Posts Tagged ‘art’

The video shows the presentation of the paper titled “Wearing Emotions: Physical representation and visualization of human emotions using wearable technologies” presented at the IV10 (Information Visualization 2010) conference at South Bank‘s college in London, on July 26th, 2010.

http://vimeo.com/13779500

http://www.slideshare.net/xdxd/wearing-emotions-sifppresentation

The paper and presentation describe a research process focused on the scientific research, design and implementation of wearable devices able todisplay human emotions – be them individual, group or global – on physical bodies.
The devices created in the process have been used to create 3 artistic performances as both proofs of concepts and as innovative forms of artistic and aesthetic expression: Talkers performanceOneAvatar and Conference Biofeedback.

the slides relative to the presentation can be found here:
http://www.slideshare.net/xdxd/wearing-emotions-sifppresentation

the video can be found here:

http://vimeo.com/13779500

or here

http://www.archive.org/details/WearingEmotionsByFakepressPresentedAtTheIv10ConferenceInLondonJuly

on Art is Open Source:

http://www.artisopensource.net/2010/07/31/wearing-emotions-by-fakepress-presented-at-the-iv10-conference-in-london-july-2010/

Reference links:

the IV10 conference website:
http://www.graphicslink.co.uk/IV10/

Art is Open Source:
http://www.artisopensource.net/

FakePress:
http://www.fakepress.it/

Talkers Performance:
http://www.artisopensource.net/talkers/

OneAvatar:
http://www.artisopensource.net/OneAvatar/

Conference Biofeedback:
http://www.flickr.com/photos/xdxd_vs_xdxd/sets/72157622816765253/

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FakePress, Art is Open Source and The Hub Roma

in collaboration with

the “Multimedia Technologies and Communications Experimentations” course at the “Ludovico Quaroni” Faculty of Architecture at Rome’s University “La Sapienza”, Industrial Design Department

and

the “Management of Non profit Organizations” course at the Faculty of Economics at the “Tor Vergata” University

are happy to invite you to the lecture:

Squatting Supermarkets/iSee

Artistic fundamentals, eco-sustainability, market: from Shoptivism to the Active Consumer.

Who: Oriana Persico and Cary Hendrickson (AOS/FakePress), Dario Carrera and Ivan Fadini (The Hub Roma/Faculty of Economics, Tor Vergata), Ilaria Bassi, Vanessa D’Acquisto, Piergiorgio Malfa, Vittoria Mauro (research group at the “Management of Non Profit Organizations” course, Tor Vergata), Salvatore Iaconesi (visiting professor)

What: lecture/workshop

Where: Faculty of Architecture “Ludovico Quaroni”, via E.Gianturco 2 (Rome) – room G 11 [ MAP ]

When: May 4th, 2010 – from 9am to 12pm

A radical version of a marketplace, a point of sale in augmented reality, Squatting Supermarkets tells the tale of the evolution of our daily realities, entering the live and pulsating heart of consumism. Looking at products on the shelves, choosing, paying, debts, persuasion and seduction, relations with logos, messages and other people. Buying is an experience that fills our daily lives, built through images, suggestions and strategies that are so complex that they systematically evade the perception of the final user. Technologies can be used to create new spaces for action/communication, and to overlay them onto our ordinary reality, thus creating new action/communication spaces, allowing new possibilities for interaction and fruition: ubiquitous, accessible, emergent and polyphonic, emotional and relational. Squatting Supermarkets narrates this possibility: an augmented reality space that is technologically layered to everyday life, an interstitial marketplace living in squat on the physical and immaterial infrastructures.

