quarta-feira, 5 de novembro de 2008
terça-feira, 29 de julho de 2008
"Light and electricity are the media of urban life. Today more than half of the humanity lives in towns. Quality of life depends on good use of lighting. The Luminale is a publicly accessible light laboratory to get to know more about light and lighting."
Nuage Vert wins Ars Electronica Golden Nica
First 30 seconds of Green Cloud goes online from HeHe on Vimeo.
quarta-feira, 23 de julho de 2008
Concert Hall Aarhus is the setting for an interactive piece that invites the citizens of the city to be part of a shared experience. In contrast to billboards, Aarhus by Light is not driven by commercial interests. Rather it is an alternative staging of the encounter between the citizens of Aarhus and a cultural landmark. It is a blend of architecture, ornament, and interactive entertainment. People experience the facade in a multitude of situations. They may be headed for the Concert Hall or passing by on their way to shopping. Some may cast a quick glance and hurry on, while others will be lured to explore the interactive potentials of the facade.
It has been a challenge to come up with a design that functions with all of these situations in mind. However, we carry out the Aarhus by Light experiment precisely to gain insights into the workings of media facades.
Clever, very clever. New York artist Peter Coffin teamed with London interactive architect Dominic Harris to launch a "UFO" of their own design earlier this month. The airborne mystery pod produced shock and awe among citizens of a small town last week when it hovered, lights aglow, in Gdansk, Poland.
Dubbed Peter Coffin's UFO Project, the 23-foot aluminum saucer incorporates 3,000 LED nodes controlled by a solid-state computer, according to Harris, head of Cinimod Studio.
"On board, a 6 Kw generator provides the system power," he said. "The overall UFO can be remotely controlled via SMS messaging."
All we know is, the thing looks pretty damn cool (video embedded).
Photo: Michal Szlaga
Fold Loud is a (de)constructing musical play interface that uses origami paper-folding techniques and ritualistic Taoist principles to give users a sense of slow, soothing relaxation.
Fold Loud interconnects ancient traditions and modern technology by combining origami, vocal sound and interactive techniques. Unlike mainstream technology intended for fast-paced life, Fold Loud is healing, recovering and balancing.
Playing Fold Loud involves folding origami shapes to create soothing harmonic vocal sounds. Each fold is assigned to a different human vocal sound so that combinations of folds create harmonies. Users can fold multiple Fold Loud sheets together to produce a chorus of voices. Opened circuits made out of conductive fabric are visibly stitched onto the sheets of paper which creates a meta-technological aesthetic. When the sheets are folded along crease lines, a circuit is closed like a switch. Thus, the interface guides participants to use repetitive delicate hand gestures such as flipping, pushing and creasing. Fold Loud invites users to slow down and reflect on different physical senses by crafting paper into both geometric origami objects and harmonic music.
Created at the Interactivos?08 at Medialab-Prado
in collaborataion with:
Sofy Yuditskaya, Emanuel Andel, Gwenn Joyaux, Tais Biels Rey, Laura Gabriela Olalde Verdes and with help from many others. Thanks everyone!
This system is a prototype for a portable image recording system based on multiple cameras positioned along a path. The cameras will be controlled by a microcontroller, which can assign a time delay to each camera independently. The rig is modular and reconfigurable allowing for arranging it in any shapes. Based on cheap digital disposable cameras, this aparatus will lend itself to all kinds of temporal-spatial experimentation.
In this first demonstration we explore it to re-conceive or visualize a spatial perception which expands the body's point of view in space.
We recorded multiple sequences with cameras arranged on quarter of a circle arch. For the interactive display we projected an image on the wall. As a person walks by her position is tracked and the picture displayed changes perspective (scrolling through our sequence) corresponding to the angle at which the person is viewing the picture. In effect the viewer can see a 'moment' from many points of view, physically moving around it to explore it.
Once the viewer scrolled through the entire 'moment', the sequence of another moment will be loaded, so that the viewer can walk through the story moment by moment.
There's DIY mischief and then there's next level DIY mischief, and we'd have to say that Julius von Bismarck's Image Fulgurator is one of the best scare-the-squares toys we've ever come across. A sensor detects camera flashes of nearby victims, triggering a projection of the image or text of your choice onto their subjects -- and into their photos. Anyone using a digital camera will notice the trick immediately, of course, but marks with film equipment won't ever know what hit 'em -- although they might remember the weirdo with the pistol-grip camera thing standing next to them. Check the video after the break.
This art installation, "Exploded Views - Remapping Firenze" uses two modified large-scale industrial treadmills facing a projection surface where interactive 3D models mixed with photographic landscapes of the Italian city of Florence move by steadily while you walk forward. The visual material in the 3D is a result of experimental technology by the Fraunhofer Institute in Germany which makes it possible to combine cinematographic quality photos with interactive graphics.
White Glove Tracking Compilation from fi5e on Vimeo.
Above is the White Glove Tracking compilation video Ben and I showed at the New Museum last night. You can also peep the slides from the presentation here. This is the culmination of work that took place over the course of last 2 years. All shine to Zach, Open Frameworks, Jung-Hoon Seo, David Wicks, Tim Knapen, Jonathan Cremieux, Eyebeam, and Rhizome Commissions.
The top ten White Glove data contributers will soon be getting their commemorative prints in the mail. The application and source code for the ASCII generation software used to create the prints can be downloaded here (PC only at this point).
The blinged out ASCII print on the left is made up of the X-Y coordinate data of the white glove movement, and the print on the right is made up of all the email addresses of the data contributers (from most clicks to least starting at the top bottom).
