The group Arcade Fire is on fire: their third album, released just over a month ago, has swept the charts around the world, they’ve been lined up at the major international festivals, and, as if that wasn’t enough, their concert on August 5th at Madison Square Garden in New York was broadcast live on YouTube and directed by none other than Terry Gilliam.

But not only the New York concert looks set to remain in the eyes (and of course in the ears) of Internet users. The band also presented an interactive video recently, The Wilderness Downtown, where the song "We Used to wait" becomes a soundtrack to an experiment by brand new visual programming language, HTML5, the Chrome browser and the Google Maps server.

How do you combine these elements? The user enters their home town and activates the video, a collection of pop-up windows, where among others, you’ll find images of a running boy, maps and video images of the city chosen and animations of birds that greatly resemble the award-winning "I’m your breath”, by Labuat.

Similarly, the user can write or draw a card and share it with others. The combination of windows, music and rhythmic images, accompanied by urban cameras inclined to the immersive view (first person, and 360 º), lead to a "personal race" which if it doesn’t leave us breathless, is a laudable effort in coordination between pre-registered video, animation on the web, and our own willingness to participate. An excellent opportunity also to try out Google Chrome.

http://www.thewildernessdowntown.com

Summer has arrived and with it the FIB and other beach raves. But man (or woman) cannot live on music festivals alone. In the area of digital creation there is also a varied selection of workshops, talks and shows in different parts of the European landscape. Let's take a look at three of them.

In Spain, Labour started SummerLAB with the workshop New Narratives, whose participants studied a variety of devices (mobile phones, augmented reality, etc) to tell stories, then give way to Obsolete-Basurama: construction of the universal format reader, whose results will be displayed until 29 September.

For those who don’t want such hands-on involvement, but who’d like to make the most of the combination of travel and electronic art, ISEA has been offering a biennial festival for twenty years now, in different parts of the world (once even on a cruiser in the Baltic). This year it’s the turn of the German Ruhr metropolitan area (Dortmond, Essen, Duisburg), from the 20th to 29th of August. It’s worth noting a first weekend devoted to performance, and the last focuses on talking about the crisis with "courage, scepticism, and hope" (sic).

And to finish off the summer, more and more designers, publicists and people attracted by technological creativity in general, flood the small town of Linz for Ars Electronica. Although it started as a specialist event, it has become the main event for keeping track on engineers with a certain artistic sensibility, allowing us to see what kind of gadgets they’re coming up with. This year, the title Repair also encourages us to take action against financial, economic and moral disasters.

http://www.isea2010ruhr.org/

A whole lifetime has passed since a malevolent computer took on an astronaut (on the verge of losing its mind) in 2001: A space odyssey, since R2D2 tried out its linguistic skills without any luck in Star Wars, or since Schwarzenneger became a "good" android trying to save humanity in the Terminator saga. 

Given the proliferation of examples, it shouldn’t surprise us that robotics is becoming more and more a part of our everyday life, and what’s more, the art world. 

In the animal kingdom, some recent examples are the France Cadet dog, or Fernando Orellana’s robotic hamsters, for which, as is the case with humans, the key to success is their ability to emulate the behaviour of real creatures. 

In the kingdom of the inert, outstanding examples include the chair that puts itself together from Max Dean, Raffaelo D' Andrea and Matt Donovan, that belongs to a trend of self-assembly (or the opposite), which we already saw in Spain with the Self-disassembling robot by Roc Parés. 
 
Some of the items referred to in this article were seen at the recent Sonarmática, which also included the contribution of young researchers from the local university environment. However, also in Barcelona, one must recall the long history of robotic diffusion at the Art Future festival, as well as the Jornades de Robótica. 

Well, for anyone who isn’t so enthused by such aesthetically pleasing results and would like to see machines really sweat, like La Fura dels Baus and Marcel.lí Antúnez made them, the least glamorous project would probably be a Robodock-type affair. Welcome the scrap.

http://2010.sonar.es/es/programa-multimedia-sonarmatica.php

It’s not unusual to speak about art in terms of trends and avoid names that don’t fit into the "star" category, even though they might really have a lot to say. One of those names is the Swedish artist Lars Arrhenius, represented by the Danish gallery Specta. 

Arrhenius’ work focuses on video and is exhibited at galleries, but visually it draws a lot from graphic design, animation and even video games. For example, Habitat (2005) features human forms like those seen at public baths, which offer us a complex narrative full of domestic emotions, and link with a textual online predecessor, Apartment (2001), heir itself to La vide mode d'emploi by Georges Perec.
 
