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| Callanan Martin John |
I Wanted to See All of the News From Today amasses the front page of hundreds of newspapers from around the world and displays these images within the screen space of a single webpage. Continuously gathering data from the newspapers without pause, the work reduces each paper to an image, a node in a networked text - totalized, overwhelming, and illegible. Launched in 2007 and viewed online by over 56,000 people to date (April 2011), collecting more than 600 newspapers originating in six continents, continuously gathering data from these sources without pause. These pages are organized to form a massive grid that references the familiar "image gallery" and "array of thumbnails" that are associated with managing digital information assets but subverts these organizational frameworks towards different ends. The examination of the front page, as multitude, neutralizes the newspaper as a document and transforms the entire medium into a regimented gestalt.
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| Rosenthal Benjamin |
Administrative Maximum: Towards the End of the Broadcast is an interactive web project that investigates issues of control, desires for mediated violence, and the nature of the voyeuristic impulse in a culture where technology both limits autonomy and provides for unmitigated possibilities for utopian agency in the world of digital fantasy. An aggressive and oversaturated network of stimuli and possible performance strategies, the viewer is given moments of choice only to be thwarted by predetermined outcomes that reveal the impossibility of winning. The site is developed from several hundred pages of interactive flash animations and games, live video feeds combed from the internet, and sound, and is continuously being expanded.
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| Ballerini Alessio |
Blanc è un lavoro multistratificato. Nel periodo in cui viviamo trovo interessante mescolare le arti, perciò sono partito da dei disegni minimali in bianco e nero, che ho realizzato, raffiguranti "paesaggi" astratti. Poi ho manipolato i disegni e li ho animati in due video. Parallelamente ho composto la musica. Il prodotto finale è un concept album (15 disegni, 2 video, 5 brani musicali) scaricabile in creative commons, pubblicato dalla label italiana di musica sperimentale Zymogen. Tutto questo non sarebbe stato possibile una quindicina d'anni fa, quando non si scaricavano ancora album online. Come ho già detto, mi piace lavorare con i mixed-media, perciò Blanc è divenuta un'installazione, con i due video e la musica diffusa in sala e i disegni stampati che il pubblico poteva portare con se, in modo da ri-significare il lavoro e farlo uscire dalla galleria che lo ospita. Ho voluto che il concept divenisse un'installazione anche per dare fisicità al lavoro, dato che l'installazione stessa è qualcosa che si installa in un luogo, che accade in un luogo. Sono felice che sia piaciuto alla gente, difatti ha vinto il premio del pubblico per il concorso Metrocubo, organizzato dalla galleria Quattrocentometriquadri.
Inoltre alcune tracce sonore sono state composte utilizzando campioni di altri musicisti e ricercatori affermati, Fennesz e Gianni Pavan. Il primo ha reso di dominio pubblico le sue registrazioni, per il concorso Roma Europa Webfactory 2010, che grazie all'intervento dei ragazzi del REFF (Roma Europa Fake Faktory) sono state rilasciate in Creative Commons. Nell'edizione precedente non è stato possibile, perchè non era permessa alcuna pratica di remix, mush up etc..
Pavan ha rilasciato anch'esso in CC i files che ho utilizzato. Di natura diversi dai campioni di Fennesz, difatti sono fields recording atti anche allo studio bioacustico e marino.
Senza questi campioni il concept del lavoro sarebbe stato sicuramente diverso. Anche per questo ho regalato i miei disegni, non soltanto in download, ma anche le stampe.
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| Rossini Claudia |
600 digital photos each 10x15 cm, matt digital print on paper
100x70 cm ink-jet on paper
1 archive box
2009
"Ambiguous hour" is a computer language's term that indicates the anomaly in calculation time that occurs in the transition from Daylight Saving Time to Solar Time, an operation that takes place the last night of October between Saturday and Sunday, moving back one hour the clock and producing a day of 25 hours.
I recorded this longest day from 24 webcams, one for each time zone with a frame for each camera for each hour.
Monitoring began at noon on Saturday 24th October and ended on 26th at 10:00 a.m., cataloging the collected photos by Italian zone time.
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| Kojima Kenji |
Why not news photographs on the Web can be used for art and music materials. Ongoing Web project "RGB Music News" has been making archives of algorithmic compositions that converts image date of news photographs of five internet news sites to musics. The project shows what news images bring into this world visually and musically. It is not an impression of a photograph of a musical variation. It composes a music from an image data directly. This is one of experimentations with the relationships between perception and cognition, phenomenon, technology, music and visual.
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| Wysakowska-Walters Elzbieta |
Health and Safety Traning: What you need to know
A found footage project. Films, re-edited to make this video, are not used in any commercial way. They are meant for artistic purposes only.
You and Office Safety, Safetycare Australia Pty Ltd, 1960
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| Otto Christopher |
PXLPNT.com uses the multi-touch features on mobile devices to allow users to create 10x10 pixel art designs on iPads, iPhones, and Android devices using their fingers ( it also works on most current desktop browsers using a mouse ). The designs are saved as urls so that they can be shared and remixed easily across facebook, twitter, and tumblr without having to create a new account. They can also be sent to Zazzle to be made into physical objets. I have posted some examples at http://pxlpnt.tumblr.com.
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| Smith Julia Kim Smith |
Banksy pulls off no small feat by being both the anonymous artist and the famous artist at the same time. But by being anonymous, he is like the historical anonymous woman—"Anonymous was a woman."—and anyone can appropriate his identity. Which is exactly what artist Julia Kim Smith does in With Banksy: she appropriates his hooded identity and places him in her own scenarios. Why should famous white men have all the fun?
http://kronikle.kidrobot.com/a-day-in-the-life-of-banksy/
http://www.baltimorefishbowl.com/stories/provocative-new-resident-artist-julia-kim-smith/
http://blog.angryasianman.com/2011/06/julia-kim-smith-is-hanging-with-banksy.html
http://happyfamousartists.blogspot.com/2011/06/julia-kim-smith-with-banksy.html
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| szalay peter |
Alternative energy source I
2009
saint picture, cable, clip, copper, aluminium, gum, plexi, convex lens, microswitch, condenser, transformer, flash / 150x154x25cm
The installation has two parts. The first part is a saint picture (the energy source) propped to the wall, osculant the floor by a face of gum. The other part is a box of plexi (the consumer) which has contact with the picture by electrodes and sucking disks. At the exhibition the attendant can switch the mashine on following the instuctions of the guideline. Attachant one electrode he can close the circuit, so the condenser of the consommer keep to charge. He look through the lens, and press the button. The flash go off, into his eye. He will feel that for few seconds.
Alternative energy source II
2010
saint picture, cable, clip, copper, aluminium, plexi, convex lens, microswitch,
11x6x1cm
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| Gonzalez Alvarez Lesser |
Funerary Boat is a re-edited youtube video. In reverse, it resembles a voyage to the afterlife, or conversely, a ritual purging. It directs a comparison between extinct and active civilizations, forcing us to consider exaggerated materialism as a catalyst for demise. It can also be interpreted as a ritual purging.
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| Schaefer Janek |
"Local Radio Orchestra"
......120 years ago the Radio was patented by Edison. The transmitter enabled one voice to broadcast to many remote people, and the limited range defined each local community. In the Local Radio Orchestra this idea is combined with the engagement of the audience, who create a shuffling and shifting orchestra using the 12 classic portable radios, as they move them around and adjust the settings within range of the transmitter trunk.
Inside the trunk are 24 x Digital short range FM transmitters, and each is tuned to a different frequency between 88-108 FM. The pirate station hijacks and saturates the entire radio spectrum within a short radius. This then enables you to tune out and then tune in to the 12 separate parts of the composition to form infinte new arrangements, while also moving the radios around the space and adusting the volumes as desired.
A community radio station!...
There are currently two compositions in the orchestra repertoire.. "Love Hz" and "Secret Service".
See website for short films etc
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| Schaefer Janek |
"NATIONAL PORTRAIT [the last transmission]"
In Liverpool, on the 1st December 2009 the analogue TV signal was turned off at midnight.
The installation captured the sound of the very last 24hrs of the five analogue terrestrial TV channels as they were broadcast live across the city. This forms a sound portrait of a day in the life of Britain, and reveals how we define ourselves through our channel hopping mass media. It celebrates the first generation of television history at the switching point between analogue and digital culture.
In the gallery five TV cabinets and the surrounding walls the are boldly painted with vertical test card stripes in red green blue black & white. The cabinets frame a collection of classic old TV sets with a black & white pulsing screen.. Each TV plays the sound of a whole days broadcast from one of the terrestrial channels, 120 hours of audio in all. This is cut up into 1000 random length clips that are played back in shuffle mode, producing a varied series of sound bites. Across the five sets this produces a cascade of jump cut sound sentences ricocheting around the gallery. News bulletins blend with reality shows, as childrens tv collides with late night programming. An infinite remix of a portrait of the nation . . .
In terms of cops and robbers - the data was captured without the permissions of the TV stations. Not something I am looking to boast about, but v appropriate for your theme!
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| Anni Davide |
Nothing lasts forever is a videogame developed at Accademia Carrara di Belle Arti di Bergamo (Italy)
This project has been possible by an active participation of the students and the work of Davide Anni, professor of Multimedia Design, and Andrea Giuliano, professor of Interactive Systems, A.A. 2010-2011
department of Nuove Tecnologie per l'Arte, coordinated by Fabiola Naldi.
Students: Daniele Cattaneo, Diego Ravotto, Elisa Lauzana, Fabiana Colombo, Federica Lomagistro, Gemma Bonardi, Giacomo Regallo, Joseph Muela Clayson, Katia Lombardi, Luca Maestroni, Marco Bellini, Marta Bassanelli, Martina Vaglietti, Michela Facco, Michele Sana, Paolo Bonacina, Paolo Tognozzi, Riccardo Brembilla, Riccardo Rolandi, Sara Carminati, Sara Mazza, Simone Beretta, Simone Montanari, Umberto Pezzini, Valentina Biasi.
Nothing lasts forever is also an open source software, released under GPL3 license (Free Software Foundation).
Synopsis
"During times to universal deceit telling the truth become a revolutionary ART"
Nothing lasts forever is an interactive interpretation of our reality through the embodiment of one the most controversed and contradictory character of these days, maybe a great artist: Julian Assange.
Pop culture continuously needs myths.
Nothing lasts foreverhelp create a myth and at the same time it partecipates to its unmasking.
