Posts Tagged ‘art is open source’
UBIQUITOUS POMPEI: THE FINAL EVENT FOR THE DIGITAL CITY CREATED BY STUDENTS
Ubiquitous Pompei, published on Art is Open Source
On December 14th, in the city of Pompei, we celebrated the final step in this phase of the Ubiquitous Pompei project, created through a series of workshops performed together with high school students who were invited to imagine the digital future of their city.
This has been an incredible experience for us. The possibility to work in tight contact with young students and to become enablers for their awareness of the possibilities offered by technologies and networks has been an amazing opportunity.
We were able to explore with the students the concepts of new forms of citizenship, innovative forms of participation and collaboration, novel ways of deciding and evaluating public policies, engaging ways of narrating the stories of the places in which they live, getting people, companies and administrations involved.
The workshops were used to introduce students to the opportunities and scenarios offered by ubiquitous technologies such asaugmented reality, location based media and services, and QRCodes and other digital tagging techniques. On top of that, students and educators were introduced to the MACME and NeoReality technologies, to be used in the process of imagining and creating the prototypes used to describe the digital future of the City of Pompei.
The technologies have been provided to students, educators and public administrators through an open platform. It can be found here (click to open PompeiAR, the tech platform used to create Ubiquitous Pompei).
Art is Open Source and FakePress Publishing will maintain the platform open and accessible to students/educators/administrators to allow them to continue in their journey through technological innovation: continuous experiments will be performed (and so don’t be surprised if, sometimes, test content pops up on the linked website: it means that students are actually working on it, experimenting on their city’s future) and, possibly, be transformed into real-life scenarios.
The event on December 14th has been a wonderful experience and a chance to finally get together with all involved actors to evaluate the results of our efforts.
During the event, a commission composed by Derrick de Kerckhove, Giampiero Gramaglia, Claudio Alfano, Maria Pia Rossignaud and Antonio Irlando experienced the presentations of the projects created by the students, introduced by Oriana Persico and then presented directly by the young innovators. After the presentations the commission evaluated the prototypes produced during the project and assigned an award of distinction to the project which implemented an ubiquitous book dedicated to the ancient “social networks” found in Pompei’s ruins, where people inscribed graffiti messages about their daily life and full of useful information; An augmented reality application allows you to read these graffiti by framing them in your smartphone and, thus, to translate them from latin into your own language, to discover the lives of ancient Pompeians and engage an experiment in atemporality by being able to comment the ancient graffiti and open up a dialogue across time.
All students were awarded a certificate of participation to the project.
We definitely wish to thank the Public Administration of the City of Pompei – and especially Claudio Alfano, the Vice-Mayor of the City of Pompei and Town Councillor for Technological Innovation, and Mayor Claudio D’Alessio – for embracing with such energetic enthusiasm the vision proposed through this project, and by making us feel so welcome and appreciated in our efforts to discover, together with students and educators, the positive opportunities which the digital future can bring closer to us, and helping us to develop our cities, relations, jobs and environments.
And we sincerely wish to thank the students and professors at the Liceo Socio-pedagogico E. Pascal and the Istituto Bartolo Longo, the two schools which joined us in this wonderful experience: you have been so nice to have dedicated us some of your time and energies, and so wonderful to have perfectly understood the sincerity with which we propose our ideas and skills.
And, of course, we wish to thank MediaDuemila and Associazione Amici di Media Duemila, for creating the “McLuhan Incontra Pompei” project and, thus, making this all possible, and prof. Derrick de Kerckhove for leading our visions.
HERE you can find information about the MACME technology used in the project.
HERE you can find information about the NeoReality technology used in the project.
The Ubiquitous Pompei project, as well as the concepts produced by the students, are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
FLUXUS was a variable group of artists working in what has vastly been called Neo-Dada and visual arts, but really worked intermedially across visual arts, design, video, music, performance and architecture.
Vastly inspired by the work of John Cage and, in a way, organized by George Maciunas, FLUXUS was a natively networked movement of artists that were already working and collaborating along the same lines, internationally.
