FILE 2006 - cfp 31 março

FILE FESTIVAL 2006
FILE - Electronic Language International Festival is opening registrations for its seventh edition, that will be held at Sesi Paulista's cultural space, in Sao Paulo, Brazil, in the period from August 14 to September 3, 2006. Subscriptions are open from Febraury 10 to March 31, 2006. Submissions are free and open to professionals, researchers and students of the electronic language.

In the last six years, FILE has shown what's been happening in the global networks related to digital and electronic arts, becoming a reference for studies and research on new media. It has exhibited web art, net art, artificial life, hypertext, computer animation, real time teleconference, virtual reality, soft art, games, interactive movies, e-videos, digital panoramas and electronic art installations and robotics, through interactive and immersive rooms.

FILE SYMPOSIUM has become a meeting point in the city of São Paulo, proposing discussions and tackling the electronic-digital culture in its relations to art, science and technologies.

FILE HIPERSÔNICA, the festival's sonorous branch, is on it's 4th edition and intends to elaborate connections between the world of images, the world of sonorities and the world of texts. Sound installations and real time performances will be presented by a number of groups and collectives, comprising both erudite and pop electronic music, but also electronic compositions, sound poetry, radio art, video music and sonic landscapes, as well as Djs and VJs presenting their sets through specific apparatus and installations with experimental and immersive projections.
For more information visit: [+]

FILE FESTIVAL 2006
O FILE - Festival Internacional de Linguagem Eletrônica está abrindo inscrições para a sua sétima edição que acontecerá no espaço cultural do Sesi Paulista em São Paulo, Brasil, no período de 14 de agosto a 03 de setembro de 2006. As inscrições estão abertas de 10 de fevereiro a 31 de março de 2006. A inscrição é gratuita e aberta a profissionais, pesquisadores e estudantes de linguagem eletrônica de âmbito internacional.

Nos últimos seis anos o FILE tem mostrado o que vem acontecendo nas redes mundiais no que tange às artes digitais e eletrônicas constituindo referência de estudo e pesquisa para as novas mídias. Foram expostos trabalhos de webart, netart, vida artificial, hipertexto, animação computadorizada, tele-conferência em tempo real, realidade virtual, soft art, além de games, filmes interativos, e-videos, panoramas digitais e instalações de arte eletrôn ica e robótica, através de salas interativas e imersivas.

O FILE SYMPOSIUM se tornou um ponto de encontro na cidade de São Paulo, propondo discussões sobre a cultura-digital eletrônica em suas relações com a arte, as ciências e as tecnologias.

O FILE HIPERSÔNICA, braço sonoro do festival, está em sua 4ª edição e propõe elaborar conexões entre o mundo das imagens, o mundo das sonoridades e o mundo das textualidades. São instalações sonoras e performances em tempo real de vários grupos e coletivos tanto de música eletrônica erudita, como de música pop eletrônica, além de composição eletrônica, poesia sonora, radio arte, vídeo música e paisagem sonora. Djs e Vjs também se apresentam através de aparelhagens específicas e instalações com projeções imersivas e experimentais.
Para mais informações visite:

PLANO DE TRABALHO - FASE 2

Pessoal

Como vocês sabem, temos que seguir um cronograma e eu preciso prestar contas das nossas atividades.
Gostaria muito que vocês começassem a usar o blog. ( http://ciberarte2005.blogspot.com)
Se conseguirmos criar um grupo de discussão, onde trocassemos ideias sobre textos, trabalhos de ciberarte, já seria ótimo.
Está bastante difícil reunir todo mundo nas reuniões e, não podemos ficar parados esperando dar certo.
Hoje, por exemplo, só veio a Leonora... Soube que o Nacho veio mas não encontrou a gente.

Enfim, a WWW pode ser um ótimo canal para as coisas começarem a esquentar!
Fiz um esquema das coisas que precisamos definir com muita urgência. Aguardo comentários de vocês
Conto com vocês!!!!

Lucia

PLANO DE TRABALHO - FASE 2

1. Definição do nome:
Sugestões:
Ciberágora
Tivemos a idéia de associar o conceito de ágora grega com a praça central do Campus.
Vejam o mapa de Atenas com a ágora no centro.
http://plato-dialogues.org/tools/agora.htm

Sobre a ágora de Atenas:
"Agora" in Greek literally means "a place of gathering" and the Agora of Athens was the heart of Athenian life in Ancient times. For centuries It served as a busy marketplace where merchants and artisans had congregated to offer their goods to all who gathered, and it also provided a platform for the Athenian political and intellectual life.