Art, embodied in Julian Assange, becomes indeed the only instrument able to subvert systems.
Nothing lasts forever is an eccelent media that integrates diverse forms of creativity, such as storytelling, sound design, 3D modeling, graphic design, photography and, more in general, every visual communication techniques.
Videogames, like satyr and few other communicative languages, are an amazing mean of communication for transfering contents, ideas, and beliefs without taking care of censorship.
Videogames industry is a mass phenomenon based on a verstile language in the fields of entertainment, art, education and, moreover, visual communication.
Contemporary technologis open new horizons in the creation and development of such fields, stimulating creativity of programmers, designers and artits.
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| Gosling Ju |
The Letter Writing Project is a creative response to artist Lee Mingwei's Letter Writing Project, installed at the National Gallery of Scotland in 2009 as part of the Edinburgh International Festival’s Enlightenments exhibition.
Mingwei’s work claimed to bring people together to experience a shared world of emotions, and was advertised as being a participatory installation. However, the design of the work prevented disabled and older people from participating in it, even though there was no artistic reason to make it inaccessible.
After discovering that Mingwei had failed to register the related domain name, disabled artist Ju Gosling aka ju90 registered the domain herself. She then created her own online Letter Writing Project.
Here Gosling documents her correspondence with the International Festival, the National Gallery of Scotland and other bodies as she continues to campaign for better access to the art world for disabled and older people. Gosling also writes regularly to Mingwei, although he has consistently failed to reply.
As the Letter Writing Project shows, Gosling has had considerable success in embarrassing the art world into compliance with anti-discrimination laws. Her elegant prose, and the sense of fun with which the work has been created, means that the website is also regarded as a superb example of ‘art-jacking’.
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| McMusker Guy |
Repetitionr.com (2010)
Expand and multiply the power of click-democracy in the age of media hallucinations.
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Synopsis
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ONE MAN ONE VOTE? NO MORE. ONE CLICK IS ENOUGH.
Representational democracy is a thing of the past. Its days are numbered. Indeed, representation can no longer be said to be representative. .
That’s why Repetitionr.com isn’t just another petition service but the natural and cynical evolution of contemporary democratic processes.
While the political participation is apparently getting more and more ineffective, Repetitionr claims that is now time to leave the beliefs of the past and take the change for a brand new click-democracy model.
No more out-moded street activism, public demonstrations, megaphones: now activism can be carried out comfortably from our armchair.
Repetitionr offers the most advanced web 2.0 technologies to make participatory democracy a truely user-centered experience.
Repetitionr let the people embrace the new era of the confortable armchair-activism: they just have to choose a title for the campaign they want to promote and say how many signatures their re-petition needs to reach its target.
5k, 500k, one million signatures are no more a problem: let Repetitionr do the dirty work for you.
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| Fini Francesca |
A sample of an Italian tv news program has been captured and digitized, stretched vertically to crush the image and then spun wildly on itself, turning into a beam of light. So the Italian tv distorted registration of the real world becomes a feverish plot made of pure color, as in Duchamp's rotating glass disks in which the outside world disintegrates. On this piece of digitally manipulated video was then superimposed a sample of an hollywood motion picture film, treated the same way, but along the horizontal axis, creating plots whose symbolic value is not to be known, because what the two videos illustrated and documented dissolved in the digital manipulation.
This video is part of a project that aims to remix and reinterpret the historical and contemporary imagery dealing with reality.
>video By Francesca Fin
>music "Duchamp" by Isuzu Kochiwa
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| Fraser Nicholas |
In an ongoing project Nicholas Fraser plants altered press releases in galleries throughout New York. Each press release is identical to those currently available in the respective galleries with several critical alterations: Fraser replaces the artist's name and any website information with his own name and website...(a)ll biographical information, exhibition history or copy about the show itself is left intact, although the occasional typo is corrected. Placement of the bogus releases is done en masse and confined within a small geographical area in order to maximize the possibility that a gallery visitor will encounter several at different venues within a short period.
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| Daniel Nicolae Djamo |
The “Menu” video is part of a larger project, named “Buni”, which is a journal of the last words. I started it in the middle of 2009. It’s decomposition, mental agony and self loss. This is not a documentation of death, but a mere projection of what really matters. The photos are trying to underline the immortality of the human experience with everything that surrounds him, their interior value, that is never forgotten or lost, becoming the legacy of those who are near to us, those who we love. “Buni” is not a two year study of degradation, but everyone’s story, even if it appears in rather different shapes, written or rewritten with more or less talent.
Buni raised me. Although we are not related, she was more than a mother to me. I started photographing her when I saw that he is poor in health. I felt I must do it. I couldn’t stay inert. In the summer of 2010 I felt that the photographic medium is poor, considering what I felt I would like to transmit to others. That is why I chose to continue what I felt I must do through video. It is obvious that a feeling cannot be transmitted in the sharpest, truly human and real form through the use of photography, film, or text. Nothing that is inside of us can be made VHS or DVD. “Buni” can only offer photocopied images of a story distorted by our own memories, becoming a reflection of ourselves in deformed mirror. It is a continuous project, putting together more than 180 hours of filmed material and more than 1600 photographs. This work is part of this larger project, alongside other videos made out of the filmed material that I have gathered.
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| Reeder Philip Reeder |
5.1 audio which steals ambient electronica sounds and techniques within a traditional experimental/acousmatic working method.
5.1 Surround
8’40
Awarded an honorary mention by Prix Ars Electronica 2011
Part of Hemispheric’s aesthetic stems from the use of super-wide angle photographic lenses, sometimes known as fisheye lenses. They tend to create an inhuman hemispherical field of vision, with objects toward the periphery becoming increasingly distorted often requiring a remapping of the image in an attempt to create a less skewed projection. Continual recycling of sonic material in this piece give rise to viewpoints which are similarly distorted and re-mapped, exploiting the expansive potential of the medium.
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| Petric Maja |
As It Is Cracking is an interactive light and video installation of the wall that cracks in real time. As the wall cracks, lights and video appear through the cracks to simulate the change of daylight that is happening in the outside. The slowly changing light changes from being frightful to pleasurable. Daunting cracking of the wall in real time happens over the course of eight hours. Light and moving images appearing through the cracks simulate serene change of daylight. This change is interrupted by sudden and startling appearance of the lightning and more intense cracking of the wall that is triggered when a person enters the room. Through transformative spatial experience of the cracking wall, the goal is to create new opportunities for accessing the multiplicity of experiencing the sublime, the dichotomy between bliss and horror, beauty and ugliness, pleasure and pain, comfort and torment, divine and hell as distinct instances of the single sublime that can be experienced through integration of cognitive and sensory ability. This is attempted by means of experimentation with both technology and traditional materials. The approach for facilitating new interpretations and incarnations of the sublime combines principles of architecture, lighting design, and video system.
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| Petric Maja |
Four Landscapes: History of Events is an experimental motion graphic consisted of landscape imagery in combination with scenes of life and modulated sound found in those landscapes. The imagery is divided in four groups according to colors that prevail in four depicted landscapes and that dissolve from one into another. As the blissfulness of the natural environment is established, it is juxtaposed with daunting events that appear there. This experience of events is enhanced by use of dynamic LED lights that are mounted behind the floating and translucent screen. The dichotomy of the sensations ranges from comfort to discomfort and as such relates to Maja’s research of the sublime and the multiplicity of the sublime experience in nature and catastrophic events.
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| Petric Maja |
Inside Wall is a light installation based on a science fiction novel by Adolfo Bioy Casares, The Invention of Morel. The piece uses algorithmically-controlled light system to transform an empty room into a space that conveys the architecture of temporal evolution in Casares’ story. The focus is on increasing and unfathomable change of different times and realities. When the UV light falls on the walls that are covered with invisible UV sensitive materials, it reveals walls that are underneath the original walls and as such they become entries into realities that are underneath the original reality. These realities are interweaved and through their exchange they progressively expose more about each other. The piece finishes with cracks that represent sources of leaking parallel realities.
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| Ostrowski Matthew |
The work sample is a live performance by the Fair Use Trio, comprising myself, Zach Layton, and R. Luke DuBois, using a highly sped-up version of 2001: A Space Odyssey. All video and audio manipulations are performed in real time. This film is a typical sample of our work, which also includes such films as 'The Wizard of Oz', 'Blade Runner', and many others. A brief description of our philosophy can be found on the web page above, and a full press release is at: http://www.ostrowski.info/pages/texts/fair_use.pdf
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| Punzo Rudi |
MUM stands for Manned and Unmanned, an expression taken from the army and used to designate those vehicles that are either driven by a driver or remotely. Here, MUM refers to those commonly used, low-tech electronic devices that enter in the production and reproduction of sound and images, both analogical and digital.
Based on the question "how and how much a random occurrence may affect the mixing of rhythm, sound and images to produce a live performance" may be performed by one or more artists.
Elements:
1) an electro acoustic set of musical sculptures made up of recovered materials such as old wine barrel staves, former chocolate Easter eggs moulds, abandoned bicycles gears, obsolete hand-drills, etc.
2) insectlike analogical photovoltaic ROBOTS that move, play, produce rhythm and project iridescent highlights:
dressed up in dark silicon panels they absorb energy directly from the light giving it back as Rhythm, Sound, Music.
Dancing upon amplified surfaces these frenzy restless creatures endlessly beat their own inner rhythm, thus providing a random base for the live performance.
3) DIY oscillators
4) A video camera, a DVD player and a photocamera which randomly intermingle their signals through modified electronics.
5) Common use electronics such as Loopers, pedals, hacked hardware.
A flow of intermingling images - both live and recorded, created and\or aquired from the web - will be projected over the whole stage.
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| NA Artsim Collective |
Realms of the Unreal is an experimental fusion of contemporary art and graphic design by the Artsim collective (Ian Kirkpatrick and Julien Masson). Fascinated by the bold, hyperactive language of contemporary cinema advertisements, these two Southampton-based artists create promotional materials (i.e. posters, 3D displays, and popcorn boxes) for a fictional movie called Realms of the Unreal.