Presented for the first time at the Piemonte Share Festival in 2009, Squatting Supermarkets has two souls: a site-specific installation and an innovative technology, iSee. The installation reproduces an interactive supermarket in which the widespread interconnection network defining products’ histories and stories can become explicit and accessible. The techniques of traceability and control are transformed into their ecosystemic, narrative and poetic versions: information is not only for corporations anymore. By overlaying and integrating codes coming from barcodes, tags, RFIDs, credit cads, financial tranactions.
Grabbing a product becomes an immersive experience with its story, and the possibility of writing a part of it: moving hands, drawing gestures, exposing our points of view and our emotions. Products animate, becoming a space for expression, a network of relations, a domain for possibility and opportunity. Distributed storytelling practices in which the hidden stories of producers and consumers come in contact. The access door to these domains are the logos. iSee, the technological heart of the installation is a mobile application based on image recognition and computer vision techniques.
Framing the product on the camera, an image processing algorithm identifies the logo, allowing the user to access an additional set of information coming from a plurality of sources. Narrative galaxies (open, emergent, multi-author) connected to p2p thematic social networks layered over products.
Logos become wikis, open communication infrastructures, distributed social networks, p2p ecosystems.
The Project is based on the analisys of the contemporary technological/economic context. On one side, environmentalism and eco-sustainability are issues that are acknowledged as being among the globally most important drivers in piloting the shopping choices of large parts of the population. On the other side, statistics demonstrate that progressively large numbers of individuals search for information on social networks befre purchasing commodities and services, and that the users of last-generation mobile devices are steadily growing by the numbers.
In all this, enterprises start feeling the need to confront a globally interconnected communication and relation system, emergent, polyphonic, in which the acquisition and the maintenance of a “good reputation” goes through complex social and cultural dynamics that are progressively more chaotic. The “Company” is not the sole center of communication and of the shaping of its corporate identity.

On may 4th 2010, from 9am to 12pm,  FakePress’ interaction design lab will analyze the possibilities for expression and interaction enabled by the shopping based narratives offered by Squatting Supermarkets under an artistic/performative point of view and by iSee under the perspectives of technology and infrastructures.

Oriana Persico will confront the themes related to the installation, introducing the artistic statement,

Cary Hendrickson will focus on the themes of eco-susteinability, social responsibility and on the governance of related processes;

The research group of the “Management of Non profit Organizations” course at the Tor Vergata University coordinated by Dario Carrera and Ivan Fadini will expose the first results coming from the research titled “Active Consumer: from Movements to Shopping Based Publishing“.

How are consumers sensible to the environment and to critical consumism? How do they relate to the opinions generated on social media and on brand reputation created through User Generated Content? How widespread are smartphones? How many individuals would be willing to use a mobile application such as iSee? Who could finance it? What are the possible business models?

The theoretical and artistic premises, the analisys on eco-sustainability and the market scenarios will be used by the students of the course at the Faculty of Architecture to create a series of project works focused on the evolutions of the iSee platform and on the creation of a site specific installation to be implemented in a public commercial space, integrating multiple skills and points of view and, most of all, creating multidisciplinary and inter-university collaboration paths among students and faculties to achieve common goals.

The project works will be presented together with the research during the Open Day at the end of the course.

Entrance to the lecture is free and open to all.

Additional information

Squatting Supermarkets/iSee is a co-production by FakePress/Art is Open Source. Special project at the Piemonte Share Festival 2009, winner of the “Zero Impact Technlogy” prize offered by the Environment Park in Turin. Squatting Supermarkets/iSee is part of the SMIR project under the artistic direction of The Sharing:

http://www.fakepress.it/FP/?p=523

http://www.fakepress.it/FP/?p=47

http://www.toshare.it/

http://www.smirproject.eu/ (site available next week)

Site

http://www.fakepress.it/

http://www.artisopensource.net

http://www.hubroma.net/

http://designinteraction.it/

please use the Facebook Event to stay updated:

http://www.facebook.com/#!/event.php?eid=122966341053373

Posted via email from xdxd.vs.xdxd

Behold the automotive sacrificial crash dummies!

You might remember the deeply surreal novel by J.G. Ballard "Crash"
(1973) and the similarly haunting movie by David Cronenberg – but David
Karave of Crashing Art goes one step further… We know of no other
modern artist that uses the crash test dummy as a symbol or device in
such haunting and violent installations.

http://www.darkroastedblend.com/2010/04/robotic-crash-test-dummies-as-art.html

Posted via email from xdxd.vs.xdxd

home sweet home, we’re back again.

AOS participated to AHAcktitude 2009 in Milan, and it was a great experience.