The term “intermedia” was coined by fluxus artist Dick Higgins to describe what, during the 60s, was a really innovative approach in which arts started moving across materials, practices, technologies and genres, defining entirely new ones or even incredibly significative hybrids.
FLUXUS artists worked with found materials with a DIY (Do It Yourself) approach, often establishing profund collaboration practices or experimenting the ideas of randomness and the recombination of everyday objects and events into artistic expressions.
Various kinds of materials and technologies were used to enact this approach, including the first video experiments by Nam June Paik and John Cage’s musical creations built using appliances, everyday objects, and things coming from offices or ordinary houses. The diffused tendency operated by fluxus artists was to both “open” the artistic process and to layer artistic visions onto the flow (fluxus) of ordinary life.
The DIY approach is typical of the first objective. Here, artistic gestures and approaches were disclosed, and the methodologies and techniques were described as something that could be accessible to people, for comprehension and reenactment. Even on the strategies of price: while “ordinary” artists produced very limited numbers of highly expensive works, fluxus artists (for example Maciunas himself) produced their works as if they were to be mass produced and made available at very low costs. Art was open, interactive, accessible and collaborative, as the person experiencing the artwork was required to intervene and act, or even suggested to replicate and diffuse gestures in other contexts.
As for the second approach, FLUXUS’ assemblage and recombination of everyday objects and practices transformed the imaginaries connected to ordinary daily life, creating through aesthetics, experiences and interactions, additional dimensions in which any object or space could be perceived. Objects acquired the magical aura of art by simple recontextualizations or juxtapositions, as sounds, visions and other sensorial experiences aggregated through performance and interaction.
Art flowed with daily life as one single environment with multiple possibilities opening up for world codification and experience.
This disruptive approach to art and life was crystallized across a series for practices.
The production of the so called Fluxus Boxes was one of them.
Fluxus boxes were a peculiar form of expression in which the artist gathered a series of objects, cards, materials and components and assembled them in boxes, suitcases or other containers. The assemblage was created with multiple purposes in mind: creating suggestions and tangible poetics by juxtaposing things was something that the cinematographic montage had learned since the beginning of the century, and it was also explored by musicians such as Cage, where the sounds of known objects acted on levels that are simultaneously physical, symbolic and referring to memory and cultures.
Fluxus boxes were intended as non linear narratives to be handled, touched, performed, disseminated, destroyed, reassembled, counted and reconfigured.
Just as cinema montage and music had learned, the orchestration of symbols, visions and other sensorial components was able to create novel scenarios. Interactivity and tangibility created a state of continuous recombination, multiplying interpretation and cognitively activating people, who became part of the artwork while handling, imagining and communicating. The connection with the ordinary flow of life created new dimensions in the world: stratified, recombinant and engaging.
In occasion of the 50 years of FLUXUS we have decided to research on this wonderful form of expression, both for the innovation it has provided in the arts and for its connection with many of the mutation processes that are going on with contemporary humanity and their ability to experience media, communicate and interact.
At the event Mercoledì da NABA series of events, on December 15th 2010, we will hold a workshop/performance in which we will build a Fluxus Box using Augmented Reality and other cross-medial techniques and technologies.
The ojective will be to research on the Fluxus Box approach, and to appy it at a “meta” level. The objects contained in the box will be tools through which the experience of multiple Fluxus Boxes will be holdable, remixable, juxtaposable, recombinable, enacting a meta-performance encompassing possibly infinite remixed reenactments of Fluxus performances, experiences and events.
The box we will produced will be donated to the NABA, and the custom software that will be created for the occasion will be released under a GPL2 licensing scheme, so that it will be usable by artists, students and practitioners worldwide, in a further level of the performance.
more info at:
http://www.artisopensource.net
Augmented Reality can create opportunities for critical reinvention of the world.