Their work is made of constantly evolving graphic parts which are created, altered—then assembled into ‘stage-sets’. These modular pieces can be changed and added-to throughout the exhibition, then incorporated into future works.http://artsim.wordpress.com/exhibitions-2/exhibitions/
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| Wilson Andrew Norman |
Workers Leaving the GooglePlex investigates a top secret, marginalized class of workers at Google’s international corporate headquarters in Silicon Valley. As employee Andrew Norman Wilson documents the mysterious “yellow badge” Google workers, he simultaneously chronicles the complex (and confidential) events surrounding his own dismissal from the company. The reference to the Lumiere Brother's 1895 film Workers Leaving the Factory situates the video within the history of motion pictures, suggesting both transformations and continuities in arrangements of labor, surveillance, media, and information.
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| Cherubini Matthieu |
rep.licants.org is a web service allowing users to install an artificial intelligence (bot) on their Facebook and/or Twitter account. From keywords, content analysis and activity analysis, the bot attempts to simulate the activity of the user, to improve it by feeding his account and to create new contacts with other users.
Social networks are the first medium showing the social success of a person via a statistical way (eg number of friends on Facebook or followers on Twitter). For many users, reaching the hoped-for success can become a tough and difficult task. Especially when some human factors such as shyness, introversion or personal worthless are present.
The bot does not born with a fictitious identity, but will be added to the real identity of the user to modify it at his convenience. Thus, this bot can be seen as a virtual prothesis added to an user's account. With the aim to help him to forge a digital identity of what he would really like to be and by trying to build a greater social reputation for the user. Moreover, this bot can be perceived as a threat by defrauding even more the reality of who is really who on social networks and by showing the poverty of our social interactions on these so-called social networks.
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| Beck Felix Hardmood |
The Eyelight is a parasitic lamp, a reactive light with its own mind for your home: In its bright light cone an animated searching eye appears, which scans for and tracks nearby persons and observes them. This subtle superposition of additional functionality adds a whole spectrum of new dimensions to an everyday object transforming it into a complex piece of design that tells stories on various layers. Watch out: A thing that thinks, a demonic monocular little brother is watching you.
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| Beck Felix Hardmood |
The key components of this auditive media facade are the sound pixels, or Soxels, a scaleable array of speakers, and a feed-in point for streaming an endless number of audio channels to provide each speaker with an individual sound stream. DSP technology opens the spectrum from processing natural sounds, transforming them, or generating complex artificial sounds. The developed software is able to mix all integrated soundlayers on any speaker anywhere on the wall and do individual sound manipulation.
The Soxels project was developed and prototyped with a matrix of approx. 1000 speakers by Simon Schiessl and Felix Hardmood Beck. It was presented with the Italian sound artist Andrea Bassi during the DMY International Design Festival 2010 for the first time. Watch the documentation of building the prototype on flickr or in the Soxels blog.
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| Freixes Ribera Gerard |
The heroic characters in mainstream fiction always show individualist attitudes. Here, digitally manipulating old footage, that hero’s individualism is taken to its complete extreme.
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| Freixes Ribera Gerard |
found-footage material from tv-sitcoms is used in this piece to show how it creates uniform role models and bring it to a scene where everybody acts acording to it.
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| Cillari Sonia |
Sensitive to Pleasure is a work about conflict, an intimate piece in which the artist emphasizes her controversial relationship with her own work in front of the public.
Cillari stands outside the door of a dark Ambisonic cube, where she grants entry to only one visitor at a time. The cube features her work, a naked female (the ‘creature’), which reveals the sound of its body when in contact with other human beings. The physical interaction between the creature and the visitor is linked to the artist’s body via electrical pulses, provoking a strong physical experience in her which is painful but might also be considered pleasant. Cillari uses the visitor to gain a physical experience about her work.
The intimacy between the visitor and the creature inside will not be documented in order to guarantee intimacy and allow the visitor to fully experience the work through involvement and exposure. Cillari wants to explore ways in which visitors may interact with the creature knowing that their behavior causes a strong physical reaction on her outside the cube. At the same time, she explores the notion of voyeurism within the audience, watching her while she ‘experiences’ her own work of art.
A path of lights guides the visitor to the entrance of the cube; the lights’ subtle changes reflect the encounters between the visitor and the creature, enhancing the sensuality of the work.
Sensitive to Pleasure is homage to Pygmalion (Ovid’s Metamorphoses, X), the sculptor who falls in love with a statue he created. This work deals with an inverted relationship of control between the creator and his own creation. The physical connection between them represents keeping each other alive, a metaphor of mutually dependent relationship.
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| Oblak Nika |
Shund, 2008, 2 min 23 sec, video
Shund is a frame by frame visually reconstructed original trailer of Pulp Fiction. Entire trailer was reconstructed in the studio, using the technique of chroma key and simple props, like toy cars and guns, cardboard, paper… Nika Oblak & Primoz Novak acted all parts. For the backgrounds of scenes they constructed photo collages, composed from their photos and photos found on the internet. As actors of all parts in a trailer of fictive, nonexistent film, Oblak and Novak become fictional superstars.
CV
http://www.oblak-novak.org/cv.htm
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| Regallo Giacomo |
Performance audio, diffusa attraverso le onde medie (FM). Azione illegale atta alla riappropriazione della liberta' di trasmissione e quindi di espressione.
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| Ambrosio Marcio |
12i is a nod to the inventors of film animation, a modern interpretation of the traditional zoetrope using today’s technology.
A humorous and poetical back and forth between past and present.
The installation aims to immerse the audience in a magical universe by giving them the lead role in the “wheel of life”.
In 12i, participants are invited to create their own dance move animation in 12 images that will be displayed on a modernized zoetrope, an augmented sculpture mixing sounds and visuals.
12i is an interactive and participative sculptural installation fed by participants personal animations.
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| Berti Cristiano |
A series of 11 film clips shows the interpretation of actors who never made the limelight, sometimes on stage alongside the protagonists of twentieth century Italian cinema such as Totò, Banfi, Buzzanca. The fragments, some tens of seconds each, are all taken from Italian co-productions or production of feature films: adventure films, comedies, crime, erotic, dramatic, historical, shot between 1950 and 1986. Only the final sentences reveal the terrible common element that links the stories of the actors who make up the strange cast of Exeunte.
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| Sieber - Kistler Jan - Ralph |
collaborative project by Jan M. Sieber and Ralph Kistler.
“Monkey Business” is an interactive installation where a cuddly toy monkey apes the gestures of the user. The monkey hangs like a Jumping Jack on the wall and gets his vividness from 10 built-in servos that are driven by a set of a sensor, a processing data computer and a microcontroller. The flexible suspension of the ape together with fast responding motors allows an astonishing quick-witted behavior and a tempting interaction experience for the user. All technical devices are covered in order to facilitate a direct communication between the visitor and the soft toy. The work reflects in a playful way the problem of real natural interaction and states an ironic comment about the present art business through this iconic monkey figure.
M.F.A. Ralph Kistler is an artist living in Tenerife/Spain. His interest is based on the observation of today’s society phenomena by taking his surroundings and his personal life as a reference to query everyday situations with ambiguous and often ironic artworks. To create his art installations he is working with electronics, interactivity, optical effects or kinetic objects.
By using technology and multimedia like bare tools to enrich the possibilities of artistic expression, he rather prefers low cost, recycling and DIY to be able to keep the maximum autonomy in his projects.
Dipl-Ing. Jan M. Sieber is an engineer in media technology, focussing on interface design and media production. His works are located in the frame of media art, computer science, user experinece design and physical computing.
After working in AV-productions in Bangkok/Thailand and research and development in the automotive industry in Stuttgart/Germany he was heading the Physical Computing Lab of the Media Art and Design study programme at Bauhaus University Weimar/Germany.
Since 2011, he is developing interactive media systems with his company
in Weimar/Germany. Best known worldwide is „WiiSpray“, an installation for digital graffiti.
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| Blom Conny |
I am symbolically challenging the music industry with this 8-channel sound installation that consists entirely of music recorded by the Beatles. Every second of the officially released recordings by the band is included in the piece, but none of the songs can be recognised. Each individual track is looped and played simultaneously, so that at any given moment one can hear all of their recordings. The sound shifts as one walks through the room. Overtones shimmer and vibrate. This is not about sampling – The Beatles production is presented in its entirety – but is it The Beatles that we are hearing?
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| Blom Conny |
I am also working with The Beatles in the text piece "Believe Me I Say Unto You," where I ask the question; How bad can a translation be, and still be protected by copyright? In the piece The Beatles' lyrics have been run back and forth through the EU languages in Google Translate, until the limitations of the software transformed the lyrics into absurd poems. Sometimes similar to teenage poetry, sometimes echoing Dada, these poems have little resemblance to the source, but still they are in their entirety based on the lyrics of The Beatles.
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| Blom Conny |
In this piece I have sampled pauses/breaks within recorded compositions of rock/jazz/classical music and constructed a 4'33 long piece of copyrighted silences in obvious reference to John Cage. The way the copyright law is written today everything in a recorded composition is protected, including silence. By stealing these compositional pauses, and creating a new piece of them, new aesthetic qualities are revealed. The silence proves to be far from silent. When the surrounding sounds have been edited out, it's possible to raise the volume and hear things hidden behind the background hiss: unintentional noises, lingering notes or perhaps even voices.
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| Chierico Alessio |
“[e-Book] Intellectual Property - A Reference Handbook” è la stampa di una copia pirata dell'omonimo libro, che per l'appunto, è riferito alla proprietà intellettuale. Il testo che costituisce il libro, non è il testo scritto dall'autore, ma la codifica del libro stesso nel codice ASCII esadecimale, utilizzato dalla macchina. L'opera dell'autore del libro esiste ancora tra le righe del codice? Il digitale impone una problematica ontologica che mette in discussione la legittimità della proprietà intellettuale.
La forma istallativa dell'opera prevede l'esposizione del libro, fiancheggiato da un sistema digitale che permette al fruitore di ottenere una copia del libro codificato.
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| Kutschker Thomas |
Me, Myself and I in the Age of Download is an entertaining exercise researching on the phenomena of digital copying and downloads from the internet. It is a scientific-like experiment, a poetical observation of (post-) modern times. The title refers in a humorous way to these hermetical procedures, as well as to the presence of the film maker in the frame.
It makes you think of Duchamp’s painting ”Nude, Descending a Staircase”; and the changes in the cinematic techniques since the beginning of the 20th century and ends in a look-alike retro styled computer games.
Original and digital copy are the same, as long as it is asured that it is an identical copy. If the quality, the stream, the transportation rate are not ideal, the copying result will not be perfect-mostly unremarked. By repeating this procedure of up- and downloading the file 42 times, errors and artefacts accumulate to a visible level. 42 is an eye twinkling quotation of Douglas Adams‘ answer to all questions in his book ”Hitchhiker’s guide to the galaxy”.