We presented Bluetooth Wars, a workshop in which the people were able to build their very own Bluetooth media server.

This has many uses, ranging from proximity advertising to political uses in demonstrations or events.

Here below the links to the presentation slides and to the video of the workshop.

BlueTooth Wars

View more presentations from xdxd.
And here you will find the video of the presentation:

Angel_F @ AHAcktitude, Nov. 27-29 2009, Milan

digital culture / events / features / people / performance

November 25, 2009 0



Artisti-attivisti, hacker artistici, attivisti socio-artistici, chiamateli come volete. I 600 iscritti alla lista AHA sono solo una parte di tutte quelle persone che, in Italia e nel mondo, sanno che il mezzo non è solo il messaggio, ma anche il massaggio e il mixaggio. Che non basta lamentarsi della tv (generalista, comunitaria o di nicchia), e neanche blaterare sulla comunicazione alternativa, e che occorre costruire esperienze, perché la comunicazione senza i corpi comunica solo i messaggi preconfezionati, e il corpo senza intelligenza produce solo manipolazione.

Per questo dall’anno scorso gli iscritti di AHA si incontrano di persona periodicamente, ogni volta in una città diversa, per aprire le scatole nere, per mettere le mani dentro i dispositivi della tecnologia, della comunicazione e dell’immaginario, per decostruire i saperi ufficiali e condividerne di nuovi, per lavorare all’intelligenza collettiva dei corpi e non a quella del capitale, per allargare la resistenza alla globalizzazione delle multinazionali e dei poteri costituiti.

AHAcktitude sarà una tre giorni di attività e di attivismo, di allegria e di condivisione, di studio e di divertimento. Tecnologia, musica, internet, letteratura, telecomunicazioni, marketing, social network: tutto sarà declinato all’insegna dell’open source e della messa in comune. Modi, approcci, atteggiamenti diversi ma comunicanti di esplorare, interpretare, agire la nostra condizione di esseri tecnologicamente modificati.

Perché gli esseri umani valgono più della merce, e non saremo soddisfatti finché la vita di chi ha qualcosa vale più della vita di chi non ha nulla.

AHA : Activism-Hacking-Artivism, è una mailing list nata nel 2002 all’interno del progetto AHA fondato nel 2001 da Tatiana Bazzichelli, aka T_Bazz. AHA vuole promuovere il networking, cioè la cultura di rete, soprattutto nella versione che lega le pratiche artistiche all’attivismo politico e sociale (“artivismo„).

REFF, RomaEuropaFAKEFactory was featured in an article on Wired Italia, October 2009 issue

REFF on Wired

Andy Warhol – rejected from the RomaEuropaWebFactory Prize

—–

http://www.romaeuropa.org

“I am Andy Warhol.
I could not participate to RomaEuropaWebFactory.
A fake, a fake, what is a fake, anyway?
Nothing is real, the only real things are the ones
that you can reproduce, and make millions of them.
Take a thing everybody knows, change it a bit, and claim it as yours.
This is what our world is about.
We can do it! This is what we should do.
I am Andy Warhol.
I could not participate to RomaEuropaWebFactory.
Noone cares about originality. Originality is just too hard to define.
Go to a supermarket, buy one of everything, and expose it in a gallery.
This is what we should do.
I am Andy Warhol.
I could not participate to RomaEuropaWebFactory.”

Andy Warhol’s appropriations of the images and of the media, performed by mechanically reproducing commercial products and celebrity images in silkscreens, smooth paintings and facsimiles, poetically expressed some of the most striking and relevant approaches to art of the 20th century. Andy Warhol’s video was rejected from the videoart section of the RomaEuropa Web Factory.

“This is not original work!” was the scream of the Jury.

Andy Warhol now joined RomaEuropaFAKEFactory, here:

http://www.romaeuropa.org

Participate! Spread!