This is the place where Aristocrats and Tyrants enforced their rule on their Athenian subjects, and where later the concept of "direct democracy" was born and flourished. The Agora was the physical place where every Athenian citizen gathered to conduct their business, participate in their city's governance, decide judicial matters, express their opinion for all who cared to listen, and elect their city officials. For every free Athenian citizen, participating in such "common" activities was not merely a duty, but instead it was a privilege and an honor. In fact, the term "idiot" (idiotis=he who acts on his/her own) was used to mock those who avoided participation in the common citizen activities.


The Agora of Athens emanates a serenity which permeates once time grinds on ancient stones year after year until a millennium or two later the stones are rubbed smooth and shapeless, and begin to distance their form from the intentions of the original creator. No loud declaration exists of the Agora's contributions in the history of the western civilization. Instead, a mass of silent ruins invite the visitors to follow the historical clues and to unravel the Ariadnes thread all the way back to the Theseus' era of heroes.


2. Definir nossa proposta. Podemos ir por vários caminhos:
- Podemos pensar em algum trabalho com a praça do CAS, vídeos em vários horários...
- Podemos usar chips que recolham informações sobre a praça
- Usar webcans
- Podemos associar esse projeto ao do Paulo, com automóveis assassinos na praça.
- Performances?
- data marcada?
- um evento que durasse o dia todo, colhesse informações e à noite projetasse as imagens em telões na praça.
- Podemos trabalhar com o conceito de deserto. locais abandonados, vazios que nos rodeiam.
- Seria muito interessante se pudessemos fazer umas derivas na região, em pequenos grupos, coletaríamos imagens, narrativas.
- Seria fantástico se pudessemos usar GPSs, fazer mapas dos percursos.
- Os mapas teriam hiperlinks para aspectos subjetivos que o grupo fosse colhendo.
- A praça do CAMPUS, à noite, se transformaria no local de encontro onde os "exploradores" da região trariam seus registros (imagens, sons, narrativas).

Achamos (eu e a Leo) que isso tem muita relação com as idéias da Anamelia, uma vez que seria um exercício de exploração do olhar e do papel dos artistas como estimuladores de consciência. As derivas seriam vivências estéticas, uma atividade de "olhos que pintam".

As idéias do Prof. Paulo também estão presentes nesse projeto, à medida que nossas ações e vivências no espaço que circunda o SENAC seriam documentadas e revividas no ambiente coletivo do CAMPUS.

à noite, na hora das projeções, podemos trabalhar com projeções múltiplas, mostrando os mapas, os materiais coletados, e cenas da praça o dia todo.

aguardamos comentários

abraços a todos

Lucia e Leonora

Database imaginary

Steve Dietz
http://databaseimaginary.banff.org

Databases drive culture. 33 artists take us on an imaginative and subversive ride. The artists presented in Database Imaginary use databases to comment on their uses and to imagine unknown uses. The term database was only coined in the 1970s with the rise of automated office procedures, but the 23 projects in this exhibition - which includes wooden sculptures, movies and telephone user-generated guides to the local area - deploy databases in imaginative ways to comment on everyday life in the 21st century. Using newly inflected forms of visual display arising from computerized databases, the works seem to raise questions about authorship, agency, audience participation, control and identity.
Work Artist Date
1 1:1 Interface: Every Lisa Jevbratt/C5 1999
2 Agonistics: A Language Game Warren Sack 2004
3 Data Diaries Cory Arcangel 2003
4 Data Mining the Amazon Angie Waller 2002
5 Databank of the Everyday Natalie Bookchin 1996
6 Encyclopædia Alan Currall 2000
7 Faculty of Taxonomy University of Ope... 2004
8 File Room, The Muntadas 1994-2004
9 Giver of Names, The David Rokeby 1990 - (in progress)
10 How I Learned (1-4) Jennifer and Kevi... 2002
11 Lungs-London.pl Harwood/Mongrel 2004
12 Memory Theater Pablo Helguera 2004
13 Mobile Scout: A Field Guide Julian Bleecker, ... 2004
14 Shelf Life / Drawing Conclusions Edward Poitras 2004
15 Slippery Traces George Legrady 1995
16 Soft Cinema: Mission to Earth Lev Manovich 2004
17 Status Project, The Heath Bunting and... 2004
18 Swipe Beatriz da Costa,... 2002
19 Template Cinema: Short Films About Flying Thomson & Craighe... 2002
20 Things Spoken Agnes Hegedus 1999
21 TreatyCard version 2 (tcv2) Cheryl L'Hirondel... 2002-2004
22 Unmovie Philip Pocock, on... 2002
23 Visitors' Profile, Directions 3: Eight Artists, Milwaukee Art Centre, June 19 through August 8, 1971 Hans Haacke 1971

