In more than five years of activity, the Free Art and Technology Lab produced an impressive series of projects, all developed with open source software, shared online and documented in a way that allows everybody to copy, improve, abuse or simply use them. This approach situates F.A.T. Lab in a long tradition of Diy, processual, sharable artistic practices based on instructionals, and reveals a democratic idea of art where Fluxus scores meet hacker culture (and rap music). The F.A.T. Manual is a selection of more that 100 projects, done in the belief that printing these bits on paper will allow them to spread in a different way, infiltrate other contexts, and germinate. An archive, a catalogue, a user manual and a software handbook. F.A.T. Lab is an organization dedicated to enriching the public domain through the research and development of creative technologies and media. Co-produced by Link Editions and Mu in collaboration with Xpo Gallery, Paris.

The F.A.T. Manual

Quaranta, Domenico

Juárez, Geraldine

Reference

lulu.com

RE:akt! Reconstruction, Re-enactment, Re-reporting

The last decade has seen an incredible growth in the production and distribution of images and other cultural artefacts. The internet is the place where all these cultural products are stored, classified, voted, collected and trashed. What is the impact of this process on art making and on the artist? Which kind of dialogue is going on between amateur practices and codified languages? How does art respond to the society of information? This is a book about endless archives, image collections, bees plundering from flower to flower and hunters crawling through the online wilderness. Alterazioni Video, Kari Altmann, Cory Arcangel, Gazira Babeli, Kevin Bewersdorf, Luca Bolognesi, Natalie Bookchin, Petra Cortright, Aleksandra Domanovic, Harm van den Dorpel, Constant Dullaart, Hans-Peter Feldmann, Elisa Giardina Papa, Travis Hallenbeck, Jodi, Oliver Laric, Olia Lialina & Dragan Espenshied, Guthrie Lonergan, Eva and Franco Mattes, Seth Price, Jon Rafman, Claudia Rossini, Evan Roth, Travess Smalley, Ryan Trecartin.

Collect The Wwworld. The Artist As Archivist In The Internet Age

Illustrates artistic expressions made with an emphasis on videogames. Text in English and Italian.

Gamescenes: Art in the Age of Videogames

Humor & Entertainment

Bittanti, Matteo

Puzzles & Games

Johan & Levi Editore (Acc)

Media, New Media, Postmedia (Italian Edition)

Computers & Technology

Computer Science

Postmedia Books

<p>The craze for Non-Fungible Tokens (NFTs) that erupted in early 2021 thrust the art world into the debate on the blockchain, the decentralised public ledger that holds these tokens, as well as cryptocurrencies, and promises to make “verifiable digital scarcity” a reality. Born out of the 2008 financial crisis and seen by many as the cornerstone of a new, more private, more secure Web3, the blockchain has changed the global economy and is now reshaping the digital environment in which art is increasingly being created, distributed and exchanged.<br />
Written amidst an explosion of technological hype and a speculative frenzy, Surfing with Satoshi sets the promise of the NFT market in a historical context, investigating the technologies it is based on, the role of certificates and contracts in contemporary art, and the evolution of the media art market over the last thirty years. Riding the wave of the ongoing debate, the book tackles a series of as yet open questions, including: what does art have to do with the blockchain? Does it make sense to talk about “Crypto Art”, and if so what can be said to define it, apart from the way it is traded? Is speculation the be-all and end-all of this trend? How on earth can an infinitely reproducible digital file be deemed “unique”? Will the blockchain’s promise of disintermediation destroy the art world as we know it? And how is the art world reacting to the situation? Are NFTs an opportunity for artists or a scam perpetrated against them? Who are the collectors willing to pay millions for a certificate of authenticity, and why are they doing it? And why do the visual arts seem to have acquired such a central role in the crypto economy?\nDomenico Quaranta is an art critic, curator and educator interested in the ways art reflects the current technological shift. His texts have appeared in numerous magazines, newspapers, books and catalogues. He is the author, among other things, of Beyond New Media Art (2013) and the editor of several books, including GameScenes. Art in the Age of Videogames (2006, with Matteo Bittanti). Since 2005 he has curated several exhibitions, including Collect the WWWorld. The Artist as Archivist in the Internet Age (Brescia 2011; Basel and New York 2012); Cyphoria (Quadriennale 2016, Rome) and Hyperemployment (MGLC, Ljubljana 2019 – 2020). He lectures in Interactive Systems, and is a co-founder of the Link Art Center (2011 – 2019). For more information: http://domenicoquaranta.com.</p>

Surfing with Satoshi: Art, Blockchain and NFTs

Arts & Photography

Other Media

Net Art. Scritti sull’arte nell’era dell’informazione (Italian Edition)

History & Criticism

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