In another case, that of The Big Store (2008), people are shown through X-rays, doing their shopping at a Swedish shopping centre, unaware of the murder of their Minister for Foreign Affairs just a few hours before. 
 
Finally, equally illustrative is the piece Murmurs of Earth (2006), where Creation is explained through mobile and computer games, before the era of the multimedia telephone: the digital snake designed to kill dead rats has never achieved such allegoric value. 

Arrhenius reflects ironically on our past and present condition making us not exactly avatars, but certainly figures that despite the digital sieve don’t they lose their critical potential.

http://tinyurl.com/35k4jkd

Ever since video killed the radio star (or perhaps they really joined forces, judging from the number of MySpace pages or Spotify fans that can be found everywhere), the prevalence of low-budget moving images in the art world is as undeniable as the fact that cinemas smell more and more of popcorn, as more films are released all the time for kids who aren’t too demanding. 

The need to recognize video as a contemporary art form was noted by a group of gallerists from Barcelona just seven years ago, and as a result we now have the Loop Fair and Festival. To pay homage to this initiative, and acknowledge the talent that has been brought together over the past decade, Los Angeles curator Paul Young has compiled almost 50 works projected in the course of the different editions of the Festival and Fair, which can be seen until May 23rd in the centrally-located Arts Santa Mónica. 

There are six open thematic lines, which as far as I can understand cover, to a large degree, the visual and conceptual spectrum between cinema, documentary and performance, just to mention a few of the usual affiliations of video art. And this also provides the perfect opportunity to rediscover some very attractive pieces that have grabbed my attention over the last few years, like the homage to Hieronymus Bosch and Dante featured by Marco Brambilla in Civilization, the toy soldiers defeated by modern electrical appliances in Invading Forces under Fire of Bombcorn by Jaime Pitarch or Maïder Fortune’s deceptive unicorn, as represented in La Licorne. An excellent opportunity to warm up with video images before and during Loop this year.

http://tinyurl.com/3y2xm66

Does anyone remember the ads that came to life when Tom Cruise passed by in the film Minority Report? What then seemed madly futuristic has already been achieved in a certain way today: via Bluetooth wireless technology, you can obtain further information on a product or shop activated for this purpose.

But if you’re overwhelmed by posters flooding the streets, banners flooding websites, not to mention commercials on TV, there is a choice: fight back with art. Since February 2008, Julian Oliver, Clara Boj, Diego Diaz and Damian Stewart have been working on Artvertiser, a free software project that replaces the typical ads in the street with artistic images. Using special binoculars, and via more and more smartphones and the latest mobile phones, participants can see photos or videos projected on ads.

The project is part of what is known as augmented reality (technological systems that expand the perception of reality out into the streets, instead of creating an alternative world indoors, as happened with "virtual reality"). Its most obvious manifestation can be seen in product placement (the craze of showing products in movies and fiction to provoke consumption by the viewer), the film They Live by John Carpenter, where the human race was dominated by commands given in ads (and how true it is too), and the deferred textual project Diminished Reality by Steve Mann and James Fung.

This same section echoed the trend of substituting ads with art a couple of years ago. On that occasion it was a plugin for websites, but now that Artvertiser has hit the streets, how many more will dare to reclaim public space?

http://theartvertiser.com/

Last Christmas the e-book was promoted as the gift that we should all be expecting. Just a month ago, the people at Apple launched a mix of a giant Iphone and Etch A Sketch called the Ipad, which can be used not only to read, but also to surf and even to get on the nerves of Hitler himself. 

But while engineers and marketing gurus wrack their brings to think up better gadgets than any book or notebook, artists are making their own contribution, more gracefully and less pretensiously. A classical example is Life Writer (2006) by Christa Sommerer and Laurent Mignonneau, where an emulator of the typewriter allows us to type on white paper, which is really a projection screen, and where the written characters become insects, taking on a life of their own. 