Park Fiction

Documenta11 Installation
Hamburg St. Pauli, Reeperbahn 1
June 19 - July 6
open daily from 12 a.m to 10 p.m.
Free entry
Exhibition opening on June 19, 5 pm with Ute Meta Bauer (Co-Curator Documenta11, Berlin Biennale), Schwabinggrad Ballett, Gino and pupils of Friedrichstrasse school .
In the afternoon, guided tours through the exhibition and to the park area are offered.


The installation in the documenta-Halle 2002 (Picture: Werner Maschmann, Documenta11)

After an intensive seven-year process of wishing, planning and negotiating, culminating in its presentation at Documenta11, Park Fiction, a long-term planned park project in Hamburg-St. Pauli, with and from a collective of its residents, is in the midst of realization.

Just the right time to reflect on this successful process: One year after Documenta11, Park Fiction’s installation returns to Hamburg. The work will be shown for the first time in it’s place of origin, on the Reeperbahn in the district of St. Pauli, to give all people involved in the project the possibility to see the outcome. Also, the reception of the exhibition shall invite to discuss the question how interventionist projects can be presented in "art spaces" such as exhibition rooms. The Documenta11 installation faces this challenge in a formally precise and complex way, but a comprehensive reflection is still to be achieved.

The work consists of 5 workdesks adapting the design of "Sprachlabor" (speech laboratory) – tables from the late 60’s german "Bildungsaufbruch" (educational reform agenda)- times to remind of the abandoned promises of the recent past. As in all the Park Fiction Tools, the colouring quotes constructivist designs of the 20’s while while ironically employing the Corporate Design techniques of multinationals, and thus relating to society's real existing wealth.

The desks are assigned to central working-concepts. Drawings and products from the " production of desires" are shown in elegant registers, inviting to work with the material offered and providing a dignified presentation in contrast to bourgeois hanging traditions.

As an essential part of and supplement to the installation, Margit Czenki’s film "Park Fiction – the wishes will leave the house and hit the streets" (Hamburg 1999) shows the wide range of voices involved in the project. The film captures the moment where politics, arts and musical subcultures made each other more clever. This narrative line is combined with a fast-forward ride through the history of parks and politics, presented in rich colours, from the arabic gardens via Coney Island’s Luna Park to the much disputed parks of the 20th century.

5 assorted models from the production of wishes, presented in a skyscraper style, refer to possible worlds in the ruins of post-fordism.

The congress Unlikely Encounters in Urban Space will open up the view on the global horizon, and create direct connections between similarly laid-out projects in different countries.

CONTESTED SPACE

CONTESTED SPACE

A-1 53167 Anibal Lopez,
Cantieri Isola,
Gustavo Artigas,
Andrea Abati,
Marc Bijl,
Stefano Boccalini,
Bureau d'Etudes,
Paola Di Bello,
Meschac Gaba, Rainer Ganahl, Carlos Garaicoa, Jeroen Jongeleen, Armin Linke, Armando Lulja, Teresa Margolles, Gianni Motti,
Multiplicity, Giancarlo Norese, Ogi:noknauss, Park Fiction, Robert Pettena, Radek Community, Paula Roush (msdm), Santiago Sierra, Stalker, Superflex, Bert Theis, Enzo Umbaca, UnDo.Net, Alejandro Vidal e Wayruro.
Superflex.

Contested Space
curated by Marco Scotini

Contested Space has been promoted by Regione Toscana, Tra-Art Regional Network for Contemporary Art, and by the Municipalities of Florence, Leghorn, Monsummano Terme, Prato, Siena. It has been conceived as an 'urban action day' at the Stazione Leopolda in Firenze, as the closing event of the entire project ''Networking/ The cities of people'', curated by Marco Scotini.