Squatting Supermarkets uses augmented reality to break open the codes of commercial communication on the products we use every day. By taking a picture with your mobile phone to the logo of a product, individuas can contribute to a global, disseminated relational discourse on ecology, sustainablity and social responsibility issues of the things we eat, wear and use every day.
The logo gets recognized with computer vision techniques and is used as a fiducial marker that can be used by the Squatting Supermarkets application to create a discussion space onto which people can write their thoughts and interact with other individuals and groups.
An interpretative layer on top of reality where we can express ourselves, bypassing communication control strategies enacted by corporations and governments. Augmented Reality as a new space for self-expression.
FakePress and Art is Open Source present:
Squatting Supermarkets @ RObot Festival 2010
from 15th to 18th September
Bologna, Italy
click here for more info about RobotFest 2010
click here for more info about Squatting Supermarkets
click here for even more info about Squatting Supermarkets
please link back to: http://www.artisopensource.net/2010/09/09/squatting-supermarkets-robot-festival-bologna/
From: http://www.artisopensource.net/2010/06/24/aos-and-fakepress-present-critical-ar-ensemble-at-iar2010/
Art is Open Source and FakePress participated to IAR2010, the first italian event totally dedicated to the themes of Augmented Reality, organized by the folks at JoinPad at the Milan headquarters of the Hub.
from http://www.artisopensource.net/2010/06/24/aos-and-fakepress-present-critical-ar-ensemble-at-iar2010/
The event was truly interesting as it covered a wide range of themes and approaches. I must say that I am quite interested in the efforts that marketing is putting on Augmented Reality (AR). It reminds me a lot of the hype that had developed a couple of years ago on proximity marketing and bluetooth.
While the idea of being able to interact with “users” according to their position and to the possibility of delivering contextualized, relevant content just-in-place and just-in-time is quite fascinating and attractive, lots of issues arised in practical applications of proximity marketing: the availability and compatibility of devices, user habits, usability, accessibility, the quality of content to be delivered, invasiveness, responsiveness, interactivity.
With AR we have gone way beyond those problems, but something’s still missing and, on the other side, people haven’t yet figured out exactly what they want from AR, and how they want it.
Good things first: IAR2010 has been a wonderful experience. Before and during the setup and at the afterparty we had the chance to chat with some really wonderful and creative people who are developing ideas and projects that have AR components in perspectives that encompass wide range of interests and matters.
Using the presentations as a reference, the first that comes up to mind is Simone Cortesi of OpenStreetMap. With OSM a radical approach is being persued, focused on the creation of a stack of tools collaboratively building a software and content platform and, on the content side, to truly implement a distributed operative environmet which enables for a real stratification of information on the “real” world. Projects such as OSM are truly interesting in that they actually enable people to do something that people are doing since the dawn of times: add meaning and information to the world around them. OSM allows you doing it on a global scale by providing the geographic foundation and by allowing you to freely build on it.
This is a focal point, and it’s the main reason behind me not being *very* excited about the marketing aspects of AR.
With AR we are dealing with a possible paradigm shift: the possibility to making digital, multimedia information accessible directly from the analog physical world.
This is a breathtaking possibility that has been matched, recently, only by the researches on digital and generative fabrication. While this latter model describes a complete reinvention of manufacturing processes (post-post-industry: you bring manufacturing plants at home, you work on opensourced models that you can use/modify and 3d-print) rethinking from the base the ideas of patents, distribution, storage, sustainability, ecology, AR completely (potentially) reinvents the idea of communication, bringing the power of creating information, meaning, symbols, codes and interactions directly to the people, directly in the places/times they walk, live, work, have fun.
This possibility potentially confronts the current hyerarchies and models of communication and information, further enhancing the ones that are currently available through the internet. AR potentially brings the possibility to generate, disseminate and distribute content and information to the people in the physical world, far from their monitors, far from “I Like” buttons and “tweet this” badges.
This is why we named ur contribution to IAR2010 Critical AR Ensemble.