This trend continues to gather force with the latest ARCH/Beep award: Perpetual Storytelling Apparatus (2009), by Julius Von Bismarck and Benjamin Maus, is a mechanical gadget that resembles a polygraph and registers in printed drawings the results of combining terms from a bestseller and American invention databases (patents). Highly recommended for fans of Fringe and for anyone who thinks that analogue and digital can keep on being friends with a right to close contact.

http://tinyurl.com/ygz7kn8

What happens when an artist, a curator, a data processing engineer, a designer who specializes in videogames and a sociologist with expertise in economics all meet up?  No, this isn’t a bad joke that you might hear from a child, but a brief introduction to the team that makes up Derivart, a Spanish artist collective, which has been specializing in the crossover between art, technology and finances since 2004.

And it’s safe to say that, whether in a national or the international context, they’ve had lots of tricky situations to deal with. In 2007 they were already strongly criticizing Spanish property speculation with software projects like Hipotecadora (an application to calculate the age when you’d have just finished paying the mortgage), Burbujómetro (an interactive globe-shaped visual of the price of housing, which could be shot at with a toy gun), or Casas Tristes, where they developed visualization tools for decent housing, in the form of a map highlighting empty houses. 

A couple of years and a global crisis later, last year, 2009, they came firing back, increasing their range of interest: Gamebroker, a series of mini-games for Nintendo Gameboy on the main crises of the last three decades; Inspector or Manager, software tools that question the role of SGAE, by putting themselves in their shoes, as well as those of the poor fool who thinks he can play any song he likes without our very own Sheriff of Nottingham becoming aware and claiming his spoils. The icing on the cake is surely Fuck you Hirst, where instead of paying homage to the extremely wealthy artist who goes by that name, stickers have been designed to determine the real value of a work of art, bearing in mind the effort involved and personal criteria when appraising the work. As long as Derivart keep on holding the economy in check, I think we can breathe easily.

http://tinyurl.com/lhtzl7

The high-point of digital creation coincides with the descent in our natural resources, but fortunately some works can reconcile their aims with the need to be eco-sensitive: I refer to those that use LEDS, or small semiconductors that emit light upon entering a contact with an electrical current, since they’re more flexible, need a lot less energy than traditional lights and they’d lead to great money savings if they managed to substitute them. 

What’s for sure is that LEDs have been used as indicators for some time now, but artists have been trying to exploit their electro-luminescent qualities for quite a while. There’s a proliferation of LED tables, for example, which besides livening up any soiree can also be used to explore the detection of movement. 

There’s also the spectacular version that takes the place of traditional fireworks, which we’ve known them all our lives, as the British collective United Visual Artists demonstrated at events like the Massive Attack 2003 and 2008 world tours, or the luminous hooliganism of Graffiti Research Lab’s LED throwies, which combine an LED, a lithium battery and a magnet to attack the public space, also in a in Stencil version. 

What’s more, because LEDs are an assembly of luminous lights they can be very easily adaptated to data viewing systems: What better way to get an idea of a situation than by means of colour contrast and points of light?  A recent artistic example is the Reaction Diffusion light boxes by Rafael Lozano-Hemmer. His first show of satellite images represents the US as a black background being devoured by the red LEDs of Mexican emigration, thus fulfilling a double objective: it doesn’t just bring to light a burning conflict, but also honours the master of colour Mark Rothko.

http://graffitiresearchlab.com/?page_id=6#video

Who’s to blame for the current abundance of loud colours, lines, dots and various symbols in screen art?  Could it be down to the fact that it allows us to work with palettes of colours and time line publishers, as well as the permanent Internet connection. Although it seems like yesterday that net art first burst upon the scene and graphic design started changing on the web (does anyone remember the entry page in Flash to enter Rhizome?), those years have come back to stay and to establish their own individual style.  Let’s look at some examples. 

Paper Rad is an American design collective that presents its work in comics, video, paintings, pictures and music in the area of online animation. Their characteristic style uses and abuses major references from the world of pop art, punk and collage without any fuss, but therein lies the beauty: creating stunning images that make any multicoloured cut and paste from MySpace turn pale. 
Tampoco se queda corta la animación a rayas New Stripes de Mitch Trale, que se mueven y amplían  al gusto del consumidor. Después de tantos años de videoarte figurativo, parece que ha llegado la hora de homenajear la psicodelia y el cine expandido.

Also highly impressive is New Stripes, Mitch Trale’s animated coloured stripes, which move and expand according to the consumer’s preferences. After so many years of figurative video art, it seems that the hour has come to pay homage to psychodelia and expanded cinema. 

If your eyeballs feel like exploding, there’s nothing better than relaxing them with the help of the colour stripes that sprout stylishly on screen, courtesy of Javier Moral: he didn’t name them, but the relaxing experience is more than enough. 