We've seen all sorts hip-cool interactive window installations, usually comprised of a camera for a modicum of interactivity and a projector or a display for screening the results. The Salling store in Arhus, Denmark is taking things a bit further and making the window itself interactive. There's still a camera to sense motion, but instead of a display there's some fancy window tech that makes sections of the glass transparent or not based on where the person is standing. Sure, the idea of having to walk up to a window and wave your arms around to reveal what's behind it might seem a bit counter-intuitive, but at least it'll give the loiterers something to do. Video is after the break.
sexta-feira, 20 de junho de 2008
Mais informações, referências e links para sessões em breve no blog da disciplina:
De 8 de Maio a 12 de Julho
Exposição individual de Marcel.lí Antúnez
Esta exposição propõe, sob um olhar atento, marcar um ponto de situação no percurso da obra singular de Marcel.lí Antúnez Roca, partindo da ideia de interfaces e camadas do ser humano, tanto na sua relação emotiva como tecnológica - através do recurso a peles simuladas, identidades espelhadas, próteses, ou exoesqueletos.
Podemos destacar na obra de Marcel.lí Antúnez três pontos temáticos: peles, membranas e processos. Frequentemente surgem exoesqueletos e interfaces mecânicos apresentados enquanto peles; várias peças biológicas como as instalações “Agar” e “Metzina” apresentadas enquanto membranas; e desenhos, objectos e outros elementos remetem-nos para os seus processos metodológicos.
Não seguindo uma ordem cronológica, OUTRAS PELES integra desenhos, robótica, arte biológica e sistemas audiovisuais interactivos, cobrindo uma vasta produção da sua obra desde 1994 até a actualidade, reunindo algumas das mais conhecidas instalações do artista, bem como um catálogo videográfico das suas performances mecatrónicas.No âmbito desta mostra foram produzidas ainda novas peças, cabendo destacar a produção de dois novos trabalhos interactivos: Hipnotoc e Epidermia. Estabelecendo um roteiro visual e conceptual na compreensão do universo Antuniano, uma série de desenhos que revestem as paredes da entrada e dos dois andares da Galeria.
Paralelamente e integrando desenhos e materiais produzidos para OUTRAS PELES, no final da exposição, será editado um catálogo/livro de artista, bilingue (PT/ES), fruto da colaboração de Marcel.lí com o desenhador gráfico Barbara Says/António Gomes.
Visitas comentadas à exposição pelo artista e comissário:
Quinta-feira 29 de Maio pelas 19h
Quarta-feira 11 de Junho pelas 19h
Sexta-feira 4 de Julho pelas 19h
Dia 28 de Maio às 18h30, a propósito da sua exposição OUTRAS PELES,
Conferência Transpermia de Marcel.lí Antúnez no auditório do Instituto Cervantes de Lisboa.
Exposição patente de 8 de Maio a 12 de Julho na Galeria Zé dos Bois
Quarta a Sexta das 19h às 23h - Sábado das 14h às 23h
UM is one of Portugal's first mixed media arts festivals. UM brings together international and national artists and practitioners interested in creating media works, which mix disciplinary techniques and different forms of technologies, to create interactive, playful and participatory media works. The 2008 programme focus is on gesture and movement.
UM will take place across central Lisbon - Bairro Alto, Chiado and Santos - in new spaces, artist lead independent venues, cultural meeting places and outside in public squares and on the street. Um includes one exhibition, concerts and performances, worskhops, seminars.
19 June - 3 July / Av. 24 Julho, 60 (a Santos)
Conscious Space, Sonia Cillari, NL
Tape Loop, Andre Goncalves, PT
Crackle Canvas, Tom Verbruggen, NL
Patchery, Laetitia Morais, PT
Come and See the View, Kathy Hinde, UK
Delicate Boundaries, Chris Sugrue, US
Concerts and Performances:
20 - 21 June / Bomba Suicida (ao Bairro Alto)
Andy Moor, NL A Cable Plays,
Chris Surgue, US and Damian Stewart, NZ/PT N.I.P. collective,
UK/NL/PT BOP, UK Goodiepal,
Rudolfo Quintas, PT Turntable Reconstructions,
DJ Sniff, US/NL TokTek,
11.30-13.30 / Clube Portugues de Artes e Ideias
Panel 1: Gesture and Movement Based Interfaces
Ivan Franco, Creative Director of Y-Dreams and artist, PT
Frank Balde, STEIM, designer, NL Adriana Sa, artist and musician, PT
Chair: Takuro Lippit, musician and Artistic Advisor/STEIM, NL
15.30-17.30 / Clube Portugues de Artes e Ideias
Panel 2: Landscape, Enviroment and Movement
Pedro Appleton, PT - architect, Promontorio Architecture
Goncalo Velho, PT - researcher and anthropologist, Instituto Politecnico de Tomar & The Oporto Faculty of Arts
John Klima, US/PT - artist and game designer (tbc)
Chair: Rui Trindade, CADA, PT
11.30-13.30 / Clube Portugues de Artes e Ideias
Panel 3: People, Place and Distributed Communities
Teresa Dillon, IRE/UK - artist-researcher-director, Polar Produce/N.I.P./UM
Luis Silva, PT - curator, Upgrade! Lisboa and Rhizome
Takuro Lippit, NL - musician and Artistic Advisor, STEIM
Paulo Raposo, PT - musician and director of Sirr records
Chair: Luisa Ribas, FBAUL, PT
15.30-17.30 / Clube Portugues de Artes e Ideias
Panel 4: Extended Bodies within Mixed Reality Spaces and Places
Paul Sermon, UK Sonia Cillari, NL
"Wearing" it - DIY wearable workshops, Andre Goncalves, PT
"Wii Undressed", Frank Balde/STEIM, NL
Build your own electronic noise machine, Tom Bugs, UK
"Mort Aux Vaches Ekstra Extra", Goodiepal, (FO/UK)
Initiation/Direction: Polar Produce
CADA (www.cada1.net) + NIP (http://newinterfaces.net/nip)
DGARtes, MInisterio Cultura, PRS Foundation
segunda-feira, 16 de junho de 2008
Terça-feira a Domingo
Das 10h00 às 18h00
Sede Fundação Calouste Gulbenkian, Piso 01
Albino Mahumana, Andreia Alves de Oliveira, Bruno Ramos, Carla Cabanas, Catarina Botelho, Dalila Gonçalves, Daniela Krtsch, João Serra, José Nuno Lamas/Valter Ventura, Margarida Gouveia, Marta Sicurella e Sandra Rocha foram os participantes seleccionados para este programa de formação artística avançada, que se dedicaram em exclusivo, ao longo de dez semanas, à produção fotográfica, à discussão crítica e sistemática sobre as questões relevantes da fotografia contemporânea e ao desenvolvimento de um projecto individual, sob a orientação de vários professores, com provas dadas enquanto artistas, na pedagogia e na investigação da fotografia. O coordenador deste curso teórico-prático foi Sérgio Mah, professor e investigador em fotografia contemporânea. João Paulo Serafim foi o tutor.