[English version – Italian below]

>>>> RomaEuropaFAKEFactory
international videoart, music, literature and legislative art competition

http://www.romaeuropa.org
info@romaeuropa.org


GENERATION>>

The RomaeuropaFAKEFactory competition originates from the Freedom to Remix initiative, promoted by [A]rt is [O]pen [S]ource (Salvatore Iaconesi/xDxD and Oriana Persico/penelope.di.pixel] and Marco Scialdone, with the support of DegradArte, ComputerLaw 2.0, NeRVi and Valeria Bochicchio.

PROCESSING>>
RomaeuropaFAKEFactory draws on the Romaeuropa Web Factory competition to embrace a series of reflexions and practices focused on the issues of digital rights and information ownership.

DISTORSION>>
RomaeuropaFakeFactory is an international competition allowing its participants to do everything that is forbidden by the rules of the Romaeuropa Web Factory competition, subverting its logics.

CUT, COPY, PASTE>>
According to the rules of the Romaeuropa Web Factory competition , produced by the Romaeuropa Foundation and by Telecom Italia SpA, participation is not allowed to those artists creating their works using remix, mash-up and manipulative techniques on pre-existing content. Furthermore, to participate, the artists have to sign a legal disclaimer making them give up all the rights on their artworks: indefinitely, exclusively, for free, and also allowing the contest producers to freely edit, remix, mash-up, commercialize.

The Romaeuroma Foundation and Telecom SpA can remix. Artists can not.

CUT-UP>>
The overcoming of originality as space for production and its circumbscription in terms of multinational property – more than the real protection of the author’s rights – is used in this context as a critique to a conservative practice of cultural promotion that is not able to grasp the possibilities offered by the intersections of the technological, cultural, social and economical-political planes, enabled by contemporary technologies.

MORPHING>>
This competition is addressed to all forms of creative profiles and to the experts of legislative disciplines with a specific predilection for intellectual property related subjects, inviting them to submit their artworks on the theme “Freedom to Remix”.

>>HOW-TO<<
The four categories in the competition:

100Cuts: videoart [ http://www.romaeuropa.org/videoart.html ]
100Samples: electronic music [ http://www.romaeuropa.org/music.html ]
100Quotes: literature [ http://www.romaeuropa.org/words.html ]
– LawArt [ http://www.romaeuropa.org/law.html ] , a brand new creative discipline dedicated to law experts and jurisprudence amateurs, whose works will be constituted by remix and production of legal texts regulating intellectual property

The works will be the object of a research, of public debate and will be collected in a catalogue together with the critical and legal texts. Furthermore, they will be supported by RomaEuropaFAKEFactory’s communicational apparatus. A public voting system will also be set up on ArtsBlog.it [ http://www.artsblog.it ] so that the general audience will be able to vote its favourite work in the 4 sections, thus declaring an audience-proclaimed winner.

RomaEuropaFAKEFactory will be finalized into a public happening during which the exhibition of all the generated content will take place.

RomaeuropaFAKEFactory is an initiative conceived by

[A]rt is [O]pen [S]ource

with the promotion and the support of

Torino Share Festival – DegradArte – Istituto per le Politiche
dell’Innovazione – BeatPick, ComputerLaw 2.0 – LPM, Flyer Communication –
PerformngMedia – FLxER – ShockArt.net – NeRVi – Digicult – Associazione
Partito Pirata – Nephogram.net – Les Liens Invisible – A.H.A. – Francesco
“Warbear” Macarone Palmieri – Superfluo – Deliriouniversale – My Jemma Temp
– ArtsBlog.it – CodiceBinario …

General info

www.romaeuropa.org

The current group of promoters is open to new collaborations. It is possible to collaborate to the management of the website and of the communication, to the implementation of the researches and of the texts published on the catalogue, and to the organization and logistics of the final event. An open system will be set-up shortly to support the collaborative development and management of the whole project.

To collaborate and for any further information please contact us at this mail address:

info@romaeuropa.org

we will answer as soon as we can!

—> ITALIAN <——–

>>>> RomaEuropaFAKEFactory
concorso internazionale di videoarte, musica, letteratura ed arte legale

http://www.romaeuropa.org
info@romaeuropa.org

GENERAZIONE>>
Il concorso RomaeuropaFAKEFactory nasce da Freedom to Remix, iniziativa promossa da [A]rtis[O]pen[S]ource (Salvatore Iaconesi/xDxD e Oriana Persico/penelope.di.pixel] e Marco Scialdone, con il supporto di DegradArte, ComputerLaw 2.0, NeRVi e Valeria Bochicchio.