Nevertheless, if you’d like something more complete, you’d better remember these names: a statement of  purpose called Let' s Turn This Fucking Website Yellow, the code turned image (and destroyed work) of Zach Gage with Temporary.cc, and the presumed parents of those little lambs, called JODI and destined for stardom in digital art when it didn’t even have a name.

http://404.jodi.org/

Reforms in civic ordinances have stirred up ill feeling among those in Barcelona who like to stroll, skate or even urinate in the city:  why can’t I break a little law, yet on the other hand they force me to sit on uncomfortable one-seater benches that stops me from mingling with other fellow citizens? 

But Barcelona isn’t the only city in the world that demands repossession of public space on behalf of its citizens and particularly its artists. The development of wireless networks that not only allow us to connect from static terminals but also to exchange large quantities of information while on the move has made the task a lot easier.

One of the "classic" projects in this regard is Free Network, Visible Network, by Clara Boj and Diego Díaz, who put forward a system to make visible free wireless networks whose objective is to create a community that changes the traditional perception of collective space and calls for free access to the network.

In the search for a more practical order, the SENSEable City lab, by MIT in the US, has designed TrashTrack, a stylish system that allows a visual tracking of trash to make consumers aware of the destructive effects of their waste on the environment, and consequently take action. 
 
If you’ve just thrown out the trash and fancy catching a movie before going back up to your home, GPS Film by Scott Hessels is a kind of superimposition of our daily routine, with nine possible itineraries in the centre of Singapore, or if you’re visiting Los Angeles for the first time, ask Knowlton, Spellman and Hight to lend you their own alternative audio guide of the city, 34 North 118 West, where each successive movement lead you through successive historic periods. The thing is, via digital technology the drift that Debord dreamed of may literally end up walking down the street. 

http://www.lalalab.org/redvisible/

That the planet is doomed is something that very few people doubt at the moment: thousands of years of deforestation, exploitation and intensive hunting and fishing, mixed with an ever-growing amount of unacceptable non-recyclable waste, have caused havoc with our environment. But going beyond day-to-day things, the separation of trash, cotton shopping bags and the refusal to see beautiful green landscapes become implausible golf courses, digital artists have also intervened in the affair. 

The motivation to write about art and climate comes from the recent exhibition (In)habitable. L'art des environnements extremes, part of the annual Parisian @art outsiders festival, where a few artists do a Werner Herzog and literally go to the end from the world to show that all lands have something if treated with affection.

But this exhibition wasn’t born yesterday: Leonardo, the arts, science and technology magazine, has been publishing texts on the subject for a couple of years, and Olats, its French observatory, just promotes it through exhibitions like this and parallel projects like Lovely Weather, a group of artists’ residences in Donegal, Ireland, where the weather is not necessarily lovely.. 

Olats offers a whole host of other resources on the arts, technology and meteorology in its section Art & Climate Change, of which three more can be picked out to open up Pandora’s box: Cloud Shape Classifier by Douglas Bagnall; cyclone.soc by corby & baily, a navigable environment based on cyclonic weather formations, or the coming-soon group exhibition Earth: art of a changing world, where 30 international artists analyze the consequences of climate change at the Royal Academy of Arts.

http://www.art-outsiders.com/edition2009/default-en.htm

Businessmen who first invested in mobile technology couldn’t have predicted that text messaging would end up becoming the most profitable and widely-used of their services. They seem similarly surprised (and as we’re seeing, they should start believing more in the power of the written word) that the uploading a limited number of characters to the computer screen in answer to the question "What you are doing"? is proving very successful.

I’m referring to Twitter, the platform that allows the famous to write up to140 characters (or to pay someone to write them) relating their most mundane or most humane thoughts; allows politicians and journalists to once again communicate with teletypes or lets organizations sell their product , drop by drop (or verse by verse, depending on how you look at it). Anyway, we see some kind of artistic expression that goes a little bit beyond attention-seeking and self-promotion. 

No sooner had the application appeared than videogame designer Ian Bogost decided to adapt one of the chapters of James Joyce’s Ulysses: the characters’ actions were summarized and then "launched" on Twitter thanks to a software that followed the chronology of the novel. At the same time, someone wrote that the only person that really ought to twitter was concept artist Jenny Holzer, famous for her aphorisms, and Holzer accepted the challenge; but myths are there to be exploded, and in cases like this fakes can be just as good or even more interesting. 