sábado, 14 de junho de 2008
quinta-feira, 12 de junho de 2008
Those that take a second glance may play with the rippling sequence of images as if digitally painting with a trail of time, or use the touch-screen to interact with many of the other equally surreal experiences offered by the technology.
The haunting, big brotheresque installation echoes the life of the facing square and the people that pass through it. It captures both movement and time, acting as a kind of digital mirror, albeit one that delivers back a very distorted and twisted reflection.
The installation is set to run until July.
Tampopo (Japanese for dandelion) is an interactive video installation where viewers are able to interact with the projector screen by blowing. It also creates echoed blowing sounds in the space, creating a mystical experience of blowing giant dandelions. In this work, the microphone acts not only as a metaphor between the real and virtual, but also creates a simple sculptural interface between the user and the screen. It acts like a conduit from one world to another while the work becomes a portal to the mystical domain of myth, memories and youthful emotions.
In a multi-screen setup, viewers can interact with other viewers by blowing each other’s dandelions, as each microphone input affects not only one but other dandelions through the use of multi-user networking system. This multi-user capability could be used over the internet, blowing each other’s dandelions from remote locations.
Kentaro would like to thank Takeshi Shimada from SNAP Japan, a collaborator on this project. Without his special talent, this project couldn't be realized.
Tampopo - Instalation from chrischne on Vimeo.
Touch The Light" is an interactive lighting controller that allows the user to manipulate the main light system via a small-scale model.
The mini liv-lit set up in the riverside park at the Nakanoshima Library is a 1/100th scale model of the liv-lit on the Kepco Building. When someone touched the mini liv-lit, that hand motion was reproduced in colorful hues on the liv-lit on top of the Kepco Building.
Although at first glance it looks like a regular wooden table, if you look at the shadows on its surface you'll see the movement of mysterious life forms. When you approach it to have a better look, they sense your presence and hide away. They do not emerge while human shadows are cast over the table, but the life forms hiding within a distant shadow are watching them.
The Puffersphere by Pufferfish from Pufferfish on Vimeo.
Three games, Kung Fu, Super Knight, and Funny Stair will have you fending off Ninja attackers, running jumping and avoiding falling deadly spikes, and shooting down rocket-powered mutants by swinging your arms up down, left and right
A series of works that explore the invisible, elusive nature of thought. Play chess against a transparent intelligence, its evolving thought process visible on the board before you.
Each Thinking Machine is an artificial intelligence program - ready, willing and able to play chess with the viewer. If the viewer confronts the program, the computer’s thought process is sketched on screen as it plays. A map is created from the traces of literally thousands of possible futures as the program tries to decide its best move. Those traces become a key to the invisible lines of force in the game as well as a window into the spirit of a thinking machine. The pace of interaction is deliberative, unlike the rushed tempo of popular video games. Indeed the true subject of the piece is not games or chess, but contemplation and introspection.
Thinking Machine 2: London ICA, 2003, part of the “Work of MW2MW” show.
Thinking Machine 3: Ars Electronica, 2004, part of the “Language of Networks” show.
Thinking Machine 4: Turbulence.org, 2004.
Thinking Table 4: The Art Formerly Known as New Media, 2005. An installation at the Banff Center in Canada. In this version two players play against each other using a touchscreen.
The Thinking Table, a work in progress, is a physical installation in which two people can play a game of chess. As they play, the table illuminates the board with thoughts of the future as seen by the artificial intelligence engine of the Thinking Machines. The board is both the arena in which the two players act, and a thought space in which their linked choices, deliberations and hostilities are made visible.
Wayang Kulit is the indonesian shadow puppet theatre, in which finely carved and painted leather puppets move behind a screen making the audiance see their shadows only. In our installation the situation is reversed. The role of the elaborate puppets is emphasized, while the visitor is a mere shadow trying to control the puppets by her movements.
Reverse Shadow Theatre from gabor papp on Vimeo.
sexta-feira, 6 de junho de 2008
The SensitiveWall consists in a large vertical touchless display able to detect hands' presence in real time, and a set of software templates that present digital content on screen.