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| Kenyon Matt |
The Notepad is an act of protest and commemoration disguised as a stack of ordinary yellow legal pads. Each ruled line, when magnified, is revealed to be microprinted text enumerating the full names, dates, and locations of each Iraqi civilian death on record over the first three years of the Iraq War. A printed edition of 100 notepads, was covertly distributed to US representatives and senators, as a sort of Trojan horse, injecting transgressive data straight into the halls of power and memorializing it in official archives. SWAMP is now working on a new edition that takes into account the American incursion into Afghanistan; with the disclosure of confidential information by WikiLeaks.
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| Kenyon Matt |
Tardigotchi is an artwork featuring two pets: a living organism and an alife avatar. These two disparate beings find themselves the unlikely denizens of a portable computing enclosure. The main body for this enclosure is a brass sphere, housing the alife avatar in an LED screen and the tardigrade within a prepared slide. A tardigrade is a common microorganism measuring half a millimeter in length. The alife avatar is a caricature of this tardigrade, its behaviour is partially autonomous, but it also reflects a considerable amount of expression directly from the tardigrade’s activities (like eating).
This portable sphere playfully references the famous Tamagotchi toy from the 1990’s. What is interesting about this toy, is how it popularly encourages pet-owner behaviour through a device that is ostensibly more like a cell phone than a Chartreux. Does simple interaction engender emotional attachment? Can feelings of affection blossom from the ritual of assisting the persistence of a pattern? Does biological life make a difference?
A Tardigotchi owner tends to a real and a virtual creature simultaneously. By pushing a button, the virtual pet is fed, which in turn will feed the tardigrade. Tardigotchi has a social web presence: sending an email to the virtual character triggers a heating lamp, relaying a momentary signal of warmth to the tardigrade, while prompting the pixelated tardigrade to recline and soak up animated sun rays. Tardigotchi applies a salve to our yearnings for care and nurture through a unique design that symbiotically merges biological and artificial life within a single interface/enclosure. It also serves as a reminder for the special place humans have in communing with other animals, perhaps equally for artificial ones. We, along with the inhabitants of Tardigotchi, and every other living being, are neighbors subsisting on an incredibly precarious life-sphere known as Earth.
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| Kenyon Matt |
Consumer Index is a site specific performance where Kenyon becomes a "Nielson Family" member. But instead of becoming a part of the "mini-USA, representing millions of Americans", he becomes a virus inside the system of catalogue and splinters marketing data research of this "typical" country.
Kenyon usurps and circuit bends the Nielsen Homescan barcode scanner - fusing it with a micro-video camera implanted inside his mouth. Kenyon proceeds to scan every single item from the local Walmart, indexing and cataloging this data. Using his body as the source of ingestion, he overthrows consumer profiling and tracking technologies.
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| Nelson Jason |
Evidence of Everything Exploding
Artwork URL: http://www.secrettechnology.com/explode/evidence.html
Related Art Games URL: http://www.secrettechnology.com/artgames.html
Video games are a language, a grammar or linguistics of various texts. The sounds, the movement, the graphics, the rules or lack of rules, everything about a video game is a component of language. A digital poetry game must combine all these elements, strange and interactive stanzas, crossed out and obstructed lines, sounds and texts triggered and lost during the play. Indeed the game interface becomes a road to inhabiting the digital poem, to coaxing the reader/player into living and creating within the game/poetry space. A messy and disjointed playground.
Using a top down, platform engine (without gravity) Evidence of Everything Exploding is a game driven digital poem exploring various historical and contemporary texts. Each level’s poetic content is built from the document’s sub-sub texts and curious consequences. With Bill Gates’ letter to the Computer Brew Club about monetizing hobby computing, we find the seeds of an empire, James Joyce is caught in an infinite loop of changing texts, Fidel Castro’s boyhood letter to the US president praising America and asking for money signals an opportunistic future.
With ten levels, each with video poem prizes, and strange poetic narratives, this game is a sequel to “game, game, game and again game” and “I made this. You play this. We are enemies”.
Short Biography:
Born from the computerless land of farmers and spring thunderstorms, Jason Nelson somehow stumbled into creating awkward and wondrous digital poems and interactive stories of odd lives. Currently he teaches Net Art and Electronic Literature at Griffith University in the Gold Coast's contradictory lands. Aside from coaxing his students into breaking, playing and morphing their creativity with all manner of technologies, he exhibits widely in galleries and journals, with work featured around globe in New York, Mexico, Taiwan, Spain, Singapore and Brazil, at FILE, ACM, LEA, ISEA, ACM, ELO and dozens of other acronyms. But in the web based realm where his work resides, Jason is most proud of the millions of visitors his artwork/digital poetry portal http://www.secrettechnology.com attracts each year.
Evidence of Everything Exploding URL: http://www.secrettechnology.com/explode/evidence.html
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| Nelson Jason |
Each day the internet is humming with a million small interventions. From the humoresque mocking of community content sites like Fark, to the net gate keepers Yahoo and Google, partisan political portals like Huffington Post or the open source/file sharing ‘priates’ of Mininova, the web is an easy tool/weapon for meddling/influencing and sharing/forcing/alluring your opinion on whomever clicks. And yet this digiscape is a deceiving and uneasy place, with continual streams of generic expression/content, cute dogs and accident clips, knocking against an incredible range of political/social beliefs hidden beneath the screen. Even short sequences of words, titled links or blinking ads can reveal the strange, wondrous and treacherous.
: “i made this. you play this. we are enemies.” is an art game, interactive digital poem which uses game levels built on screen shots from influential community based websites/portals. The game interface drives the poetic texts, the colliding and intersecting images, sounds, words, movements, a forever changing, reader built poetic wonderland. And using messy hand drawn elements, strange texts, sounds and multimedia layering, the artwork lets users play in the worlds hovering over and beneath what we browse, to exist outside/over their controlling constraints. Your arrow keys and space bar will guide you, with the occasional mouse click begging for attention.
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| Nelson Jason |
title: with love from a failed planet
An interactive sphere populated with stories of demie and failure of some of the largest corporations/net portals. Using their logos it seeks to create fictional disruptions, to spread rumor and descent. Explore and Read and Play
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| Antunes Rui Filipe |
Appropriating the colors and dimensions of the digital representations of Peter Halleys paintings, an ecosystem of pixels reinvents its imagery.
Taking as a starting point Borges's Library of Babel -a vast library containing all possible 410-page books of a certain format-, we can extend this idea and imagine all the possible stories that we can tell using the words from an initial book. To produce the equivalent exercise with an image, we have to explore all the combinatory compositions we can produce using the pixels from an initial image. All the possible images produced only by changing pixels positions.
On this series, depending on its initial light and color, each pixel is determined to be a living agent or simply a nutrient. With their limited artificial intelligence, the agents will move through the image producing new images, a part of the previously referred domain of possibilities.
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| Gregory Chatonsky |
Capture is a prolific rock band. It never stops producing new songs by retrieving lyrics on the Internet and composing generative music according to a specified criteria. Concerts typically last 8 hours or more and are also an event for the production of new images and sculptures which are dictated by its context.
Capture has a very active social life on the Internet. It submits new messages on Facebook and Twitter at every minute. A vast number of tasks are simultaneously automated that even the band members cannot listen to everything.
Since the musical industry never ceases to announce its death, Capture reverses the problem’s datum. By being very productive, Capture even exceeds the possibility of being listened to.
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| Aschauer Michael |
The project "WHAT IF YOU WOULD PULL RIVERS TO A STRAIGHT LINE?" visually straightens rivers. It reassembles a method traditionally deployed in remote sensing's digital image acquisition: push broom (also: along-the-track) scanning -with a major difference: it does not happen on a satellite over earth, but reiterates over (remixes) existing satellite image footage by software.
If maps are compensation for flying, and the riskless reality of Ikarus' phantasma (Christine Buci-Gluchksmann: Der kartografische Blick in der Kunst), this is a simulation of Ikarus flying along rivers, and a brief adventure into experimental map-making inspired by river comparison maps and charts of the 19th century.
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| Aschauer Michael |
Twenty years after the fall of the Berlin Wall there are renewed efforts around the world to build barriers of exclusion and separation. Countries are fencing off there borders to protect - exclude - poorer migrants and potential future climate refuges.
I used a custom software ('satlisca') to trace and straighten (some of) them simulating an along-the-track (also: push-broom) scanning approach over existing satellite footage.
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| Scharfe Martin |
VolksLesen.tv is internet television for people who love books. Our program looks that: People read out before the camera a short cutting from a book that is important to them and they say why. The readings last about 5 minutes. Sometimes shorter, sometimes longer.
We show every week four new readings. Every week reads a group of people. Up to now philologists and homeless, taxi drivers and member of Bundestag, midwives and fire-fighters, allotment holders and Jesuits, blind people and clairvoyants have read. VolksLesen.tv is not about the perfect reading, but the people who read.
The program runs since January, 2008. Meanwhile more than 600 people have read. You can find all readings on the website in the library.
VolksLesen.tv is about people and books, it´s also a picture of our time and society and a mirror of our cultural identity. If VolksLesen.tv would exist for 30 years you could look back into the 80s. In 2040 hopefully it will be possible to look back in our times on VolksLesen.tv.
Every 3 months VolksLesen.tv changes its location and explores new areas. From July to September 2011, on the invitation of the European Literature Days VolksLesen.tv will document local people’s interests and dreams in the Wachau in Austria. Each week a mosaic will emerge to showcase the social milieu of this world-famous region.
Please have a look at the subtitled VolksLesen-trailer. -> http://vimeo.com/26484944
I would love to bring this idea to Italy!
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| Ho Wei-Ming |
(Title:Self-Destruction For Eternity, 2011. single-channel video, projection or monitor, colour, sound; 6min., 26sec.)
DESCRIPTION: Who decides who is good or evil? Who decides who lives or dies? Who will be the next victim? The calm before the storm¡Is it an illusion? Or are there dark realities and tragic flaws hidden behind the scenes? Using machinima to record the process of playing games, this film correlates elements from different games and remixes them in order to re-comprehend them in a different way.