There’s still a lot to twitter about, and perhaps not only in words.  As is happening, for example, on Ellsworth Kelly Hacked My Twitter by Brian Piana, a grid that is continuously updated in real-time, with users and twitters being substituted by colours in a simple conceptual exercise. Primitive examples of a tool that, if they let it speak, we may be hearing a lot more of.

http://twitter.com

Since the online art boom of the Nineties and the arrival of terms like web art or software art into the vocabulary of artists working in digital media, there has been a constant stream of ideas for promoting, and if possible, selling their work. 

The thing is, they’re in a state of evolving legislation where it’s still often assumed that Internet is a public domain full of contents where no one really knows very well how to make a profit. Internet is, clearly, a public domain, but as a mirror of the physical world, it’s also a business of economic exchange where artists somehow need to make money through their work, in order to keep producing. 

Taking this vital need into account, and at the same time aware that computers are everywhere, and therefore you can connect whenever you have some device to connect with, some innovative artists have come up with art applications specially-designed for the Iphone, which the renowned artist and VJ Lia has begun to compile on the webpage iPhoneArt. 

Nine digital artists, standing out among them the Flash virtuoso Joshua Davis or the visual artist working in mixed media (from painting to computer art) Miltos Manetas, offer access to their applications and the chance to buy from the AppStore. 

IphoneArt is, therefore, a showcase for projects to carry around, which exploit the playful dimension in small capsules, going beyond the demands of charging a digital agenda, and which also, if we consider the history of applications so far, seems to focus in pay stimulating homage to pre-digital abstract art. An affordable luxury.

http://www.iphoneart.org/

Man cannot live on YouTube alone. The famous video archive offers a little of everything, from disconnections, singing animals or wannabe stars performing from their own homes to the transmission of successful TV programs. But, what about art?  YouTube doesn’t discriminate: it also provides the perfect showcase for artists of every kind to upload their work and expose them to a potentially vast public. 

The problem with YouTube, however, may be that the existing categories don’t really help us find what we’re looking for. Let’s say, for example, that we have a vague idea that we want to see videos, that we want to see videos on contemporary art, and they should be by young artists. We also expect (why not?) the videos to be complete and even that there’s a certain kind of selection process, some kind of organization. 

Everyone has jumped on the YouTube bandwagon, so now even the most prestigious institutions have their own channel. However, couldn’t we do things a bit better? To answer this question alternatives are springing up, like tank.tv, an online video-art platform that has been offering selections by young (and not-so-young) artists since 2003, directed by Laure Provost, also a video-artist. 

At the moment, tank.tv is presenting an individual selection by the artist Lisa Oppenheim, as well as the online version of a series of commissioned videos presented previously in London and Los Angeles, by the artist William E. Jones and the commissioner of the Tate Modern Stuart Comer (who runs an interesting international project on audiovisual archaeology Matters in Media Art). The Internet platform interacts, therefore, with exhibitions: it doesn’t just complement them temporarily, but works as an alphabetical archive of works on various subjects and of possible interviews with artists and commissioners. 

To see the videos, you just have to subscribe, sending your personal e-mail address and a password.  Also updates are provided on rss and twitter. To present work, you just fill in the form online and send it by traditional mail or email. The organization specifies that "each piece is judged on its own merit rather than the name or history of the artist".  Likewise, it supports a "collaborative" structure with the exhibition "The Whole World", which encourages viewers to send their own video list, so as to compile an "extraordinary list of lists, of the world as we know it, of the whole world (...). Lists of people, animal, mineral, vegetable! Good lists, bad lists and mediocre lists, lists of everything and nothing". 

Midway between an online art gallery and the YouTube play list, tank.tv lets us get to know video work by professional artists, as well as providing the opportunity to expose the work of those who’d like to get involved in the world of video, don’t have access to conventional circuits, and would like to see their work shown in a coherent way.

http://www.tank.tv/index.php

Are you tired of all ad banners you have to see every time you check out a website? Imagine that, instead of advertisement, those spaces would be filled by art. Actually, this is possible thanks to the “Add-Art” project by Brooklyn-based artist Steve Lambert.

“Add-Art” is a Firefox extension which replaces advertising images on web pages with art images from a curated database. This way, “Add-Art” turns your browser into an art gallery with artwork by a young contemporary artist. “Add-Art” is collaborative project based on open source technologies developed at the Eyebeam OpenLab, where Steve is a Senior Fellow, with the support of Rhizome Comissions and open to the collaboration of curators.

