The main concepts of AHA Project are Activism: political activism, Hacking: technological activism, Artivism: artistic activism. Artistic activism means any kind of free and open creativity, to promote the idea of critical use of media, to stimulate consciuos experimentation on expressive language without any censorship. Since 2001, Activism-Hacking-Artivism Project follows a collective path, as result of an Italian movement that from the beginning of the Eighties struggles for an independent and self-managed use of mass-media (video, computer, radio and written text). Today more than ever, this movement is demonstrating to be one of the most valid alternatives to official information in Italy. In Italy, technological, artistic and political activism is closely interconnected in a common network spread over the whole country, and consisting of collectives, activists and artists alike. Their common denominator is to give life to an alternative and independent way of producing information, cultural consciousness and communication. Principal activities of Activism-Hacking-Artivism project are the organisation of exhibitions/events about Italian net art and hacktivism, the diffusion of Italian collective artistic projects within art and media festivals or conventions and the development of an international/mailing about artistic activism and artivism, email@example.com. This is a collective virtual place which advocates the free use of art and software. To date, in the AHA mailing list there are around 600 subscribers. AHA list is part of the neighbourhood of Nettime mailing list. Activism-Hacking-Artivism is also a project on artistic experimentation that uses technology in its most vital manifestations, necessarily including the critical and self-managed use of mass-media. No more art-objects but network processes, no more originality but reproducibility, no more representation of a unique singularity but collective action. From 2002 to date, AHA project has presented many exhibitions in different Italian cities and, since 2004, in Germany and Denmark. Activism-Hacking-Artivism project is hosted by Isole nella Rete (www.ecn.org). Isole nella Rete hosts the majority of alternative radical, underground Italian web sites. Created in 1996, it is considered the oldest counterculture server in Italy.
AMIA is a non-profit professional association established to advance the field of moving image archiving by fostering cooperation among individuals and organizations concerned with the acquisition, description, preservation, exhibition and use of moving image materials.
ARTECHMEDIA is an internacional organisation, its founders and directors are the artists Montse Arbelo & Joseba Franco. The main aim are to consolidated the Alliance between Art, Culture, Education, Science, Technology, Innovation, Enterprise and Institutions for development of Digital Culture, the sustainable economy based on Knowledge and the Network´s Global Society.
The main projects promoted by ARTECHMEDIA, as well as the organization and management of meetings, conferences and festivals was the creation of Technological Knowledge Centres and the GLOBAL NET SOCIETY INSTITUTE. We are committed to innovation in all sectors of human activity and in the development of the Net Society in the 21st century that will be global, cross-disciplinary, creative, participative, altruistic and inclusive.
Founded in 1988 ASCI was one of the first art-sci-tech member organizations in the USA. Established primarly as a network for artists who either use or are inspired by science and technology, ASCI has become a magnet for some of the best examples of this type of contemporary art and for scientists and technologists wishing to collaborate. ASCI was instrumental in reinvigorating the asci-tech-movement in the USA during the mid 1990’s and helped coalesce tech art-science movement (1998-2002). It produces seminal public panels and symposia on timely topics: from the first world “CyberFair for Artists (1995) to “Bell Labs and the Origins of Multimedia Art (1998), “Collectibility of the Digital Print” (1998), and explored potential support systems for early net art at “CyberArts99”. ASCI also produced exhibitions of kinetic art, interactive light art, solar art, digital prints, and a Womentek exhibition. Since 1998, it has produced four Artsci international symposia on collaboration and the ARTsci INDEX, an online matching tool for potential collaborators. The monthly ASCI eBulletin is the most comprehensive resource tool in this higley interdisciplinary, international field.
Computer Museum archives personal computers’ models and their histories. It was fonde by Massimiliano Fabrizi in 1996 who is engaged with contents, structure and and graphics. ComputerMuseum has expanded its spaces to gather documents and a vast array of material that witness the most important contributions to the history of computer.
Cary Peppermint and Leila Nadir founded the ecoarttech collaborative in 2005 in order to explore environmental issues and convergent media and technologies from an interdisciplinary perspective, including art, digital studies, philosophy, literature, and eco-criticism. For Ecoarttech, the term “environment” does not refer only to nature or geographic spaces; rather, we understand it as part of an interwoven network of biological, cultural, mental, and digital spaces, and we imagine the health of each as indistinguishable from the health of others. In the words of Gregory Bateson, the planet is part of humans’ “eco-mental system”: “if Lake Erie is driven insane [by pollution], its insanity is incorporated in the larger system of your thought and experience.”
Contemporary digital networks and social media offer the potential for a more open relationship between artists and audiences. This can radically change the life of the artwork in the world, the ways in which people come across it and sometimes collaborate in its creation. Furtherfield host regular exhibitions and public events at our gallery (formerly HTTP) featuring the best of contemporary media art. Furtherfield opened London’s first dedicated gallery for networked and new media art in 2004.
Furtherfield was founded by artists Ruth Catlow and Marc Garrett in 1997 and sustained by the work of its community as the Internet took shape as a new public space for internationally connected cultural production.