SCREENING HISTORY OF THE WORK:
£®The Festival of (In)appropriation, Egyptian Theater, Los Angeles, USA , 2011
£®VIS Vienna Independent Shorts, Vienna, Austria, 2011
£®International New Film Festival, Split, Croatia, 2011
£®Video Art Festival Miden, Kalamata, Greece, 2011
£®fLEXiff International Film Festival, Sydney, Australia, 2011
£®Naoussa International Short film and Video Festival, Naoussa, Greece, 2011
£®International Short & Animation Film Festival, St. Petersburg, Russia, 2011
£®Videoholica Video art Festival, Varna, Bulgaria, 2011
R¨¦sum¨¦ of the artist:
Wei-Ming Ho is engaged in research and creations of visual art. He focuses on experimental media, film and video art.
Screensings:
£®VIDEOAKT International Videoart Biennial / LOOP Festival, Barcelona, Spain, 2011
£®A.I.A.F.¨C AsoloInternationalArtFestival, Asolo, Italy, 2011
£®Impakt Audiovisual Festival, Utrecht, The Netherlands, 2011
£®Currents- International New Media Festival, Santa Fe, New Mexico, USA, 2011
£®VIS- Vienna Independent Shorts, Vienna, Austria, 2011
£®London International Documentary Festival, London, England, 2011
£®Pixxelpoint- New Media Art Festival, Nova Goricia, Slovenia, 2011
£®Stuttgart Filmwinter, Stuttgart, Germany, 2011
£®International New Film Festival, Split, Croatia, 2011
£®The Festival of (In)appropriation, Egyptian Theater, Los Angeles, USA , 2011
£®The Coastal Currents Arts Festival, Electric Palace Cinema, Hastings, England, 2011
£®International Festival Signes de Nuit, Paris, France, 2011
£®Transfera TV, Spain, 2011
£®Images Contre Nature festival, Marseille, France, 2011
£®Athens International Film & Video Festival, Ohio, USA, 2011
£®The Finger Lakes Environmental Film Festival, New York, USA, 2011
£®Video Art Festival Miden, Kalamata, Greece, 2011
£®International Short & Animation Film Festival, St. Petersburg, Russia, 2011
£®fLEXiff International Film Festival, Sydney, Australia, 2011
£®Videoholica Video art Festival, Varna, Bulgaria, 2011
£®International video collective Cameracartell, Cultural Center of Skopje, Skopje, Macedonia, 2011
£®Patras International Festival of Cinema & Culture, Patras, Greece, 2011
£®Naoussa International Short film and Video Festival, Naoussa, Greece, 2011
£®The West Virginia Mountaineer Short Film Festival, West Virginia, USA, 2011
£®¡±Revolution Now and Forever¡±, New Media Gallery, Zadar, Croatia, 2011
£®"Art Walks" exhibition, Historic Centre of Kalamata, Kalamata, Greece, 2011
£®Kunstfilmtag, D¨¹sseldorf, Germany, 2010
£®Hamburg International Short Film Festival, Hamburg, Germany, 2010
£®Asian Hot Shots Berlin festival for film and video art, Berlin, Germany, 2010
£®Les Instants Video Festival Marseille, France / ANEMIC International festival of Independent Film & New Media Art, Prague,
Czech Republic, 2010
£®International Streaming Festival, The Hague, Netherlands, 2010
£®The Madrid Festival of Contemporary Audio-Visual Arts, Madrid, Spain, 2010
£®Video Art Festival Miden, Kalamata, Greece, 2010
£®ARES Film & Media Festival, Siracusa, Italy, 2010
£®International Toscana Video Festival, Siena, Italy, 2010
£®Antimatter Film Festival, Victoria, BC, Canada, 2010
£®Rodos International Film & Visual Arts Festival, Athens, Greece, 2010
£®International Meeting of Cinema, TV, Video and Multimedia AVANCA Film Festival, Avanca, Portugal, 2010
£®Backup_ Festival, Weimar, Germany, 2010
£®Portobello Film Festival, London, England, 2010
£®fLEXiff International Film Festival, Sydney, Australia, 2010
£®LightAndVideoArtFestival, T¨¹bingen, Germany, 2010
£®T.I.N.A.- This is Not Art festival, Newcastle, Australia, 2010
£®Independent MediaFestival, T¨¹bingen, Germany, 2010
£®Naoussa International Short film and Video Festival, Naoussa, Greece, 2010
£®International Videofestival, Bochum, Germany, 2009
£®Crosstalk Video Art Festival, Budapest, Hungary, 2009
£®Videoholica Video art Festival, Varna, Bulgaria, 2009
£®Multimedia Art Exhibitions Lunghwa Art and Culture Center, Taipei, Taiwan, 2008
£®The Visual Arts Fair Chinese Culture and Movie Center, Taipei, Taiwan, 2008
£®The Visual Arts Fair Hua-Shan Art and Culture Center, Taipei, Taiwan, 2008
Award
£®Prize of the Most Promising Video Artist, Transfera TV & Madatac Contemporary Audio-Visual Festival, Madrid, Spain, 2010
£®Special FLEXIFF award, fLEXiff International Film Festival, Sydney, Australia, 2010
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| Gosling aka ju90 Ju |
www.inclusive-london.com - Inclusive London? - is an artistic intervention led by Ju Gosling aka ju90 using the name Spasticus Autisticus to enable everyone who wishes to participate in the piece. The site challenges the official www.inclusivelondon.com, set up by the Mayor of London to promote London as ‘the most inclusive city ever to host the Olympic Games’, by highlighting the very different reality of life for disabled Londoners today. The Mayor is currently threatening the artist with legal proceedings. As with The Letter Writing Project, Ju is acting as both cop – demanding the implementation of anti-discrimination laws — and robber.
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| Hans Bernhard UBERMORGEN.COM |
CLICKISTAN
Name Says it All, Really
"There is something very repetitive and redundant about it. It's not very challenging. So what you're focusing on is really what this act of clicking means."
Christiane Paul, adjunct curator of new media at the Whitney
"aims to challenge players to reconsider the meanings of the Internet’s everyday trappings"
The Wall Street Journal
Clickistan is donationware, of a sort; it urges you, from time to time, to donate to the annual fund for the Whitney Museum, which commissioned it.
It's an art game created by a UBERMORGEN.COM, a duo of Swiss-American-Austrian digital artists. You would think, given these facts, that it would suck, but actually, it's kind of engaging. Not coherent, mind you, but engaging.
In each level, you click on stuff while chiptunes play. A score at screen bottom is about the only thing that the levels have in common; it increases, somewhat mysteriously, when you click on the right things, whatever they may be. At some point, text appears telling you that the level is "extremely complete," and you should click to continue.
In short, it's chaotic, there's really no motivation to play other than to see what comes next and for the basically irrelevant non-thrill of maximizing a pointless score; but visually, it's cool, and the chiptunes are fun, and it's at least as much of an enjoyable timewaster as most of the stuff we point to.
"It is unexpectedly fun, in other words, to chase after runaway shopping carts with your mouse pointer, as idiotic as that may sound. Or to check a box on a grid, which causes the whole array of checkboxes to shake playfully at you, like a wagging finger or a belly dancer. Clickistan attacks the click with no rhyme or reason, imitating the formlessness of the web. One level is a survey that obnoxiously asks, "How are you going to profit from global warmings?"
Killscreenmagazine
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| Jameson Holly |
I have chosen to depict a personification of the internet (the female figure) being pursued by internet robbers/leechers.
The internet is a beautiful thing which some people don't understand and many abuse.
Photoshop and Pencil.
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| Lazovic Mirko |
interactive video installation
Creatures are floating through three round screens on the floor, they are calm and silent, until they "notice" somebody’s presence, then they appear closer to the surface, brighter and louder following spectator. The more people are present, the more figures will float and sound will be more intensive. Creatures are following people, but they also have their own behavior, so it is hard to predict how exactly they will move, or if they will react. The element of randomness should help in giving the impression of playful living beings existing in the space below the floor. Hierarchy is only strict element, so harmony in sound is created with first three appearances, after which sound gets more complex and more aggressive. Six-channel audio system creates stronger felling of physical presence.
Software created in MaxMsp/Jitter, Open GL.
It uses Multiple beamer projection and 6 channel sound.
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| Branca Paolo |
Videogame is not only the search for realism.
Videogame is also abstraction, it reflects on ways that have made the history, on hardware and software, behind the scenes of his light.
Reflection on the ancient Game Rooms of the '80, for a new age of collective play.
With Protopixel HARDcade by VjVISUALOOP, visitors can perform live visuals with a vintage videogame Arcade cabinet.
"Protopixel HARDcade" is a Interactive installation.
It consists of a software embedded into a vintage videogame Arcade cabinet.
Visitors can perform live visuals, interacting with the original controls of the cabinet (joysticks and buttons).
The visuals are generated by the software and displayed through the monitor of the cabinet and two video projectors.
The monitor display the images at a slow refresh rates (15Khz), in a similar way to the Arcade games of the 80s, while projectors provide a different experience.
The images on the monitor look blurred, while those projected on the walls are more crisp.
The moving images are characterized by low resolution, aliased images, limited frame rate and set of colors, as well as loops and "old school" effects. Some graphic elements are abstract geometries and repeated patterns.
The software also includes electronic 8-bit sound, related to the images displayed on the screens.
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| Branca Paolo |
Reality and fiction in the contemporary media landscape, where one ends and the other begins?
The mass media present us a "streaming" of images, opinions and events that determine much of our worldview.
"inFluire" promotes the direct involvement of the public via an Interactive Installation.
Through "inFluire", we want to give back, like moderns Robin Hood, some of the images, portions of reality, broadcasted by mass media, in the hands of people, visitors to the Piemonte Share Festival, with the aim of promoting their critical sense and provide insights to stimulate "reflection".
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| Ludovico Alessandro |
Un milione di profili di Facebook rubati, filtrati attraverso un software di face-recognition, postati poi su un sito di dating costruito su misura, e catalogati a seconda delle caratteristiche delle loro espressioni facciali.
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| Thompson Jeff |
“Every Nokia Tune” is a 10TB hard drive, filled with all 6,227,020,800 possible combinations of the Nokia Tune ringtone. This melody, the most ubiquitous piece of music ever, is heard 20,000 times per second around the world. The piece was created in collaboration with the Holland Computing Center at the University of Nebraska-Lincoln using a network of supercomputers.
Using custom-written software, the original 13-note melody is reorganized into every possible permutation, stored on a 10TB hard drive. The drive is all that is shown and has no power or data cables – the complex, useable data becomes a sculptural form.