''Networkingcity'', published by m&m Maschietto Editore, is the occasion through which Contested Space intends to convey and concentrate in the same place and at the same time a variety of experiences on an international level, on resistance, creation and activism. Contested Space is like a one day display in which a number of researches will be presented. Their aim is to analyse the relationship between art and social transformation departing from the ''Networking'' Lab. and side by side with international experiences of public or community-based projects. Networking first proposed itself as a territorial laboratory, organised in a number of events (conferences, debates, workshops, exhibitions, artistic participation). With this further stage ''Networking'' offers itself as a debating and contesting platform on which conflict is taken on as a privileged space of the portrayal of the current situation. Themes such as the daily negotiated space and the space of inequalities and contradictions will be dealt with through the works of 30 international artists and 70 young artists operating in Tuscany.

In addition to the ''NetworkingCity'' group, the following artists have been invited:

A-1 53167 Anibal Lopez, Gruppo A12, Cantieri Isola, Gustavo Artigas, Andrea Abati, Marc Bijl, Stefano Boccalini, Bureau d'Etudes, Paola Di Bello, Meschac Gaba, Rainer Ganahl, Carlos Garaicoa, Jeroen Jongeleen, Armin Linke, Armando Lulja, Teresa Margolles, Gianni Motti, Multiplicity, Giancarlo Norese, Ogi:noknauss, Park Fiction, Robert Pettena, Radek Community, Paula Roush (msdm), Santiago Sierra, Stalker, Superflex, Bert Theis, Enzo Umbaca, UnDo.Net, Alejandro Vidal, Wayruro.

On this occasion the Alcatraz space will be turned into an open and informal platform which foresees the dynamic succession of operative spaces and a simultaneous multiplication of events: projections, performing actions, meetings, alternative markets and workshops. Along with the exhibition and during the entire length of the event there will be an arena for debates where philosophers and/or theoreticians will follow critics, artists and representatives of popular activism.

From green guerrilla to hypotheses of counter-town planning, from homelessness to the violence of the suburbs, from power maps to hidden towns (still to be mapped), from parades to sit-ins, from hunger strikes to forms of popular activism, from illegal interventions in the town network to the activation of parallel or informal economies, from counter-information to hardcore aesthetics: these are some of the themes that will give life to the CONTESTED SPACE area through the work of 100 artists and intellectuals.

The artists of the ''NetworkingCity'' group are:

Katia Alicante, Anonymous Art Studio, Michele Aquila, Arabeschi di latte, Giacomo Badiani, Gianni Barelli e Paola Baldassi, Filippo Basetti, Giacomo Bazzani, Eri Bezhani, Jary Biscardi, Sladzana Bogeska, Leonardo Bossio, Sandro Bottari, Andrea Bruscoli, Andras Calamandrei, Vittorio Cavallini, Barbara Ceccatelli, Dimitri Civilini, Cristiano Coppi, Vincenzo Ferrara, Giovanna Fezzi, Stefania Filizola, Ilaria Giaconi, Zoe Gruni, Michele Guidarini, Irene Jorgensen, Irena Kalodjera, Gruppo Koroo, Kata Kozlovic, Jonela Llaci, Paolo Lonzi, Luca Malgeri, Federica Mannella, Gabriele Manganiello, Filippo Manzini, Melanie Marxer, Marco Michelini, Ljljana Mihaljevic, Sandra Miranda, Domenico Montano, Agata Monti, Elisabetta Mori, Francesca Nesi, Giovanna Nicosia, Nguyen Nhu My Ngog, Valentina Pacini, Francesca Pisaneschi, Christian Posani, Tasos Protopsaltis, Niccolò Poggi, Giulia Giada Pucci, Salvator Qitaj, Giacomo Ricci, Michael Rotondi, Mauro Sanpaolesi, Angelo Sarleti, Gabriele Sedda, Anna Stankiewicz, Svarnet, Stefano Tondo, Tommaso Tancredi, Eugenia Vanni, Matteo Voliani, Ergin Zaloshnja, Catia Zizzi.

The Stazione Leopoda S.R.L., the Milano/Genova ARTRA art gallery and PROMETEO Associazione per l'Arte Contemporanea of Lucca generously collaborate for the making of the entire event.

(dica do Blog do Itaulab)

Gruppo A12

gruppo A12 is a collective of architects, founded in 1993 and active in the fields of architecture, art and new media. It has displayed its work at Musée d'Art Moderne de la Ville de Paris; ZKM, Karlsruhe; PS1 New York; Manifesta 3, Ljubljana. gruppo A12 won in 2000 the SonderPreis at the MedienKunstPreis at ZKM, Karlsruhe.

http://digilander.libero.it/gruppoa12/

The subversion of the sequential and logical succession of operations considered as characteristic of an architectural project has been an unconscious and recurring feature in our activity.