Critical Art Ensemble was a group creating “molecular interventions and semiotic shocks that collectively could diminish the rising intensity of authoritarian culture”. Their work on media and experimentations on the borders and frontiers of technology, biotechnology and extreme practices is something that we feel very significative in contemporary times.
We borrowed their name, turining it into Critical AR Ensemble, to suggest how Augmented Reality can be thought of as a new space in which to create such “interventions and semiotic shocks”. With AR we imagine a world in which codes can be broken down, infliltrated, reinvented, directly from the people, directly from streets, bodies, objects, times and places, reinventing public spaces, private ones, relations, and communications.
There are technical and conceptual issues to be assessed in all this.
Technically, AR is still very cumbersome: devices, displays, percision, computer vision… everything is not what we would like to have. Too slow, too limited, too reliant on markers.
Conceptually, AR is being mostly used as a next-step advertisment or as a next-step yellow pages. Which is something, but something that resembles using a nuke to kill a fly.
One thing must be said in favor of marketing practices experimenting with AR: they are fast! There’s a dozen new experiments each day: markers on magazines, on cards, on totems, on cars, on tshirts, everywhere. With this progression going on we will soon have critical masses of know-how that will possibly form a foundation for further researchers.
But the most interesting things going on in AR are quite far from marketing. Social networks, art, architecture, sustainability, ecology, disabilities, multi-cultural practices, alternative business models, activism. People reinventing socialization; aesthetics; the spaces we walk through; the places in which we spend our time; the effects of our actions on the world; the possibility to inform ourselves on the products and services we use; the accessibility of the world for people who are not able to hear or see; the possibility to open up dialogues among multiple cultures and to make them interact and coexist; the possibility to create really new business models; the posibility to criticize, express ourselves, promote our autonomies, claim our share of the world.
These are areas in which AR is being researched on with incredible results, and the ones that I personally am most excited about.
Together with FakePress we are approaching these areas of intervention from the point of view of a next-step publishing house.
What will a publishing house that is aware of these possibilities look like?
We actually don’t know, yet, just as anyone else in these times and conditions. But we’re experimenting on our educated guesses.
“Publishing” will be (and already is) a key term in the near future. Global scale meltin-pots, remixing, mashing-ups, bashing, distracting, assembling, disassembling, fabbing, performing, wearing, touching, retouching. Messing it all up and bringing it back to a state of calm for the next two seconds and then starting up once again with the mashup. A continuous fluid unstable state of remix. Incredibly creative. But also very far from the word “strategy” as we know it. Different skills, methodologies, ambitions and, most of all, imaginaries are required.
Wrapping up: IAR2010 was a wonderful experience. We saw some innovative experiments, some a-bit-less-innovative ones, but focused on the high levels of quality and accessibility designed for the masses, some decent technical solutions, some really interesting theoretical approaches, some great visions, some incredible efforts and, most of all, a wonderful level of curiosity, a definite will to listen to all the available perspectives and a remarkable dedication to being open and accessible, with the clear objective of creating interconnections and collaborations.
Art is Open Source and FakePress just released Knowners a link sharing plugin for WordPress.
Knowners is a WordPress plugin developed by FakePress and Art is Open Source to setup an effective link publishing website.
The plugin is still in beta, but it already offers interesting possibilities.
It is thought as a large scale widget, usable inside your WordPress websites to setup a link sharing area on your web page.
You can publish links, categorize them with tags, automatically create relationships and taxonomies.
This plugin is in its 1.0 version. It still has limited functionality. We are working on it. We would love to hear from you, with your suggestions on the features you would like to have.
Please check back soon for updates: we are releasing a new version in just a bit, with an enhanced link editing scheme (the current one is quite limited).
[ Download the Knowners plugin here ]
We’re set!
Squatting Supermarkets is all installed and it is about to start.
There will be a continuous interaction with the people at the Share Festival, both friends and visitors, and all the technical and curatorial crew.
It will be part documentary, part interviews, part performance, and it will take the shape of a web TV called Shoptivism