Liveliness is expressed through a fluid continuous motion of contents: attraction and repulsion of bubbles, spin of towers' discs at different speeds, accelerated and decelerated viewpoint translation on a large landscape. Contents can be dynamically added, erased or substituted at runtime through a remote control server.
People can move contents just by waving their hands in front of the screen; in order to make contents manifest (e.g. play and zoom for a video) it is sufficient to move a hand close to the content. January 2008.
Video at http://naturalinteraction.org/index.php?entry=entry080305-095948
Dr. Ernie Medina and his partners launched their first XRtainment Zone in California last year. The mission of XRtainment Zone is to provide families and kids of all ages a fitness club of their own "where working out is all play."
In addition to dance pads, GameBikes, and EyeToy aerobic games in various flavors, the XRtainment Zone boasts a variety of more unusual exertainment machines including 3Kick, Makoto, Sportwall, Jackie Chan Run, Xavix Run, ATV Fury 3 Tag, Trazer Fusion, EyeToy Kung Fu, and Gamebike variants powered by hand and arm exercise.
Other non-electronic game formats are also included, employing basic elements of interactive game design alongside their more technology-based brethren.
Medina hopes, XRtainment approach will lead to genuine lifestyle change and a lasting enjoyment of health and exercise.
So you've probably heard some form of hard drive music before, but not quite like this. This person used hard drives in conjunction with a Sinclair ZX Spectrum (rhythm and lead guitars), an HP Scanjet (bass guitar), and an Epson printer (drums) to recreate a Radiohead song. Video after the break.
sábado, 31 de maio de 2008
Trata-se de um concurso de imagem e criatividade promovido pela Páginas Amarelas que decorre de Maio a Novembro de 2008 e é apadrinhado por Fernando Alvim.
Os participantes só têm de criar um video, individual ou em grupo, que conte uma história real ou ficcionada, em que um ou mais produtos da Páginas Amarelas sejam os protagonistas. Há prémios para os três melhores videos.
Informações detalhadas sobre o desafio aqui e como participar aqui.
terça-feira, 27 de maio de 2008
sexta-feira, 23 de maio de 2008
Inscrições em : http://formularios.grupolusofona.pt/xsemana/default.php
quinta-feira, 1 de maio de 2008
terça-feira, 29 de abril de 2008
segunda-feira, 21 de abril de 2008
quarta-feira, 9 de abril de 2008
domingo, 23 de março de 2008
quarta-feira, 19 de março de 2008
segunda-feira, 17 de março de 2008
terça-feira, 11 de março de 2008
Inclusivé tem o código em processing para ilustrar cada técnica.
segunda-feira, 3 de março de 2008
Foi hoje colocado online um jogo realizado pelo Movlab (foi feito no Virtools). Por isso espero que todos joguem um pouco, gostem, e digam da vossa opinião.
Já agora divulguem o jogo. Obrigado.
quarta-feira, 27 de fevereiro de 2008
The Prix Ars Electronica, the Ars Electronica Festival, the Ars Electronica Center – Museum of the Future and the Ars Electronica Futurelab are the four divisions that comprise the Ars Electronica Linz GmbH, whose specific orientation and long-term continuity make it a unique platform for digital art and media culture.
The competition is organized by the Ars Electronica Linz GmbH and ORF’s Upper Austria Regional Studio in collaboration with the O.K Center for Contemporary Art and the Brucknerhaus Linz, and the prizes are awarded during the Ars Electronica Festival each year. The Prix Ars Electronica is one of the most important awards for creativity and pioneering spirit in the field of digital media.
The event calls for entries in seven categories, including a youth competition. And since internationally renowned artists from over 70 countries also participate in the Prix Ars Electronica, it has established itself as a barometer for trends in contemporary media art. Since 2007 Ars Electronica and the Ludwig Boltzmann Institute Media.Art.Research (media.lbg.ac.at) announce the Prix Ars Electronica Media.Art.Research Award, a prize for outstanding theoretical work on the subject of media art.
With over 37.542 entries since 1987 and prize money in 2008 totalling 115,000 euros, the competition offers the largest cash purse for cyberarts worldwide. Each year, six Golden Nicas, twelve Awards of Distinction and approximately 70 Honorary Mentions as well as the Media.Art.Research Award are presented to participants.
Since media art is such a highly dynamic field, criteria for the categories have to be constantly modified and adjusted to societal and technological developments, and so updated to meet new demands.
Computer Animation / Film / VFX
u19 – freestyle computing [the next idea] Grant
“Para despertar a atenção para os play-offs da liga australiana de futebol, que não é o desporto mais popular por aqueles lados, a federação local realizou uma campanha de guerrilha onde um fã respondia aos estímulos dos transeuntes nas ruas de Sydney”. (http://www.pubaddict.net/ )
Anexo : Regulamento
terça-feira, 26 de fevereiro de 2008
The Acura division of the American Honda Motor Company, as part of their continuing strategy to establish themselves as an innovative, technology-focused luxury brand, commissioned George P. Johnson to create a brand new exhibit for the 2007 auto show season that by its very nature says "innovation." Central to the new exhibits would be a series of interactive installations, highlighted by the Interactive Oracles.
The intended consumer take away was for the user to see Acura as an innovator that is always looking to the future and integrating the latest cutting edge, customer-relevant technologies into their vehicles. The communication challenge the team faced was how to create an installation that is user-friendly and effectively communicates customer relevant stories that show how an Acura improves the users’ life.