Even the most radical and revolutionary contemporary architecture seems to follow an unaltered recipe composed of a variable number of steps, which vary in formal and expressive terms, but not in their relational order. Simplifying, it can be said that the sequence would be the following: a series of visual products aimed to define a spatial configuration and mainly produced under the control of the architect, morph into a set of prescriptive rules to be transmitted to representatives of other professional activities in order, finally, to produce space.

This basic line might of course be complicated, in different moments, either at the beginning, in the middle or after the process, by a necessary concern with some sort of eloquence in respect of a public opinion represented by a client, a jury, the press, the architectural critique, the academy. Also, in several occasions, the sequence is deliberately interrupted in its initial stage, to use the graphic materials of the project as a discursive device.

The diffusion throughout different media of communication of single chunks of this line, at least since the Renaissance, permits architectural discourse to be considered as complete and round even in absence of a physical appearance of any object into the world of the real. For the history and theory of architecture there seems to be no substantial difference between projects and buildings, between the thought and the built.

Because of an accumulation of coincidences, often determined by the peculiarity of the contexts where we operated in the past, many of our works do not seem to proceed from the canonical processes of the architecture. In fact their same status appears to be blurred as the apparent lack of any immediate recognisable expressive concern, places them in an undefined space between art and architecture. But nevertheless, even if fragmented and almost impossible to be grasped by any stylistical critique, these works perform as spaces and are intended as such, rather than as sculptures or installations. Therefore, still, they might be considered as architectures.



There are two recurrent features, which are identifiable in some of our work. The first is a tendency of absorbing, including and altering disparate materials that might be considered as abandoned, or simply as junk, into the spaces which are created. |H|U|M|B|O|T| was a collaborative web project by Daniel Burckhardt, Roberto Cabot, Elena Carmagnani, gruppo A12, Udo Noll, Philip Pocock, Wolfgang Staehle, and Florian Wenz presented within the exhibition net_condition at the ZKM in Karlsruhe in 1999. A vast raft made out of pallets, old furniture, scrap pieces of metal, rotten washing machines, blocks of polystirene was used as a site where the visitors of the exhibition were able to view videos, surf into the web-site, observe the ancient map and equipment of Alexander von Humboldt. The same project presented during the exhibition Voilà in the Musée d’Art Moderne de la Ville de Paris in 2000, became a platform of concrete covered with multicoloured tiles recuperated from demolition companies.

Our intention is not simply to search for the redemption of some objets-trouvées of the contemporary city through their dislocation within the neutral context of the museum, but to investigate the possibilities inscribed in a process of different reuse of already existing resources. The results of these investigations, which might appear to be deprived of any functional ability, instead proved to perform their tasks efficiently. What is modifying the process of definition of an architecture, is that the slow accumulation of these materials cannot be preceded by any visualisation or directed by any set of indications or rules, as the deployment of a spatial order is subjacent to the randomness of what has been found.



In our work is inscribed an attempt to follow a principle of realism and an economy of expression, tending to imagine that the use of an already existing structure, customised through a series of simple operations to fit new needs, can be seen as an architectural strategy. In the case of the exhibition "La ville, la memoire, le jardin", at Villa Medici in Rome in 2000, a pre-fabricated glasshouse, normally used for gardening, is enriched by a tree passing through the roof, a wooden platform that surrounds it and a series of neon-lights disposed in the structure. The glasshouse, considered as an architectural folly, hosted an archive and library.

A library was also the function inserted in a used container, presented at the exhibition "Strategies against architecture II" at the Fondazione Teseco in Pisa in 2001. The roof is cut out, the interior is painted in dark pink, and a steel floor is inserted. A metal shelf contains the books of the artists invited to the exhibition, while black pillows allow the visitors to lie lazily flipping trough the pages. In both cases the glass house and the container are taken as starting elements from which, throughout a series of manipulations, it becomes possible to articulate a space and give shape to a new function.

The process of accumulation and use of the material for the creation of our spaces implies that a second feature might be recognised as recurrent in our research. In fact these spaces are the result of a process of bricolage, of permanent manipulation of the constructive elements, where it is possible to test the different solutions in real time: before the configurations which appear as final are fixed, walls are moved, elements are destroyed or altered, floors are raised and then displaced, rooms are dismantled in a perpetual movement where the architecture evolves out of a process of "trial and error".