ELABORAZIONE>>
RomaeuropaFAKEFactory prende spunto dal concorso RomaEuropa Web Factory per avanzare una riflessione ed una pratica su temi quali i diritti digitali e la proprietà dell’informazione.

DISTORSIONE>>
RomaeuropaFakeFactory è una competizione internazionale che consente ai suoi partecipanti di fare tutto ciò che il regolamento del concorso Romaeuropa Web Factory vieta loro, invertendone le logiche.

TAGLIA, COPIA, INCOLLA>>
Secondo le regole del concorso RomaEuropa Web Factory, prodotto da Fondazione Romaeuropa e Telecom Italia SpA, non è consentito agli artisti di partecipare con opere frutto di remix, mash-up, manipolazione di contenuti pre-esistenti. Questi, inoltre, sono obbligati a cedere, tramite liberatoria, tutti i diritti sulle loro opere, a tempo indeterminato, in esclusiva e a titolo gratuito, oltretutto garantendo agli organizzatori ogni diritto di remixare, manipolare e commercializzare le opere.

Fondazione Romaeuroma e Telecom SpA possono remixare. Gli Artisti no.

CUT-UP>>
Il superamento dell’originalità come spazio della produzione e della sua circoscrizione in termini di proprietà multinazionale – più che la tutela reale dei diritti dell’ autore – vuole essere qui proposto come critica ad una attività di promozione culturale conservatrice, incapace di cogliere le possibilità offerte dalle intersezioni dei piani tecnologici, culturali, sociali ed economico-politiche, che le nuove tecnologie hanno abilitato.

MORPHING>>
Il concorso si rivolge quindi a tutte le figure creative ed agli esperti di discipline legali con una particolare predilezione per il diritto d’autore, invitandoli a creare e ad inviarci le loro opere sul tema “Freedom to Remix “.

>>HOW-TO<<
Quattro le categorie in gara:

– video-arte (100cuts)
– musica elettronica (100samples )
– letteratura (100quotes)
– LawArt , una disciplina creativa tutta nuova dedicata agli esperti e agli amatori del diritto, le cui opere saranno costituite dal remix e dalla produzione di testi legali per le regolamentazione della proprietà intellettuale

Le opere saranno oggetto di studio, di pubblica discussione, verranno raccolte in un catalogo comprensivo di testi critici e giuridici, e saranno sostenute dall’apparato di comunicazione del RomaeuropaFAKEFactory. Su ArtsBlog.it , inoltre, il pubblico potrà votare la sua opera preferita nelle 4 sezioni, stabilendo l’autore del remix più bello (Premio del Pubblico).

RomaEuropaFAKEFactory confluirà inoltre in un happening durante il quale sarà organizzata l’esposizione pubblica di tutti i contenuti generati.

RomaeuropaFAKEFactory è un’iniziativa ideata da

[A]rtis[O]pen[S]ource

con la promozione e il supporto di

Torino Share Festival – DegradArte – Istituto per le Politiche
dell’Innovazione – BeatPick, ComputerLaw 2.0 – LPM, Flyer Communication –
PerformngMedia – FLxER – ShockArt.net – NeRVi – Digicult – Associazione
Partito Pirata – Nephogram.net – Les Liens Invisible – A.H.A. – Francesco
“Warbear” Macarone Palmieri – Superfluo – Deliriouniversale – My Jemma Temp
– ArtsBlog.it – CodiceBinario …

General info

http://www.romaeuropa.org

L’attuale gruppo di promotori è aperto a nuove collaborazioni. E’ possibile collaborare alla gestione del sito e della comunicazione, alla realizzazione dello studio e dei testi pubblicati nel catalogo e all’organizzazione dell’evento finale: appronteremo un sistema aperto che consentirà lo sviluppo e la gestione del progetto in modo collaborativo.