While developing the Interactive Oracle concept, the team set out to achieve
3 specific goals. The first was to create a circular display system that could be approached from any angle and be used by multiple people at once.
Second, the Oracles would also have to integrate a sensor system that would allow for people to use both of their hands at the same time. Further, the team would need to allow the display system to be completely self-contained so that is could easily be moved from one location to another. To accomplish these goals, George P. Johnson enlisted the services of MOTO Development Group to help create the multi-user, multi-touch sensor system and integrate the projector, touch surface and optics. Mindflood was brought in to help create the interactive content and integrate it into a Flash user interface.
domingo, 24 de fevereiro de 2008
refiro-me a hardware ( placa e montagem de sensores)
e alguns exemplos de código.
Além disso há links para obras feitas com base em Arduino.
sexta-feira, 22 de fevereiro de 2008
Este ciclo de conferências assinala a criação da Escola de Artes, Comunicação e Tecnologias da Informação (ECATI) da Universidade Lusófona de Humanidades e Tecnologias. Esta unidade orgânica sucede ao anterior Departamento de Ciências da Comunicação, Artes e Tecnologias da Informação, e apresenta-se como um projecto científico e pedagógico inovador, que integra em si de forma original a formação técnica, conceptual, artística e criativa em diversos domínios do saber actualmente essenciais. Para além das suas regulares actividades de formação, esta escola integra ainda uma unidade de investigação (CICANT – centro de investigação em comunicação aplicada, cultura e novas tecnologias) e diversos laboratórios de I&D que lhe abrem possibilidades diversas nos domínios da prestação de serviços e investigação.
Ver Conferências ECATI 2008
quarta-feira, 20 de fevereiro de 2008
Interactive video projection on a bed of sand. In collaboration with Jim Gimzewski and Tibetan monks.
Nanomandala consists of a video projected onto a disk of sand, 8 feet in diameter. Visitors touch the sand as oscillating images are projected of the molecular structure of a single grain of sand, achieved by means of a scanning electron microscope (SEM), to the recognizable image of the complete mandala, and then back again. This coming together of art, science, and technology is a modern interpretation of an ancient tradition that consecrates the planet and its inhabitants to bring about purification and healing.
Inspired by watching the nanoscientist at work, purposefully arranging atoms just as the monk laboriously creates sand images grain by grain, this work brings together the Eastern and Western minds through a shared process centered on patience. Both cultures use these bottom-up building practices to create a complex picture of the world from extremely different perspectives.
In Three Drops, visitors walk in front of a video projection to see how their shadows affect simulations of water at vastly different scales. In one segment, falling water is shown at human scale, and gravity is the noticeable force. The piece then zooms into a single drop of water. Here, visitors are immersed in an environment where they are about one thousand times smaller than normal and time passes about one hundred times more slowly than in actuality. At this scale, visitors explore how surface tension makes water behave. In the third segment, the piece zooms into the droplet of water to show individual water molecules at the nanoscale. Here visitors experience a world about one billion times smaller than normal, and time is slowed by a factor of one trillion. At this scale, visitors interact with individual water molecules and see how electric charges attract water molecules to viewers’ shadows.
Leading scholars take a wider view of new media, placing it in the context of art history and acknowledging
the necessity of an interdisciplinary approach collaboration in new media art studies and practice.
Digital art has become a major contemporary art form, but it has yet to achieve acceptance from mainstream cultural institutions; it is rarely collected, and seldom included in the study of art history or other academic disciplines. In MediaArtHistories, leading scholars seek to change this. They take a wider view of media art, placing it against the backdrop of art history. Their essays demonstrate that today's media art cannot be understood by technological details alone; it cannot be understood without its history, and it must be understood in proximity to other disciplines - film, cultural and media studies, computer science, philosophy, and sciences dealing with images.
Contributors trace the evolution of digital art, from thirteenth century Islamic mechanical devices and eighteenth century phantasmagoria, magic lanterns, and other multimedia illusions, to Marcel Duchamp's inventions and 1960s Kinetic and Op Art. They reexamine and redefine key media art theory terms--machine, media, exhibition--and consider the blurred dividing lines between art products and consumer products and between art images and science images. Finally, MediaArtHistories offers an approach for an interdisciplinary, expanded image science, which needs the "trained eye" of art history.
"EdgeBomber", by SusiGames, is an interactive gaming installation that lets players build their own worlds using duct tape, scissors, and stickers. A projector then overlays the user-created maze and allows you to interact with it like a standard video game. Continue reading for a video. Click here for first picture in gallery.
If you don't already know, I love the Arduino, and Sonic Body has a great interactive sculpture made with one of these cool little microcontrollers.
The Sonic Body is an audio-installation that uses interactive technology to create an orchestra of the human body. Developed as collaboration between four interdisciplinary artists and a heart surgeon, the installation brings together art and medical-science to reveal the unheard sounds of the body.
The video is interesting, but I am sure it is no substitute for entering the environment and seeing it in person. Unfortunately, according to the web site, it was on view at the Blank Gallery through November 2007. Let's hope it makes a trip to the US in the future. - Link [Via]
Whether walls or trains — graffiti need to be sprayed on solid, “real” backgrounds. Doesn't it?
An answer to this is provided by the “Tagged in Motion” project, which builds a bridge between real graffiti art and its virtual depiction. The centre of attention is the graffiti artist DAIM, who co-created the nextwall. Equipped with the appropriate technology, DAIM sprays graffiti into empty space. In a large hall, three cameras using Motion Capturing record DAIM's position and the movements he executes with a virtual spray can. The assimilated data is shown to him in real time in a pair of video glasses — as free-floating 3D graffiti in space. In this way he can decide how and where to apply his strokes, and via a Bluetooth controller can also determine the colours, strength of brushstrokes and textures of his work.