The spatial organisation results from a horizontal negotiation between the different subjects involved in the process of realisation, not just by us, but as well by workers, artists, firemen, craftsmen, curators, electricians, computer specialists. In the absence of a set of prescriptive documents to be transmitted for the realisation of the architecture, the project is shifted into a level of verbal communication, where the sequence of the work appears to be reverted: first comes a community, although transient and temporary, from which a space is progressively developed, using found material: there is a target which is not existing, there is no image to be imitated or to tend to. Afterwards, eventually, the pile of junk can be measured and drawn, according to the principles of the descriptive geometry.



"parole," a collaborative Internet project by gruppo A12, Udo Noll, and Peter Scupelli is conceived as a dynamic dictionary of the contemporary city. Although occupying an electronic space, the project is imagined according to the same principles: the theoretical research on the city is realised by providing a space for existing materials of any sort (texts, images, videos, links) and thus creating a temporary community of authors, users, subscribers. From our part there is no authorship, all the material contained in the web-site is the product of other subjects: again we are just collecting resources. The installed spaces where "parole" has been presented, work as laboratories where contamination and alteration are the constitutive elements of its developing: found furniture and graffiti are once again included into the process. Unexpected words and comments are constantly changing the contents.

Livro Derivas - sábado no FILE

Lançamento do Livro
Derivas: cartografias do ciberespaço
Lucia Leão (org.)
Editora Annablume
Lançamento dia 11 de dezembro, sábado, das 16h às 20h.
FILE – FESTIVAL INTERNACIONAL DE LINGUAGEM ELETRÔNICA.
Galeria de Arte do SESI
Av. Paulista, 1313

Como pensar o ciberespaço, esse gigantesco e
quase-infinito labirinto de interações da era
contemporânea? O livro Derivas: cartografias do
ciberespaço reúne artigos de renomados pesquisadores
na área da cibercultura, das artes e das novas
tecnologias. Entre eles: Lev Manovich (UCSD - USA),
André Lemos (UFBA), Lucia Santaella (PUC-SP e Kassel
University), Federico Casalegno (MIT), Steve Dietz
(curador de novas mídias independente, EUA), Brett
Stalbaum (UCLA – USA), entre outros.


“Através de um olhar tríplice, percebemos que o
ciberespaço engloba: as redes de computadores
interligadas no planeta (incluindo seus documentos,
programas e dados); as pessoas, grupos e instituições
que participam dessa interconectividade e, finalmente,
o espaço (virtual, social, informacional, cultural e
comunitário) que emerge das inter-relações
homens-documentos-máquinas.”


“O conceito de psicogeografia, como registro da
experiência de deambular, é ponto de partida do
presente livro. Nesse sentido, os artigos reunidos
buscam estimular percursos de leitura e reflexões
sobre o ciberespaço.”

Lucia Leão é artista e pesquisadora interdisciplinar.
Doutora em Comunicação e Semiótica publicou os livros:
"O labirinto da hipermídia: arquitetura e navegação no
ciberespaço" (Iluminuras, 1999); "A estética do
labirinto" (Anhembi Morumbi, 2002); "Interlab:
labirintos do pensamento contemporâneo" (Iluminuras,
2002), "Cibercultura 2.0" (Nojosa, 2003) e "O chip e o
caleidoscópio: estudos em novas mídias" (Ed. Senac, no
prelo). Professora Doutora na PUC - SP e nas
Faculdades SENAC, onde coordena o Grupo de Pesquisas
em Cibercultura. Atualmente desenvolve pesquisa de
Pós-doutorado em Artes na UNICAMP.
www.lucialeao.pro.br

Encontro do Grupo CIbearte dia 30 nov 2004

Estavam presentes
Paulo Barreto
Fabio Pingler
Vinicius
Sidney
Lucia
Leia

- Realidade aumentada
- Controle remoto via WWW

Grey World
http://www.greyworld.org/artwork/source/index.html

http://www.undertheumbrella.net/
UMBRELLA.net is a developing research platform at the Networks and Telecommunications Research Group at Trinity College Dublin. It is a collaboration between Jonah Brucker-Cohen and Katherine Moriwaki. Other collaborators are listed below.