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| Romeo Martin |
When we’re in a dark space we tend to look for the light, a way of escape to the vision, to the objects. In this space lights are used for causing the creation and show other visions, using this means we can create patches, openings and see images, colours, and sounds and these elements can lay one upon the other.
In the installation these elements are manipuleted thanks to the movements and the natural action that watchers have to do: to peep at somewhere else, to observe another reality, to feel uncomfortable in front of a space-time, a no-place, in which they can enter but just with their look, they’re not completely in there.
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| Wlodkowski Michal |
INSECURE TERRITORIES
"Public space does not end at the borders of visible, perceptible reality but extends into the invisible. The increased population of communication devices in public life results in a dense layering of electromagnetic content passing through both air and bodies, on route to its target. As such we are not just senders and recipients but carriers of signal.
We unwittingly move through numerous digital and analog networks, leaving traces of our electronic passing with the devices and gadgets we carry. More so, we inadvertently leak information about ourselves that can be analysed to a disturbing level of accuracy with publicly available forensic tools.
In form of a workshop and presentation, the technologies and techniques of how to read the plethora of signal in the air, manipulate it and pass it on will be adressed."
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| Szafir Milena |
Nowadays it has become clear that processes of digitalization and convergence have transferred audiovisual production from the television screen to the Internet environment. How can one use a video as a reference to be remixed without having to resort to complicated (and heavy) non-linear video applications? As a consequence of this current state of affairs, open issues concerning this topic is under "YouToRemix" discussed and tested.
If we consider Youtube (by Google) as an example of a kind of video-library – online audiovisual archives – let us link these databases to one another and mix them, creating a new video, an audiovisual rhetoric (my Master Degree thesis title).
Then, the user will be able to play some excerpts from one video and link (mix) it to other ones in real time. Thisinteractive-video (an online YouTube video live remix) was part of my master degree studies and is currently being developed on my PhD (“Audiovisual Rhetorics 2.0”). Does this kind of project interest someone else?
It looks like to be a naif experience (“Bike C-Mapping”), but I hope it makes user (the video interactor, a kind of online vj) think about our surveillance – cyborg – realities under pervasive dispositives like cellphones, RFID and GPS; YouTube & the Google Apps ones too.
I'm not a paranoid: I love internet, I believe in YouTube and online video plataforms, Mobile Communication is amazing!!! But geoinformation is clearly running! How Really Free Are We? What does it means!?
Be a VJ & Enjoy it!
:)
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| Nocci Fabrizio |
What's happening? è un concerto multimediale in cui si incontrano tre forme di espressione: l'elettronica, la video-arte e le percussioni. I percorsi dei tre artisti coinvolti, pur partendo da ambiti di intervento differenti, sono accomunati dalla forte attenzione alla ricerca e all'interazione.
La struttura dello spettacolo è fissata ed i materiali da utilizzare (composizioni, brani di elettronica, video) sono stabiliti ma è all'interazione "live" e all'improvvisazione che viene lasciata la componente registica. C'è in questo progetto la volontà di una comunicazione del ricercare, si racconta e si rappresenta la tensione verso un linguaggio nuovo, verso l'interazione profonda tra linguaggi diversi.
What's happening? è musica per gli occhi da ascoltare e visioni per le orecchie da vedere.
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| Jansa Janez |
Everybody has a name. But what is a personal name? What is its role in the society? The personal name is a conventional label used by people to differentiate a specific individual from other individuals.
But, what happens when the personal name of a known public figure suddenly multiplies and starts to appear – locally and internationally – in contexts other than the original ones?
Does this multiplication lead to the “devaluation” of the original name or does it rather contribute to its popularity and dissemination?
In what way does the multiplication of a personal name render the communication confused and unstable? Is this having any “hacking effect” on it?
What does a personal name mean – in terms of brand – in our society? What kind of move is it for a public figure to give up his established brand and start his career anew, with a brand new name? Is it a marketing “suicide” or a smart move?
And finally: what would happen if we all have the same name?
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Trailer:
http://www.vimeo.com/26964437
Password: trailerjansa
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Download Video Documentation of the Performance:
www.aksioma.org/vec_nas_bo.avi
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| McGarrigle Conor |
Madmen: the Bitorrent edition is a video comprising one episode of Madmen incompletely downloaded from the internet via bittorrent. The video has been linearly edited, no digital effects were used and all jump cuts and repeats are in the corrupted file.
The video captures an episode of the popular TV show in the act of being shared by thousands of users on bittorent. The video simultaneously acts as a visualisation of bittorrent traffic and the practice of filesharing and is an aesthetically beautiful by-product of the bittorrent process as the pieces of the original file are rearranged and reconfigured into a new transitory in-between state.
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| Kemp Jonathan |
recrystallization was convened around the premise that while life itself starts from aperiodic crystals that encode infinite futures within a small number of atoms, the digital crystallization of the flesh by capital limits these futures to the point of exhaustion.
If computers and the minerals from which they are made are considered as equally crystalline, then their recrystallization is only possible through the introduction of vigorous and noisy positive feedback loops.
Where the previous decrystallization workshops had addressed the computational side of this equivalence in recovering some component materials through executing various mechanical and chemical processes on old computers parts, recrystallization refined the attack further by re-purposing elements of discarded computers as the means of their further subversion, as well as in its renewed chemical leachings to successfully recover minerals including gold for asynchronic recombinations.
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| Bertran Ishac |
Generative Photography is an exploration within the fields of photography and generative art. Digital drawings are sequentially projected on a screen in a dark room and photographed using long exposure times. As in generative art, this photography technique uses an algorithm that is polluted with a certain randomness. The randomness comes from rendering imperfections and the asynchrony between the frame rate of the video signal and the refresh rate of the projector.
Glitches are unique, almost impossible to reproduce, and usually imperceptible to the naked eye. This technique gives shape to these digital glitches and captures their unpredictable beauty.
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| Bertran Ishac |
Experimental analog sampling with modified vinyls.
Sectors from a vinyl record are cut and replaced by pieces with exact shape from other records. When played in a vinyl player the needle follows the grooves from both sectors creating sampled tunes or loops.
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| breeze mez |
cross.ova.ing ][4rm.blog.2.log][ is a language-hacktivist weblog housing netwurks constructed in the polysemic language system termed _mezangelle_ [evolved/s from splice_hacking multifarious email exchanges, computer code flavoured language, net iconographs and social networking platforms]. To _mezangelle_ means to take words/wordstrings/sentences and alter them in such a way as to blow apart + reassemble meaning beyond the predicted or the expected. Topics range from bio>androidal "interventions" to poetically dissecting LULZSEC/Anonymous actions. _Mezangelling_ attempts 2 re-script[kiddy] traditional text>fiction>concept parameters through read+rip-between-the-lines-comprehension.
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| Zingerle Andreas |
The "Re: Dakar Arts Festival" documents an art festival scam practice, that can be
followed in an interactive installation and online through social media channels. In this
transmedia story both fiction and reality blends, when swiss artist Heidi H. and gallerist
Peter prepare for the "Dakar Arts Festival". The installation, in form of Heidi's suitcase,
represents the ongoing festival preparations an the correspondence with the fraudulent
festival organizers. Several entrance points give the audience a possibility to further
investigate the story online, where the full complexity of the artscam unfolds. By exploring
plot-lines of different character that are spread out over the internet, the audience can dig deeper into the story world.
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| Zingerle Andreas |
The "Re: Dakar Arts Festival" documents an art festival scam practice, that can be
followed in an interactive installation and online through social media channels. In this
transmedia story both fiction and reality blends, when swiss artist Heidi H. and gallerist
Peter prepare for the "Dakar Arts Festival". The installation, in form of Heidi's suitcase,
represents the ongoing festival preparations an the correspondence with the fraudulent
festival organizers. Several entrance points give the audience a possibility to further
investigate the story online, where the full complexity of the artscam unfolds. By exploring
plot-lines of different characters, that are spread out over the internet, the audience can
dig deeper into the story world.
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| Gradin Charly |
"peronismo (spam)" is a digital poem made from Google search results for "el peronismo es como". Those results were read and selected to be reordered, and finally the new text was animated using the Time Based Text software to create a web page. This work tries to escenify the power of certain words and concepts to stimulate new discourses in which words become resignified in multiple directiones, producing the paradox of a unique subject full of contradictions and extremely different points of view making impossible to expect any kind of global synthesis that include them. Peronism was a central political movement that took "justicia social" (social justice) as its motto, and was involved in those conflicts that shaped argentinian history through the second half of XX century. Banned by authoritarian and democratic governments, peronism produced, nevertheless, an infinite amount of theories and interpretations that tried to clarify its true meaning, identity and ideology. "peronismo (spam)" exploits peronism's hability to proliferate through infinite discourses to pay tribute to the World Wide Web.
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| Mul Geert |
Gods Browser, continues to be under construction....
Geert Mul
God’s Browser (forst version 2010)
Generative interactive installation
Generative interactive installation with projector, projection screen, theremin, computer, and custom software.
God’s Browser is a generative interactive installation that features a film whose every frame is an image taken from the Internet. Specially developed image recognition software sorts images available on the World Wide Web and places them in sequence, resulting in a generative film made up of thousands of online images.
God’s Browser is inspired by the basic principle of cinematic illusion: a rapid sequence of individual images creates an impression of continuous motion in the viewer. A narrative is created by means of such images with sound added. Instead of making a movie in the usual way, Geert Mul takes thousands of images available on the Internet as frames for an abstract generative film created by means of software. The soundtrack is also generated with image recognition software, which assigns similar notes to images that resemble each other. Visitors can influence the narrative by using a theremin connected to the installation. Though the visitor cannot generate sounds, he or she can interact with the sequence of images in the film and influence its structure.
In God’s Browser, Geert Mul reflects on the Internet as a repository of innumerable terabytes of information, an archive (or dump) of users’ knowledge, thoughts, daily experiences, desires and fears. God’s Browser materializes the role of the Internet as an archive, a dump and a mirror for each of its users.
Gods Browser 01 was developed at BALTAN Laboratories EIndhoven.
Programmer: Carlo Prelz.
Distributed by V2_Agency
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| Mul Geert |
http://vimeo.com/geertmul/realia
THE VIDEO IS PASSWORD PROTECTED !
PASSWORD = realia
Realia: a cosmology of internet imagery
Movie 30 minutes.
Geert Mul 2013
The term 'realia' is the plural of ‘Real’ and means "real issues". This generally refers to things in real life and / or objects of a particular culture .