If you are interested on replacing ads by art, go to http://add-art.org/. In this small website you can download the “Add-Art” plug-in, find the instructions to install it and also information on the current and past artists and curators.

http://add-art.org

YOUNG-HAE CHANG HEAVY INDUSTRIES are the Seoul-based artist duo formed by Young-Hae Chang (South Koreal del Sur) and Marc Voge (USA). Since its foundation in 1999, YHCHI have been known for their black and white typography Flash animations synchronized with the rhythm of jazz music. Their pieces create a textual choreography where humor and irony give a provocative touch to their evocative, and often political, narratives.

YHCHI’s work is focussed on the word, which they consider to be the Internet’s essence. To optimize the medium they get rid of all superfluous elements, using just pure text, one font –Monaco- and audio. Although they primarily work in English, Korean and French, many of their pieces have versions in other languages.

YHCHI's Web-art is drawing a lot attention not just from major art institutions, but also from literary circles.

http://www.yhchang.com

The presidential elections in the United States leave no one indifferent, not even in the art world. But not all artists make their position clear by their participation in rallies or music videos that support one of the candidates; others use their own work to present their personal vision of the race towards the White House. This is the case of artist Kenneth Tin-Kin Hung with his video "Because Washington is Hollywood for Ugly People" (2007).  

Born in Hong Kong, but based in New York, the work of Tin-Kin Hung is marked by its political charge and the use of sarcasm, a tool he admits using to avoid hurting feelings. With a message as fast as his own style, based on taking and superimposing images, his work parodies political reality with a bizarre visual style.

Tin-Kin Hung acknowledges the influence of classics of photomontage with a political message like John Heartfield and Winston Smith, the eccentricity of Terry Gilliam’s imagination and the political message of Banksy’s graffiti, even if his work bears the unmistakable hallmarks of Web culture.

http://www.tinkin.com/washugly.html

we-make-money-not-art is Regine Debatís blog that in addition with other contributors distributes information about art, design and technology.

This is a key Blog in relation with trends in digital art, hybrid research, exhibits and events that break with conventionalisms.  Activity behind WMMNA is and must always be frenetic: visits to exhibits, conferences, art & design events coverage, tons of pictures, interviews with creative people, with the plus that everything is stored for visitors.

http://www.we-make-money-not-art.com

Neural.it is the on line magazine that since 1993 has dedicated to media art, hacktivism and emusic.  Its also has a quarterly print edition that can be found in specialized bookstores or via subscriptions.

Neural.it is one of the most valuable sources of information regarding creation and digital culture. Its editor is Alessandro Ludovico, founder of nettime and co-author of renown project ‘Goggle Will Eat Itself’.

Some of the key sections in Neural.it are audio art creation and the area dedicated to digital art, both are constantly actualized, presenting brief audio projects, editorials, expositions and events, plus the valuable opinion of specialized critics.

http://neural.it/

Escoitar.org is an open, collaborative project that encourages the addition of recorded soundscapes onto online maps. Enabled through a hack of Google Maps, Escoitar.org (meaning 'Listen' in Galician language) is a project by the collective focus on the acoustic research and experimentation Artesonoro.org, and part of the research group from the Universidade de Vigo DX7 Tracker and Proxecto-Edicion (CGAC, MARCO, Fundacion Seoane).

Escoitar.org (meaning ‘Listen’ in Galician language) was inspired by a particular desire to preserve the acoustic patrimony of Galicia, a region in the Northwest of Spain specially rich in “soundscapes”, many of them in danger as a consequence of the economic and social evolution of the region. However, the project itself has geographically universal potential.

Through the visual network between locations and accompanying sounds, Escoitar.org aims to allow people to understand landscapes, not only visually as places, but also via their autochthonous sounds. The final goal: help to preserve and to understand the idiosyncrasies from a place through its sound identity using the Web.


http://www.escoitar.org

Rhizome.org is an on-line platform for the global community of art in new media.
Rhizome supports, broadcasts, preserves and generates discussions over every aspect of contemporary art that involves, for its creation and in a significant way, new technologies.

Rhizome 10th anniversary was last July, achieving recognition as referential site for artists, critics and public within New Media Art.

If you want to see all the net artworks published since 1997, subscribe to its mailing or publish your work click on Rhizome and enjoy the ride.

http://rhizome.org