A mobile ad-hoc network (MANET) is a self-configuring network of mobile routers (and associated hosts) connected by wireless links—the union of which form an arbitrary topology. The routers are free to move randomly and organise themselves arbitrarily; thus, the network's wireless topology may change rapidly and unpredictably.

Ad hoc is a Latin phrase which means "for this [purpose]." It generally signifies a solution that has been tailored to a specific purpose, such as a tailor-made suit, a handcrafted network protocol, and specific-purpose equation and things like that.
Such a network may operate in a standalone fashion, or may be connected to the larger Internet.


The popular IEEE 802.11 ("Wi-Fi") wireless protocol incorporates an ad-hoc networking system when no wireless access points are present, although it would be considered a very low-grade ad-hoc protocol by specialists in the field. The IEEE 802.11 system only handles traffic within a local "cloud" of wireless devices. Each node transmits and receives data, but does not route anything between the network's systems. However, higher-level protocols can be used to aggregate various IEEE 802.11 ad-hoc networks into MANETs.


A list of some ad-hoc network protocols can be found in the Ad hoc protocol list.

UMBRELLA.net: UMBRELLA.net is an experimental platform for developing ad-hoc networks based around coincidence or chance occurrences. The project utilizes the haphazard and unpredictable patterns of weather and crowd formation as a catalyst for network formation. This approach is meant to challenge traditional conceptions of how networks form and function by correlating their existence to circumstances beyond people's direct control. The system consists of a set of umbrellas as nodes that can spontaneously form based on weather conditions. UMBRELLA.net establishes a visual footprint of a network in public space and creates a framework for sharing localized information among connected nodes.

The project consists of 10 Bluetooth-equipped umbrellas each with an accompanying Personal Digital Assistant (PDA) that is running the networking software. When opened, the hardware on the umbrellas, communicate to the PDAs to initiate a network connection to a nearby umbrella. The umbrellas illuminate their states with bright LEDs. There are 3 states: 1) Pulsing red if searching for nodes, 2) Pulsing blue if connected to other umbrellas, 3) Flashing blue if transmitting data between umbrellas. These visual cues allow the general public to engage with the project. Those holding the umbrellas will be able to use the built-in chat program on the PDAs to communicate with other participants. There is also a visualization of the network displayed on the iPaq screens to show each person where they are in relation to others in the network and illustrate the multi-hop routing structure of the project.



About Jonah Brucker-Cohen and Katherine Moriwaki: Jonah Brucker-Cohen is an artist, researcher, and Ph.D. candidate in the Disruptive Design Team of the Networks and Telecommunications Research Group (NTRG) at Trinity College Dublin. He is currently an HEA researcher in the Human Connectedness Group at Media Lab Europe in Dublin, Ireland. His writing has appeared in numerous international publications including Wired Magazine and Rhizome.org and he the co-founder of the Dublin Art and Technology Association (DATA Group).His work has been shown at events such as DEAF (03,04), UBICOMP (02,03,04), CHI (04) Transmediale (02,04), ISEA (02,04), Institute of Contemporary Art in London (04), Whitney Museum of American Art's ArtPort (03), Ars Electronica (02,04) and others.


- http://www.spectropolis.info/photos/index.html

Lynn Hughes e Simon Laroche - Canadá
Perversely Interactive System | Sistema Perversamente Interativo

Tim Pritlove - Alemanha
Project Blinkenlights | Projeto Blinkenlights
http://www.blinkenlights.de/

In celebration of the Nuit Blanche art festival in Paris, Project Blinkenlights has transformed Tower T2 of the Bibliothèque nationale de France into what is claimed to be the world's largest computer screen. The 520 pixel display, called Arcade, consists of a matrix of 20 x 26 of the building's windows -- resulting in a giant computer screen having an area of 3370 square meters.


Bill Vorn


Matthias Gommel
http://www.robotlab.de

Projetos interessantes a pesquisar

oncotype oncotype.dk/
Oncotype ApS
-- filmes interativos (http://oncotype.dk/portfolio/archives/noodlefilm/)
ver "switching" (http://www.switching.dk/da/ e http://www.switching.dk/en/)
Niels Hemmingsens gade 32A, 1TH
1153 København K
oncotype.dk
info@oncotype.dk
-------------------------------------