Realia is an unique digital / cinematic / photographic experiment. Never in the history of mankind have so many images been produced and shared as today. The photo website Fickr for example, has received 3000 pictures per minute, 30 Million per week, 130 Million per month on average in 2010. It’s easy to imagine the Internet as a database with an infinite amount of images. (The visual equivalent of “the library of Babel” from Jorge Luis Borges). Imagine all these images as individual frames of an movie. For this movie to construct, the frames should be put in the ‘right’ order. So, a computer ‘looks’ at millions of images and put those images in sequence one after the other so that each frame differs slightly compared to the previous frame. This creates an optical illusion of movement, it creates ‘a film’ it’s the very principle of a ‘movie’. These computer generated ‘scenes’ will be the raw material for the movie: Realia. These scenes will then be manually assembled and ordered and edited to create a story: A sketch of the world and our place in it: a Cosmology of Internet imagery.
In this movie I'm not looking for 'the human' or 'the truth' behind the technology of the Internet. I assume that 'reality' and the culture-specific representation of it converge and develop together. I want to visualize this in "Realia": a monumental animation using millions of images from the Internet. This research for project will take about about six months full-time work to complete, spread over one year.
In case I win the Piemonte Share Festival, the price money will be spent on the production of this movie. The teaser that you see here is the result of a year long software development together with software programmer Carlo Prelz. Now that I have made the teaser I can work on finding the resources to make a 30 minute cinema movie, with added soundtracks by great and some famous invited composers of (electronic) experimental music.
Geert Mul
23-08-2011
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| guljajeva varvara |
'Shopping in 1 Minute' is a mobile game-art project for activism purpose. We have developed an application for iPhone that enables us to convert Shopping malls into playgrounds!
We encourage everyone to play instead of shopping!
The project is geo-locative and social. It means after playing one can compare his/her results with other people within the same or even different city!
Our aim is to create a community around the project and transform consumption-oriented behavior.
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| Niehaus Wyatt |
"What is Property? Property is Theft!"
Single-channel video- no sound
2011
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"What is Property? Property is Theft!" is a call to the computer-based performance of dissent. The video acts as a polemic gesture of direct action. How do we define property on the Internet? Are we capable to revert back to non-commodified methods of artistic output? This work comes as a rejection of archaic principles of property and ownership. By utilizing appropriated stock video footage underneath an illegal download of expensive proprietary software and radical leftist texts, this piece refutes a traditional understanding of an artistic object as a singular form, unrelated to its own history and cultural surroundings.
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| bigelow alan |
artist: Alan Bigelow
work title: Brainstrips
year of production: 2008-2010
used technology: Flash
work URL: http://www.brainstrips.com
Work Description: Brainstrips
Brainstrips, a series of comic strips for the web, explores key concepts in philosophy, science, and math. All three of the strips use images, audio, and animations culled from online sources; the first, "Deep Philosophical Questions," uses images taken from comic books created in the 1930s and 1940s which are edited for the Brainstrips series. Each work in the series is created in Flash and includes text, animations, audio, and video.
"Deep Philosophical Questions" (2008), answers six important questions that slip between the cracks of serious philosophy, into a place where logic and pedantry have no play. This work uses comic strips from the Golden Age of Comics (American comic books created in the 1930s and 1940s). The strips have been re-colored and digitally edited to enhance their clarity and to accommodate new dialog boxes and Flash animations.
"Science For Idiots" (2009), explains some of the greatest science puzzles of our time. This work uses comics and clipart images taken from the web that have been digitally edited and then animated to create a multimedia story event for the viewer. Sound is also an integral part of the story, and it has been layered into each segment of the piece. The final result is a dynamic visual and auditory experience for the reader, and a closer look at the potential within animated strips on the web.
"Higher Math" (2009-1010), examines key concepts in math: addition, subtraction, irrational numbers, multiplication, geometry, and the Googolplex. Each concept has a human element, and their commonality, a bridge between math and ethics.
These three works use images, video, animations, and audio files acquired online, and modified by the artist. A credits page is included in the work.
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| bigelow alan |
artist: Alan Bigelow
work title: This Is Not A Poem
year of production: 2010
used technology: Flash
work URL: http://webyarns.com/ThisIsNotAPoem.html
"This Is Not A Poem" takes the famous poem "Trees" by Joyce Kilmer and, transcribing it onto a "scratchable" disk, makes it into a toy, a game, and a language engine. This work deconstructs a classic example of traditional text-based poetry (such deconstruction is a "crime" in some literary circles!) and demonstrates how, using new technologies, literature can be "played" with and redefined for the web.
A visitor can navigate the work by mouse movements on the poem text and disk. "This Is Not A Poem" is infinitely playable, in the sense that once the text has been deconstructed, it can be renewed and played again.
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| bigelow alan |
artist: Alan Bigelow
work title: I-Pledge.org
used technology: Flash
work URL: http://www.I-Pledge.org
Work Description: I-Pledge.org
Project Description:
I-Pledge.org is an interactive work for the web that provides visitors with an opportunity to rewrite the United States' Pledge of Allegiance. This piece empowers the user with the ability to revise an essentially "sacred" text in American life--at heart, it is an outsider's act to change the words in such an elemental American text, but I-Pledge.org offers this opportunity in the belief that democracy is found not just in deeds, but in language, as well.
Each revision of the Pledge is thematically linked to one of the following categories: Immigration, Politics, Nature, Sports, Family Life, or Other (no theme). Once the user has written their version of the Pledge, the text plays against a background of images related to the theme they have chosen. All the pledges are saved into a database to be viewed by anyone visiting the site.
This ability is first intended as an outlet for political and social commentary, not just for citizens of the United States, but others who may feel the urge to express themselves concerning what the Pledge may mean to them. What may be "true" for one person concerning the original Pledge may not be true for someone else, regardless of national origin, and I-Pledge.org offers the opportunity for a public discourse on our rights and concerns as they are embodied within the separate themes.
This piece is also a statement about the nature of language, and how language, although connected to a sense of national identity, needs to evolve as that national identity itself evolves. The United States is a very different place than it was when Francis Bellamy, a Baptist minister, wrote the original Pledge in1892. The basic values of "liberty" and "justice" may remain intact as ideals, but how they are effected, and for whom, have always been determined by other factors such as ethnicity, religious belief, geographical origins, age, and gender. These factors change over generations, are applied in different ways and to different degrees, and this work speaks to that while also questioning how texts become "sacred" in a culture, and how the language of those texts may not be in synch with contemporary life.
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| Brush Brian |
Dynamic Performance of Nature captures live data about weather such as wind speed and direction, temperature and relative humidity, and other measureable environmental phenomena such as seismic activity, from around the world and translates it through full-color LED lighting embedded within an array of semi-translucent HDPE fins. It communicates this information to museum visitors via custom Processing mashups that display the information in illuminated flows of varying color, intensity, and direction which respond to the unique geometry of the wall’s overall form. Visitors can Tweet the wall various colors and effects they desire to interact with The assembly creates an inspiring and informative user experience which imparts to its visitors this ethos of 21st century sustainability which seeks to go beyond conventional application of green techniques towards something alive and integrated with the environment, connecting people to place through a synthesis of information, material, and architecture. -Brian Brush and Yong Ju Lee
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| O'Nascimento ricardo |
Pinyin is a performance where a dancer wear an interactive dress and explore the sound and music of the Taiwanese Aboriginal Communities. Pinyin means spelled sound in chinese.
The interactive dress has embedded 7 touch sensors and 4 speakers. When the wearer touches the sensible points a music from an specific aboriginal community is broadcasted on the speakers. When two points are touched at the same time the sounds are mixed, as if the communities sing together.
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| Lo Coco Luca |
CURRICULUM:
Nato a Palermo, 2.1.1985. Laureato in Scienze e Tecnologie dell’Arte, dello Spettacolo e della Moda.
Collective Exhibitions
- Eco Museo dell’Alabastro, Castellina Marittima (Pi), 2006
- Vincitore del premio internazionale “Em’Arte 2006”
- Homo Urbanus, Palermo, 2006
- Biennale Giovani d’Europa, Imperia
- Centro Culturale San Fedele, Milano, 2006
- Selezionato per il progetto “ISIDEM, ITALIA MALTA” (con la collaborazione della
Repubblica di Malta, della Regione Sicilia e del Ministero degli Esteri italiano), 2007
- Selezionato per lo YOUTH SALON, 2007
- Malaluna Orange Group, Palermo, 2008
- Circolo Culturale “500g”, 2008
- Centro Culturale San Fedele, Milano, 2008
- Seek Refuge, curato da Marta Casati e Riccardo Lisi, Venezia, 2008
- Villa Saroli Lugano, 2009
- Let’s Skip Skip, Palermo, 2009
- Antimoda, Palermo, 2010
- Fashion on Paper by AltaModa AltaRoma, Roma, 2010
- Circolo degli Ufficiali di Palermo, Palermo, 2011
- Premio arti visive San Fedele, Galleria San Fedele, Milano, 2011
- Viareggio art project 3, Musei Civici di Villa Paolina Bonaparte, Viareggio 2011
Solo Exhibitions
Wire Interaction, Circolo culturale Patania, Palermo, 2009
Publications and media
- Catalogo mostra collettiva “Arte e potere”, centro culturale San Fedele, 2008 e 2011
- Articoli sul Giornale di Sicilia e Repubblica Palermo in occasione della doppia
personale da Skip La Comune, Palermo, marzo 2009
- Articolo in prima pagina cronaca Palermo Giornale di Sicilia, dicembre 2010
- Intervista Tg3 e Antenna Sicilia, 14 marzo 2009 e 18 marzo 2009
- Catalogo mostra collettiva circolo degli ufficiali di Palermo, maggio 2011
- Catalogo mostra collettiva, Galleria San Fedele, 2011
- Numerosi articoli in occasione della diatriba giudiziaria G.Politi vs L.Lo Coco; in particolare s’indviduano gli articoli pubblicati da gruppi editoriali quali: L’Espresso, Il Sole 24 Ore. Inoltre si sono interessati alla diffusione della notizia: Artribune, Digicult, Balarm, Generazione Zero, Tribeart, Fur Ther Field, Rhizome, mailing list di fama mondiale come Nettime, AHA
Other
- Ideatore del progetto QuitMag www.quitmag.eu
- Ingresso nell’archivio degli artisti siciliani S.A.C.S., curato da Palzzo Riso, Museo d’Arte Contemporanea della Sicilia
Contacts
+39 349 56 32 622
raiden85@libero.it or luca@lucalococo.eu
www.lucalococo.eu
BREVE DESCRIZIONE OPERA:
www.ashArtonline.com è oggi una delle opere di Net.art italiana più conosciute nel territorio nazionale. ashArtonline.com ricalcava graficamente www.flashartonline.com, sito internet della controversa e rinomata rivista milanese Flash Art. Anche il logo era stato ricavato dal marchio del magazine di Giancarlo Politi. L'intervento dell'allora ventiduenne Lo Coco trovava conforto nei concetti appartenenti al plagiarismo e all'attivismo, non disprezzando della sana e pungente ironia politico-artistica. Il sito di ashArt ospitava anche un indirizzario nominato ashArt Diary, contenente 3200 email dell'artworld da scaricare gratuitamente, il tutto all'insegna del free sharing. Un forum fittizio e delle news altrettanto finte impostavano la parte critico-narrativa al sistema dell'arte in Italia. Luca aveva creato un carnascialesco micromondo on-line, in cui un rovesciamento delle parti era possibile. Nel 2006 il sito internet, su richiesta degli avvocati del direttore di Flash Art, subisce l'oscuramento ordinato dal tribunale di Palermo. Nel 2010 Luca è condannato al pagamento delle spese legali -circa settemila euro. Nella primavera del 2011 vengono pignorati tutti i mobili della casa in cui vive il giovane Lo Coco con la propria famiglia; da quel momento, la notizia si diffonde ampiamente nel web. Per una lettura di tutti gli articoli in merito alla diatriba giudiziaria, si consiglia l'indirizzo www.lucalococo.eu. Si sono occupati della notizia: L'Espresso, Artribune.com, Furtherfield.org, Tribeart, Teknemedia.net, Rhizome.org, NetBehaviour.org, Nettime.org, Digicult.it, Balarm.it …
LINK PER APPROFONDIMENTI:
Nel sito internet www.lucalococo.eu, sotto la voce”causa giudiziaria”, una sfilza di articoli e link permettono di approfondire i temi toccati dall'opera presentata per il concorso in questione.
