quarta-feira, 27 de fevereiro de 2008


Since 1987, the Prix Ars Electronica has served as an interdisciplinary platform for everyone who uses the computer as a universal medium for implementing and designing their creative projects at the interface of art, technology and society.
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.

Marcela Morelo interactive

A-League - Interactive Fan

“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/ )

Concurso Museu Colecção Berardo

O Museu Colecção Berardo lançou um concurso para a sua nova loja, com o objectivo de encontrar o melhor designer para a criação de uma gama exclusiva de produtos e merchandising. Qualquer pessoa com imaginação poderá participar. Se acha que está à altura deste desafio, faça o download do regulamento em baixo e comece de imediato! O último dia para entrega das propostas é 31 de Março de 2008.
Boa sorte!
Anexo : Regulamento

terça-feira, 26 de fevereiro de 2008

First brain controlled video gaming headset unveiled

San Francisco (CA) – Emotiv Systems today unveiled the EPOC, a neuroheadset that allows users to control gameplay simply with their thoughts. IBM said that it is looking for ways to extend the EPOC beyond games into enterprise business markets.Emotiv said that the EPOC is advanced enough to detect more than 30 different expressions, including immersion, excitement, meditation, tension and frustration; facial expressions such as smile, laugh, wink, crossed eyes, shock (through raised eyebrows), anger, horizontal eye movement, smirk and grimace (through clenched teeth). The device is also able to detect cognitive actions such as push, pull, lift, drop and rotate (on six different axis) as well as a “completely new category of action based on visualization, the first of which is the ability to make objects disappear.” http://www.tgdaily.com/content/view/36131/118/

Mindflood - Acura Oracles Multi-Touch Flash

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.

Qubi - a tangible color game

Qubi - A tangible color game from Knut Karlsen on Vimeo.

domingo, 24 de fevereiro de 2008

ARDUINO alguma ajuda - http://todbot.com/blog/spookyarduino/

neste link encontram pelo menos 3 lições e alguns videos

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

Conferências ECATI 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 Sculpture

Interactive Sculpture from Ryan Schenk on Vimeo.

Nanomandala (2003)

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.

Three Drops

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.


Infinity Interactive Kiosk


edited by Oliver Grau - available from MIT Press 2007

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.

Sonic Body

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]

Tagged in Motion

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.

"Swarm" at the Science Museum, London

Media Mirror (2005)

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

Sequencing Beats with Bubble Gum

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.

NYC for a Gamer's Night Groove event

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.


Art building

O tipo que promove este Art building é um promotor imobiliário filantropo que comissiona obras de arte para andaimes de obras em curso.A próxima será a LX Factory, um espaço de 2,5 hectares em Alcantara onde funcionava a antiga gráfica Mirandela. Enquanto não avança o projecto imobiliário, estão a atrair para aquele indústrias criativas e artistas para residências artísticas. o espaço está giro, vejam umas fotos em http://www.lxfactory.com/

terça-feira, 19 de fevereiro de 2008

The "Little" Girl

On the morning of Sunday 7th May the little girl giant woke up at Horseguards Parade in London, took a shower from the time-traveling elephant and wandered off to play in the park..

sexta-feira, 15 de fevereiro de 2008

imagens, desenhos, fotografias, etc

Caros colegas:

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

Para todos...

... mas em especial para o Rui Lança :)

IDM e Kandinsky- para os que gostam de arte e entretenimento

"So the abstract idea is creeping into art, although, only yesterday, it was scorned and obscured by purely material ideals. Its gradual advance is natural enough, for in proportion as the organic form falls into the background, the abstract ideal achieves greater prominence.

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.


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


"People say graffiti is ugly, irresponsible and childish but that´s only if it´s done properly"


(Referência da Susana)