Mathias Gommel
Juke_Bots (transmediale - Berlim)
ler matéria em: http://www.dvara.net/HK/ludovico.asp

ver tb: Algorithmic Echolocation (2003) von Ramon Guardans, Adolf Mathias, Martin Schüttler, Matthias Gommel, Götz Dipper and Renata Sas.
no ZKM http://basic-research.zkm.de:8080/basic_research/installations

------------------------------------
Golan Levin
Messa di Voce (Prix Ars)
http://acg.media.mit.edu/people/golan/index.html
http://www.flong.com/
http://www.flong.com/resume/

-----------------------------

Rafael Lozano-Hemmer
www.lozano-hemmer.com/
Alzado

---------

Outras fontes:
http://userwww.sfsu.edu/~infoarts/links/wilson.artlinks2.html

Bits on Location - http://www.datenamort.de/eng/indexe.html
Imon - http://www.imon.de/about.html
C-Watch (Anne Katrin Konertz e Camilla Hager) - http://dingbats.digital.hdk-berlin.de/anne/
m-Disco - http://myhd.org/mdisco/
n:Info (Julia Guther e Jakob Lehr ) - http://myhd.org/ninfo/

VILLETTE NUMÉRIQUE e encontro

Olá pessoal!

como muitos de vocês já sabem, nosso projeto foi aprovado como extensão e podemos dar continuidade aos nossos encontros pois teremos verba para realizar nossa instalação.

Como estamos no fim de ano, a loucura é muito grande, podemos também ir trocando idéias via email e via blog.

Além disso, gostaria de marcar um encontro presencial com vocês na terça da outra semana, dia 30 de novembro.

Na semana que vem, estará ocorrendo o Simposio do FILE e apresentarei palestra no dia 24, às 16h.

Outra dica: não deixem de olhar o VILLETTE NUMÉRIQUE 2004 :: Festival international des arts numériques à Paris (http://www.villette-numerique.com/2004/pages/index.php?pg=16)

abraços a todos

Lucia

III Simpósio Cibercultura: Derivas no ciberespaço

III Simpósio Cibercultura: Derivas no ciberespaço
http://www1.sp.senac.br/hotsites/fca/derivas/

19, 20, 21 e 22 de outubro de 2004

PROGRAMA

19 de outubro de 2004 - terça-feira

19h Abertura: Derivas no ciberespaço

André Lemos
Henrique Antoun
Lucia Leão

Moderador:
Sergio Bairon

21h
Coquetel e noite de autógrafos

------------------------------------------

20 de outubro de 2004 - quarta-feira

10h-13h Arte, Realidade Virtual e o Ciberespaço 1

Diana Domingues
Regina Silveira e Marcos Cuzziol
Gilbertto Prado e Silvia Laurentiz

14h-17h Arte, Realidade Virtual e o Ciberespaço 2

Tania Fraga

Suzette Venturelli e Mario Maciel
André Parente e Luiz Velho
Daniela Kutschat e Rejane Cantoni

-----------------------------------------------------
21 de outubro de 2004 - quinta-feira

10h - Aspectos antropológicos do ciberespaço
(comunidades virtuais, blogs, ciberativismo, hacktivismo, netarte)

Priscila Arantes
Christine Mello
Felipe Fonseca e Dalton Martins
André Brasil

Moderador: Rita Oliveira

14h Conhecimento no ciberespaço
(webjornalismo, mapas da informação, enciclopédias online, entre outros)

Guilherme Kujawski
Hernani Dimantas
Silvana Drumond Monteiro
Rogerio da Costa
Eduardo Braga

19h Novas subjetividades e cibercultura
(avatares, muds, personalidades múltiplas, o corpo em questão, etc)

Lucia Santaella
Maria Elisa Marchini Sayeg
Rachel Zuanon
Roger Tavares

---------------------------------

22 de outubro de 2004 - sexta-feira

10h
Artemídia 1
(propostas poéticas com novas mídias)

Marcus Bastos
Artur Matuck
Hermes Renato Hildebrand


14h
Artemídia 2
(propostas poéticas com novas mídias)

Vicente Gosciola
Rosangella Leotte
Etienne Delacroix
Jorge Luiz Antonio


17h Espaço urbanos e cibercultura
(celular 3G, smart mobs, flash mobs, wi-fi, cibercidades....)

Federico Casalegno
Giselle Beiguelman
Simone Freitas
Fabio Fernandes

CAMPUS SENAC
Av. Dr. Euzébio Stevaux 823
Santo Amaro
São Paulo SP
http://www1.sp.senac.br/hotsites/fca/derivas/