Media Mirror is an interactive video installation, in which over 200 channels of live cable television are continuously arranged in real-time to form a mosaic representation of anyone that stands in front of it.
The piece is intended to explore the bidirectional relationship each of us has with mass media. It attempts to illustrate how we are inexorably shaped by the media, while at the same time, how the media itself reflects the demands of our society. The piece is also simply meant to evoke an overwhelming sense of the sheer scale of the medium.
When no user is present, the Media Mirror places itself into an autonomous mode, in which the piece forms mosaics of one of the live channels themselves. In effect, the mirror gets turned onto the media itself.
Troika has been commissioned by Artwise Curators to create a signature piece at the entrance of the new British Airways luxury lounges in Heathrow Terminal 5. In response, we created ‘Cloud’, a five meter long digital sculpture whose surface is covered with 4638 flip-dots that can be individually addressed by a computer to animate the entire skin of the sculpture. Flip-dots were conventionally used in the 70s and 80s to create signs in train-stations and airports. We were fascinated by their materiality, by the way they physically flip from one side to the other. The sound they generate is also instantly reminiscent of travel, and we therefore decided to explore their aesthetic potential in ‘Cloud’. By audibly flipping between black and silver, the flip-dots create mesmerising waves as they chase across the surface of ‘Cloud’. Reflecting its surrounding colours, the mechanical mass is transformed into an organic form that appears to come alive, shimmering and flirting with the onlookers that pass by from both above and below. http://www.troika.uk.com/cloud.htm
Squarely in the “not seen at NAMM” category, the Bubblegum Sequencer uses differently-colored bubble gum balls, arranged in a grid of holes, to create rhythmic patterns. It’s not exactly a leap forward for music — you wind up with a pretty simple drum step sequencer — but it does look like fun. Or it would be, except I’d wind up eating the tangible sequencer. Note to self: make interfaces out of something I won’t devour.
What’s rather interesting here is that the whole system uses computer vision analysis — a camera spots the gum balls by color. One thing that means is that you could skip the grid altogether and apply this to something very different.
The hyper-rational voiceover I find really amusing. Now, just add hard-disk recording next year, and the Bumblegum 5000 could in fact be at NAMM.
Full Body Games at WIRED Magazine's Nextfest from Feedtank on Vimeo.
An interactive installation that allows participants to play a series of video games with their entire bodies. Installed at Eyebeam in NYC for a Gamer's Night Groove event.
terça-feira, 19 de fevereiro de 2008
segunda-feira, 18 de fevereiro de 2008
sexta-feira, 15 de fevereiro de 2008
Como é de conhecimento de todos, o tema que estou a trabalhar é espaço (espaço privado), como tal tenho vindo a pedir aos amigos e conhecidos que me enviem por e.mail uma fotografia (fotografia que pode ser analógica ou digital), até pode ser tirada com telemóvel ou com o que quiserem e acharem por bem sobre o que é para cada um de vocês o vosso espaço privado. Ficarei muito grata se contribuirem, se quiserem podem também enviar desenhos etc..o que quiserem e se acharem por bem. Podem fazer uma pequena descrição da vossa escolha, se não enviem simplesmente a imagem.
obrigada a todos
quarta-feira, 13 de fevereiro de 2008
But the organic form possesses all the same an inner harmony of its own, which may be either the same as that of its abstract parallel (thus producing a simple combination of the two elements) or totally different (in which case the combination may be unavoidably discordant). However diminished in importance the organic form may be, its inner note will always be heard; and for this reason the choice of material objects is an important one. The spiritual accord of the organic with the abstract element may strengthen the appeal of the latter (as much by contrast as by similarity) or may destroy it.
Once more the metaphor of the piano. For "colour" or "form" substitute "object." Every object has its own life and therefore its own appeal; man is continually subject to these appeals. But the results are often dubbed either sub--or super-conscious. Nature, that is to say the ever-changing surroundings of man, sets in vibration the strings of the piano (the soul) by manipulation of the keys (the various objects with their several appeals).
The impressions we receive, which often appear merely chaotic, consist of three elements: the impression of the colour of the object, of its form, and of its combined colour and form, i.e. of the object itself.
At this point the individuality of the artist comes to the front and disposes, as he wills, these three elements. IT IS CLEAR, THEREFORE, THAT THE CHOICE OF OBJECT (i.e. OF ONE OF THE ELEMENTS IN THE HARMONY OF FORM) MUST BE DECIDED ONLY BY A CORRESPONDING VIBRATION IN THE HUMAN SOUL; AND THIS IS A THIRD GUIDING PRINCIPLE OF THE INNER NEED.
The more abstract is form, the more clear and direct is its appeal. In any composition the material side may be more or less omitted in proportion as the forms used are more or less material, and for them substituted pure abstractions, or largely dematerialized objects. The more an artist uses these abstracted forms, the deeper and more confidently will he advance into the kingdom of the abstract. And after him will follow the gazer at his pictures, who also will have gradually acquired a greater familiarity with the language of that kingdom."
sexta-feira, 1 de fevereiro de 2008
quinta-feira, 31 de janeiro de 2008
terça-feira, 29 de janeiro de 2008
From: Maria Chatzichristodoulou [aka maria x]
To: Arts News
Sent: Friday, January 25, 2008 2:17:28 PM
Subject: [dance-tech] ORLAN at Goldsmiths
ORLAN at Goldsmiths
Tuesday 5 February 2008
6.15pm THE THEATRE
Department of Drama
The Department of Drama's Performance Research Forum and the Digital Studios' (Department of Computing) Thursday Club are delighted to co-host this special event, aTALK by one of the most original and provocative woman artists working today in what she calls CARNAL ART.
