on December 31, 2008 at 4:33 am

sacre-coeur-de-haiti-4

Finding Common Ground

– 2008 Common Ground –

Merging Art and Digital Media for a Healthy Planet

The 2008 Common Ground International Touring Collection, with original works of digital art selected from over 1,000 artists in over 40 countries will premier in Beijing at the Huan Tie Art Museum on Sunday.

“Earth is our common ground. We may be divided by borders, language and cultural identity, but we still share the same water, the same air, the same plants, and the same common ground that sustains, protects and feeds us all on this planet,” said Larry Richard, the founder of Common Ground, an art platform which intends to focus global attention for environmental awareness through a unique multi-culture collection of digital art.

An international community of artists uses the expressive language they know best, visual art and design, to demonstrate their concern for the fate of the earth.

Read More Here