Per le collaborazioni e per qualsiasi informazione inerente il concorso potete scrivere a:

info@romaeuropa.org

e vi risponderemo il più presto!

http://www.mediaarchitecture.org/mediafacades2008/

Urban public space – understood as open, civic space – is a key element in the development of European urbanism. It is based on a well-balanced mix of functions and the idea of the inhabitant as active citizen.

We currently face a transitional period of restructuring social networks in a globalised world. This is resulting in various experiments with new types of relations and exchange processes, supported by the developing interactive new media tools. In order to maintain the social sustainability of our cities, it is important to connect this new virtual space for development of public sphere and social exchange with the acquisition and reactivation of urban public space.

A spreading feeling of fear in public space connected with a notion of being disconnected from ones surroundings reminds us that virtual spaces cannot alone function as alternative spaces for exchange and production of identity in a modern society.

The content of media facades and digital moving Images in public spaces should not only be determined by market forces, yet should follow urban necessities. Therefore we aim to transform the growing number of digital architectural surfaces in our cities into experimental visual zone on the threshold of virtual and urban public space, contributing to a liveable urban society.

The changing architectural relationship between image, structure and representation has been long predicted by Architecture and Media critiques such as Paul Virilio und Robert Venturi.

Media façades can combine aspects of lighting and graphics in formats determined by the architecture, these might differ fundamentally in format, resolution and dimension from the rectilinear media image. Moving imagery has increasingly become interactive and emergent and often have to work without sound, so they question narrative storytelling known from other traditional media. Content can be synthesised from or driven by information from the environment, whether it be from within the building or from the outside world, or through channels such as the internet. In connection with locative and mobile media, new forms of content production can develop that create through participatory approaches new relations between the imagery and the surrounding urban space and its citizen.

There’s a growing need for the research of different creative contents that are able to make these new media for urban space vivid and attractive. Creatives in the different areas of media and culture are confronted with entirely new challenges in respect to resolution and distribution of pixels; there are also new forms of interaction arising from the specific dimensions of size and distance that differ basically from classical media formats. And how can we experiment with the element of audio, without constantly showering the open public space with sound?

It is very likely that new job descriptions and creative practices will emerge out of the new field of media architecture. It is still undetermined how roles for the production of content and displays will be distributed, and what standards can be applied for assessing projects. Building with media facades are a challenge for architects, creatives and planners, as they require a profound knowledge of the technical aspects, offer new design objectives and lead to new possibilities for communication in urban space.

The fact that the surface of a building and hence its character is subject of permanent change enables new relations with the local environment and the involvement of citizens in content manipulation.

The MEDIA FACADES FESTIVAL BERLIN is an important contribution for the emergence of a discourse among actors in the field and the development of trend-setting projects in order to avoid undesirable visual overload and to achieve a better acceptance.

http://www.urbanscreens08.net/

The event will promote a lateral trans-disciplinary approach to exploring the growing appearance of moving images in urban space and the global transformation of public culture in the context of large new multi media precincts such as Federation Square and various networked forms of urban screens. It will build on the successful events held in Amsterdam in 2005 and Manchester in 2007 and will be the first Urban Screens held in the Asia-Pacific region.

Through an integrated program of keynote lectures, panel sessions, workshops, curated screenings and multimedia projects, it will bring together leading Australian and international artists and curators, architects and urban planners, screen operators and content providers, technology manufacturers, software designers and public intellectuals.

Dance-tech  is an international community of artists, scientists, theorists and organizations exploring the intersection of performance, media and culture.

dance-tech.net is conceived as a social on-line destination for international movement artist, theorists, technologist and organizations intersecting embodied performance and new media.

dance-tech.net is a social networking site and it is also the home of dance-techTV

dance-techTV is an on-line collaborative video channel that gathers video content produced, aggregated and uploaded by the dance-tech.net community. Videos may showcase art works, performance documentations, installations, screendance, inspiring interdisciplinary projects, electronic performances, “how to” and ideas, coverage about relevant events, vlogging, training techniques and/or in-depth interviews. It is an on-line video database that registers the “pulse” of the field making available a collaborative repository of knowledge that fosters inquiry, creativity and social innovation.