"Unlike 'Body Art', from which I set it apart, Carnal Art does not desire pain as a means of redemption, or to attain purification. Carnal Art does not wish to achieve a final 'plastic' result, but rather seeks to modify the body, and engage in public debate. Carnal Art is not against cosmetic surgery but, rather against the conventions carried by it and their subsequent inscription, within female flesh in particular, but also male. Carnal Art is feminist, that is necessary. It is interested not only in cosmetic surgery, but also advanced techniques in medicine and biology that question the status of the body and the ethical questions posed by them" ORLAN
All welcome. Entrance free. Latecomers will not be admitted.
Maria Chatzichristodoulou [aka maria x] PhD Art and Computational Technologies Goldsmiths Digital Studios skype: mariax_gr www.cybertheater.org
O Programa de Apoio a Projectos Pontuais 2008 tem como objectivo apoiar projectos pontuais (actividade ou conjunto de actividades com um objectivo comum, de criação ou programação, de duração não superior a um ano) nas seguintes áreas artísticas: arquitectura, artes digitais, artes plásticas incluindo fotografia, dança, design, música, teatro e transdisciplinaridade. Extraordinariamente, é aberto um procedimento para um único apoio pontual para a ópera.
Entidades de criação e entidades de programação, bem como pessoas singulares, residentes em Portugal e que aqui exerçam a sua actividade.
APRESENTAÇÃO DE CANDIDATURAS
25 de Janeiro a 15 de Fevereiro [arquitectura, artes digitais, artes plásticas incluindo fotografia, dança, design, música, teatro e transdisciplinaridade]25 de Janeiro a 23 de Maio [ópera]
ANÚNCIO DE ABERTURA
Data de Publicação: 25-01-2008 [download]
Manual de Procedimentos [download]Estrutura do Formulário de Candidatura para consulta [download]Biografias da Comissão de Avaliação [brevemente disponível]Actas da 1.ª Reunião [download]Distribuição de Concelhos abrangidos pelas Direcções Regionais de Cultura [download]
FORMULÁRIO DE CANDIDATURAO
Formulário de Candidatura é uma aplicação off-line e encontra-se disponível para download no final desta página. Sugerimos que consulte os documentos "Manual de Procedimentos" e "Estrutura do Formulário de Candidatura para consulta" antes de efectuar o download da aplicação off-line.
segunda-feira, 28 de janeiro de 2008
sábado, 26 de janeiro de 2008
sexta-feira, 25 de janeiro de 2008
quinta-feira, 24 de janeiro de 2008
The DiABlu Project started out as a simple tool to detect Bluetooth devices and communicate via OSC with other applications that could not do this in a simple manner (like Pure Data, Processing, Eyesweb, Max/MSP, Flash, etc.). The main target users of this project are digital artists that wish to add mobile interaction to their pieces.
domingo, 20 de janeiro de 2008
O Bacalhoeiro é uma associação cultural criada em 2006. A associação tem como objectivo ajudar a criar uma rede de pessoas ligadas às artes e proporcionar um núcleo de expressão artística em Lisboa. Com uma programação variada que dedica um dia a cada disciplina artística, o Bacalhoeiro convida-te tanto a disfrutar do espaço como a mostrar o teu trabalho.
CURSOS E WORKSHOP Workshop de Soma Terapia Psicologia, corpo e política
Oficina realizada a partir de vivências corporais e debates teóricos sobre os mesmos.
Com João da Mata
Sábado dia 19 das 18 às 21h. Domingo dia 20 dás 18 às 19h30 Preço do workshop 25€ para sócios / 30€ para não sócios
Rua dos Bacalhoeiros, 125 - 1º e 2º andar 1100-068 Lisboa Tel: 21 886 48 91 firstname.lastname@example.org aberto a partir das 18h http://bacalhoeiro.blog.com/
Na próxima 5ª feira, dia 31, vão ser apresentados fragmentos de espectáculos em construção, números circenses, sketches, recitais, performances… Se quiseres participar no Cabaret Selvagem, contacta-nos
sábado, 19 de janeiro de 2008
quarta-feira, 16 de janeiro de 2008
Aqui fica um deles: http://cb.nowan.net/blog/state-of-vr/state-of-vr-devices/
terça-feira, 15 de janeiro de 2008
Un proyecto de Clara Boj y Diego Diaz. Lalalab.org
ISU es un pequeño robot, creado por el portugués Leonel Moura. Aunque se parece más a un camión que a un poeta visual, ISU es capaz de realizar composiciones pictóricas basadas en las palabras, gracias a un sistema de sensores, que le permite crear sus obras en base a la información que recoge en su entorno, de modo que jamás hace dos iguales.
La noticia en otros webs
webs en español
en otros idiomas
Su nombre le viene de Isidore Isou, el creador del letrismo, un movimiento que auspiciaba el uso de las letras como base de una nueva forma de arte. Como cualquier artista que se precie, ISU tiene una galería de arte que le representa, la Leonel Moura Art, que ha abierto sus puertas en Lisboa. Allí es posible comprar las obras de ISU, y al propio ISU. Lo mismo sucede con otras creaciones, como los robots pintores RAP y TARA, creados para el Museo de Historia Natural de Nueva York y el museo Ciência Viva de Lisboa. El precio de las pinturas va de 3.000 a 20.000 euros, según sean piezas únicas o múltiples, o su dimensión.