Non si trovano e non si troveranno immagini del vecchio sito internet www.ashartonlne.com , perché vietato espressamente dalla sentenza emessa dal Tribunale di Palermo nel mese di settembre 2010. Su richiesta è possibile visionare tale sentenza e tutti gli atti della causa.
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| persico oriana |
REFF is a fake cultural institution enacting real policies for arts, creativity and freedoms of expression all over the world.
REFF was born in Italy in 2008. Since then it continuously operated using fake, remix, reinvention, recontextualization, plagiarism and reenactment as tools for the systematic reinvention of reality.
Defining what is real is an act of power. Being able to reinvent reality is an act of freedom. REFF promotes the dissemination and reappropriation of all technologies, theories and practices that can be used to freely and autonomously reinvent reality.
To do this, REFF established an international competition on digital arts, a worldwide education program in which ubiquitous technologies are used to create additional layers of reality for critical practices and freedoms (http://www.fakepress.it/FP/?p=1694&lang=en), a series of open source software platforms, a book (http://www.romaeuropa.org/macme/) and an Augmented Reality Drug (http://www.fakepress.it/FP/?p=1640&lang=en).
REFF collaborates with art organizations, student groups, research institutions and all other subjects wishing to promote the freedoms to reinvent their world. REFF has received several official recognitions worldwide: it was hosted in the Cultural Commission of the Italian Senate, and was an official initiative of the European Community's Year of Creativity in 2009.
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| Mesterhazy Zsolt |
ownGoal
“Meanderings in wet and vaporware”
ownGoal is a basic narrative hack that provides 3 simple rules to reclaim gaming and redefine playing soccer based video games. We do recommend putting these rules into practice in outdoor urban environments! They’ll enable you to reclaim the game, share its experience with passers-by and relish the strategic flaws of a single-mindedly goal oriented approach. ownGoal noticeably reprograms players and passers-by…
Rules:
1st: Kick own goals!
2nd: Get the game going: lose and reclaim the ball!
3rd: Prevent the opponent kicking his own!
alternate link:
http://www.c3.hu/collection/artworld.anonymous/GetToGamerz/files/about.ownGoal.html
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| n/a Griffiths / Mansoux / de Valk |
Summary
Naked on Pluto is a multiplayer text adventure using Facebook, integrating a player's personal data and that of his 'friends' as elements in a satirical, interactive fiction. The game questions the way social media shape our friendships and the way social relations have become a commodity through targeted advertising, based on the phenomenal quantities of information we supply these databases with, literally exposing ourselves. The game was developed in 2010, as a response to the explosive growth of the market for personal data, and the role social media play in this. Naked on Pluto connects a dynamic multi agent world with Facebook users to create a confusing and disturbing parody of the modern concept of a social network website.
“Welcome to Elastic Versailles revision 14. You look fantastic today! Elastic Versailles is here for your convenience, tailored to your needs, offering you the best in entertainment the galaxy has to offer. Win coins in our illustrious casino's, spend coins in our luxurious and exclusive shopping facilities, play games with our friendly bots, socialize with old and new friends, and share your way to a better world!”
After logging in with your Facebook account, you are on Pluto, in the city of Elastic Versailles, stark naked. You buy a decent outfit – cowboy hat, divers helmet - from a bot and start exploring this brave new world. You see the smiling face of a friend on a giant billboard, and this is just the beginning of many disconcerting encounters with people you befriended on Facebook. After a series of successful solo missions, you need to team up with other players to achieve the ultimate goal: disrupting the system to the extent it crashes, and escape it's suffocating grip.
Naked on Pluto is set in the city of Elastic Versailles, a quirky world of long abandoned, half working AI bots. Their interactions with the player and each other are designed to create a strange world which prompts questions on our attitudes to putting our private data online. The game world consists of a self healing "elastic" ecosystem..Unlike ordinary games, gameplay and game mechanics are entirely built using the behaviour of agents. Bots are everywhere. The game, being text based, really brings them to life. They are hard to distinguish from other players at times. While bots are ruling the elastic city, players attempt to disrupt their routines and break into restricted areas, slowly uncovering the true nature of Elastic Versailles.
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Concept
Naked on Pluto questions the way online services, such as social networks, are increasingly mediating and shaping our communication. These services are not just a bridge to another peer, as is the case with for instance email, they are analysing and storing our communications in order to sell access to our eyes and ears, based on increasingly detailed demographics. To optimize this system, users get locked into walled gardens guarded by opaque processes determining what ends up on their screen, and what remains hidden.
Friendship has become a commodity. This is made possible by the phenomenal quantities of information we supply social media's databases with, literally exposing ourselves. We all share a lot of information with others online. Not only voluntarily and consciously via social media, but also unknowingly, by searching, purchasing and browsing. To some, the trade-off between personal data and free, often customized, services paid for through advertisement seems more than fair. You get as much back as you give. The problem is that it has become almost impossible to make those trade-offs consciously and with a good idea of what the consequences will be.
Presenting the sometimes amusing, other times very serious problems with online privacy, it would have been too easy to create a wholly dystopian game world. Naked on Pluto instead contains a quirky world of long abandoned, half working AI bots. Their interactions with the player and each other are designed to create a strange world which prompts questions on our attitudes to putting our private data online, making the complex relationship between software mediation, privacy and surveillance/mining algorithms tangible.
The game world consists of a self healing "elastic" ecosystem..Unlike ordinary games, gameplay and game mechanics are entirely built using the behaviour of agents in the system. As well as guide players through the game, these agents are constantly repairing and tidying the world. Working together as gate keepers - online services such as Facebook enforce particular concepts of privilege and controlled access, whether you agree with them or not. Our game has a faulty model of controlled access which you break as part of the game, the emergent behaviour of the bots control this access.
Bots play multiple roles in the game. They create the feeling the city is alive. They expose the extremely shallow nature of online identity by spoofing, or 'pretending', to be your friends. We use multiple agent's actions to cause areas of the game to unlock. The game, being text based, really brings them to life. They are hard to distinguish from other players at times. There is a whole crew of bots reporting on game activity via a blog and a Twitter account. We even used bots for debugging and fixing problems during development of the game. We connect a dynamic multi agent world with Facebook users to create a confusing and disturbing parody of the modern concept of a social network website.
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game: http://naked-on-pluto.net
blog: http://pluto.kuri.mu
video: http://vida.naked-on-pluto.net/nop-web.mp4
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| IOCOSE IOCOSE |
From January to May 2011 IOCOSE exhibited a new artwork at Tate Modern, made from a previous artwork at Tate Modern.
The artist group has thrown several real sunflower seeds on Ai Weiwei's porcelain 'Sunflower Seeds'. The porcelain seeds became part of a new artwork which looked exactly the same as the previous one: the natural seeds and those made of porcelain were indistinguishable from each other. IOCOSE reclaimed the authorship of the new installation and reminded viewers of Ai Weiwei’s previous statement: 'what you see is not what you see, and what you see is not what it means'.
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| Below Caspar |
iDrone London II is a fictional recording of the communications between a drone (UAV) operator and central command during the London riots in early August 2011.
iDrone London II is a “what if”-story, an artistic take on what could be true.
The images consist of found, appropriated and interpreted video footage. The audio recording is entirely fictional. The Metropolitan Police is not known to operate drones to date.
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| ///////////////////////////////// !Mediengruppe Bitnik |
Chess For CCTV Operators
In "Chess For CCTV Operators" the artist collective !Mediengruppe Bitnik
used urban surveillance spaces in the city of Essen (Germany) as their stage. During a three day performance they went looking for surveillance camera signals. These surveillance camera signals are sometimes beeing broadcasted wirelessly from the surveillance camera to the monitor.
Using a video transmitter, antenna and a chess computer hidden in a portable suit case, the !Mediengruppe Bitnik kidnapped the original surveillance signal and replaced it with an invitation to play chess.
The surveillance monitor in the control room is thus taken over from the outside and transformed into a games console. With the invitation to play !Mediengruppe Bitnik overcome the power structure produced by the surveillance situation.
»Chess For CCTV Operators« is a subtle performance for a single and especially chosen recepient. During the 3-day intervention none of the surveillers engaged in a chess game with !Mediengruppe Bitnik.
Keywords:
Hacking as Artistic Strategy, Performance, Intervention
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Selezionati al premio: 91 |