Furtherfield is now a dynamic, creative and social nerve centre where upwards of 26,000 contributors worldwide have built a visionary culture around co-creation – swapping and sharing code, music, images, video and ideas.
A Not-for-Profit Private Limited Company since 2009, Furtherfield has received regular funding from Arts Council England since 2005 which supports artistic programmes with a local, national and international reach as well as innovative outreach projects and the development of new forms of infrastructure and digitally enabled participation and engagement in the arts.
The vision of the Institute is to convert it in the driving force for the development of creative innovation and digital culture in society in the 21st century within Europe and across the world through the shared consideration and development of projects that will stimulate collaboration between technological, scientific and culturally innovative sectors with a positive impact on an sustainable, socially responsible economy and throughout society. The mission of this network is to drive the capacity for innovation in all our societies through the articulation of mechanisms that will promote their effective participation and collaboration, with transparent, committed and responsible governance, in order to find new, durable solutions to the great challenges in Europe and the world with the new digital era of the Knowledge Society and Economy, including energy, climate change, the future of information and communication, the common digital space, the development of global digital culture etc. This has led to the need to develop a socially sustainable economy that is responsible towards the environment and its people.
Pixelache Helsinki is a multi-disciplinary platform for developing and presenting experimental art, design and research projects.
Amongst our fields of interest are: experimental interaction and electronics; grassroot organising and networks; politics and economics of media/technology; VJ culture and audiovisual performances; media literacy and engaging environmental issues.
The name of Pixelache was found in an article that predicted new words which we would need in future. The word ‘pixelache’ (similar to ‘headache’) was supposed to describe the feeling that results from an overdose of digital media content. Pixelache wants to challenge mainstream standards and conventions, not only related to media and technology, but in the contemporary society in general. Pixelache Helsinki is coordinated by non-profit organisation Piknik Frequency.
Rhizome is dedicated to the creation, presentation, preservation, and critique of emerging artistic practices that engage technology. Through open platforms for exchange and collaboration, our website serves to encourage and expand the communities around these practices. Our programs, many of which happen online, include commissions, exhibitions, events, discussion, archives and portfolios. We support artists working at the furthest reaches of technological experimentation as well as those responding to the broader aesthetic and political implications of new tools and media. Our organizational voice draws attention to artists, their work, their perspectives and the complex interrelationships between technology, art and culture.
Founded in 1996 as an intimate email list subscribed to by some of the first artists to work online and, twelve years later, a thriving nonprofit, Rhizome has played an integral role in the history, definition and growth of art engaged with the Internet and networked technologies. Our website is a dynamic, interactive platform, rich in historical resources and updated continually with new art and commentary by a vast community. Our programs, realized both on and offline, support art creation, presentation, preservation and interpretation; they include exhibitions & events, commissioning, daily art news and in-depth criticism, and the maintenance of a singularly comprehensive digital art archive.
Since its inception THE THING has provided a flexible and supportive venue for developing, presenting and distributing innovative forms of on-line activism, media art and cultural criticism concerned with exploring the possibilities of electronic networks.
THE THING was founded in 1991 by artist Wolfgang Staehle and became a not-for-profit 501(c)(3) corporation in September 1998. Prior to that date it was supported entirely by the dedication and enthusiasm of a community of volunteer activists and artists. Even with these limited resources THE THING quickly gained a reputation as a center for new media practice and theory, social forums and on-line art projects.
Initially, in 1991, THE THING took the form of a dial-up bulletin board system (BBS) that facilitated discussion and experimentation, primarily within the New York City arts communities. In 1995 THE THING launched its website http://bbs.thing.net, expanding and intensifying its efforts through initiating individual and collaborative efforts with an extraordinary variety of emerging and established artists.
Turbulence is a project of New Radio and Performing Arts, Inc. (NRPA). Now celebrating 15 years, Turbulence has commissioned over 200 works and exhibited and promoted artists’ work through its Artists Studios, Guest Curator, and Spotlight sections. As networking technologies have developed wireless capabilities and become mobile, Turbulence has remained at the forefront of the field by commissioning, exhibiting, and archiving the new hybrid networked art forms that have emerged.
The WEB NET MUSEUM, created by Fred Forest, is a dynamic museum with international vocation, of strictly private nature. It is intended to replace more traditional institutions to introduce and support artists, works, experiments and events, in connection with the new digital culture.
It supports the role of the artist in determining the cultural ecology (it includes: exbitions, magazine, media arts, new music, performance art, research library).
The Western Front was founded in 1973 by eight artists who wanted to create a space for the exploration and creation of new art forms. It quickly became a centre for poets, dancers, musicians and visual artists interested in exploration and interdisciplinary practices.
As a focal point of experimental art practice through the 1970’s and 80’s, the Western Front, in connection with other centres like it, played a major role in the development of electronic and networked art forms in a national and international context. This includes video art, sound-art, the use of telecommunications to establish a global arts network, and the development of interactive technologies to explore the connection between the art-viewer and the art-space.
Over the years the organization has become the training ground and springboard for many young artists, especially those working outside the commercial art market. The Western Front maintains an extensive, digitized archive of work created and presented over the past thirty years, and is committed to preserving the artistic legacy of Canada’s artistic community.