"No me interesa la robótica antropomórfica; concibo los robots como una especie nueva con su autonomía y capacidad de decisión. TARA, como ISU o RAP, crea obras originales, decide cuándo están acabadas y sabe firmarlas, pero además interactúa con el público. Los visitantes pueden modificar algunos parámetros del algoritmo, cambiando el color, la dimensión o la dirección de los signos.
"La información es recibida por el robot en tiempo real, de modo que se pueden observar de inmediato los cambios de comportamiento", explica Moura.
En verano, Moura inauguró el primer zoo robótico, Robotarium X, cerca de Lisboa. Allí medio centenar de robots de 14 especies viven en una estructura poliédrica de acero y cristal, instalada en un jardín público. Esto no significa que haya siempre actividad, ya que la mayoría de ejemplares funciona con energía fotovoltaica.
Algunos especímenes evocan especies reales -como los desgarbados techmuris, parecidos a ratones, y los filiformes araneax, símiles a arañas-, pero la mayoría de ejemplares del Robotarium tienen su propia morfología y su programación autónoma y original. Casi todos pueden desplazarse y evitar obstáculos, aunque los hay más o menos ágiles, como los pesados reptumpacatus, que pasan la mayor parte del tiempo acumulando energía para conseguir moverse. Los cursovigilos, los vigilantes del zoo, siguen con su cabeza a los que se acercan al cristal.
GALERÍA: www.leonelmoura.com ROBOTARIUM: www.leonelmoura.com/ robotarium.html
Edward Ihnatowicz was a Cybernetic Sculptor active in the UK in the late 1960’s and early 1970’s. His ground-breaking sculptures explored the interaction between his robotic works and the audience, and reached their height with The Senster, a large (15 feet long), hydraulic robot commissioned by the electronics giant, Philips, in Eindhoven in 1970. The sculpture used sound and movement sensors to react to the behaviour of the visitors. It was one of the first computer controlled interactive robotic works of art.
domingo, 13 de janeiro de 2008
So what is augmented reality then? As is the case for virtual reality, several formal definitions and classifications for augmented reality exist (e.g., [109, 110]). Some define AR as a special case of VR; others argue that AR is a more general concept and see VR as a special case of AR. We do not want to make a formal definition here, but rather leave it to the reader to philosophize on their own. The fact is that in contrast to traditional VR, in AR the real environment is not completely suppressed; instead it plays a dominant role. Rather than immersing a person into a completely synthetic world, AR attempts to embed synthetic supplements into the real environment (or into a live video of the real environment). This leads to a fundamental problem: a real environment is much more difficult to control than a completely synthetic one. Figure 1.1 shows some examples of augmented reality applications.
Figure 1.1: Example of augmented reality applications. The glasses, mustache, dragons, and fighter figure are synthetic—(a) and (b) augmenting a video of the real environment; (c) and (d) augmenting the real environment optically. (Images—(a) courtesy of Vincent Lepetit, EPFL ; (b) courtesy of Simon Gibson , Advanced Interfaces Group © University of Manchester 2005; (c) and (d) prototypes implemented by the Barhaus-University Weimar.)
As stated previously, augmented reality means to integrate synthetic information into the real environment. With this statement in mind, would a TV screen playing a cartoon movie, or a radio playing music, then be an AR display? Most of us would say no—but why not? Obviously, there is more to it. The augmented information has to have a much stronger link to the real environment. This link is mostly a spatial relation between the augmentations and the real environment. We call this link registration. R2-D2's spatial projection of Princess Leia in Star Wars would be a popular science fiction example for augmented reality. Some technological approaches that mimic a holographic-like spatial projection, like the Holodeck, do exist today. But once again, the technical implementation as shown in Star Wars still remains a Hollywood illusion.
Some say that Ivan Sutherland established the theoretical foundations of virtual reality in 1965, describing what in his opinion would be the ultimate display :
The ultimate display would, of course, be a room within which the computer can control the existence of matter. A chair displayed in such a room would be good enough to sit in. Hand-cuffs displayed in such a room would be confining, and a bullet displayed in such a room would be fatal. With appropriate programming, such a display could literally be the Wonderland into which Alice walked.
However, technical virtual reality display solutions were proposed much earlier. In the late 1950s, for instance, a young cinematographer named Mort Heilig invented the Sensorama simulator, which was a one-person demo unit that combined 3D movies, stereo sound, mechanical vibrations, fan-blown air, and aromas. Stereoscopy even dates back to 1832 when Charles Wheatstone invented the stereoscopic viewer.
Then why did Sutherland's suggestions lay the foundation for virtual reality? In contrast to existing systems, he stressed that the user of such an ultimate display should be able to interact with the virtual environment. This led him to the development of the first functioning Head-Mounted Display (HMD) , which was also the birth of augmented reality. He used half-silvered mirrors as optical combiners that allowed the user to see both the computer-generated images reflected from cathode ray tubes (CRTs) and objects in the room, simultaneously. In addition, he used mechanical and ultrasonic head position sensors to measure the position of the user's head. This ensured a correct registration of the real environment and the graphical overlays.
The interested reader is referred to several surveys ,  and Web sites , 193] of augmented reality projects and achievements. Section 1.2 gives a brief overview of today's technical challenges for augmented reality. It is beyond the scope of this book to discuss these challenges in great detail.
Spatial Augmented Reality
by Oliver Bimber and Ramesh Ras
A K Peters © 2005 (384 pages)