Posts Tagged ‘publishing’

Read/Write Reality, An intensive workshop on Ubiquitous Publishing

RWR, Read Write Reality logoRWR, Read Write Reality logo

 

RWR – READ/WRITE REALITY

WHAT: 3+1 days of intensive workshop on the possibilities offered by Ubiquitous Publishing techniques and technologies

WHEN: from 13th to 16th September 2011

WHERE: Cava de’ Tirreni (Amalfi Coast, Italy)

 

http://rwr.artisopensource.net/

 

Do you want to learn about new business models, new forms of expression, new possibilities for culture and knowdledge?

Are you looking for new tools for freedom of communication, expression and for knowledge or content diffusion?

Would you like to discover what will be the next possibilities for e-books and digital publishing, starting from the opportunities offered by our present times?

Do you want to learn and acquire the “new ways of writing on the world” that are turning our bodies, architectures, spaces and objects into publishing surfaces?

CLICK HERE TO DOWNLOAD THE FULL PROGRAM, DESCRIPTION AND CONDITIONS FOR PARTICIPATION

READ/WRITE REALITY (RWR) is an intensive and visionary workshop created to pragmatically explore the methodological, technical and technological possibilities offered by Ubiquitous Publishing.

3+1 days hands-on and minds-on program in which we will follow you through the creation of a full ubiquitous publishing project, starting from scratch and ending up at product release. Participants will learn the methodologies, the conceptual and technological frameworks which will enable individuals, organizations, companies or collectives to use ubiquitous technologies to enact new forms of communication and expression, new business models, new ways in which you can activate your strategies and observe their effects.

Out of the monitor, in the spaces of our cities, bodies, objects and products.

RWR will be held on September 13-14-15+16 in Cava de’ Tirreni, at the Ostello “Borgo Scacciaventi”, a beautiful setting in a 15th century building near to the famous Amalifi Coast. The workshop will fill 3+1 days of intense activities, visionary discussions, engaging hands-on practices, on-the-field explorations and content-production, an “ubiquitous movida” to be discovered, great food, wine and scenery, in contact with the rooted traditions of the beautiful South of Italy.

During the last day (Sept. 16th) a big party and a city-wide event will mark the achievement of your work: the result of the RWR workshop will be exposed in a prestigious building in the center of Cava de’ Tirreni, at the presence of internationally known academics and researchers.

 

http://rwr.artisopensource.net/

 

The workshop is addresed to:

  • designers (wishing to know,understand and use Ubiquitous Publishing technologies);
  • communicators (who want to understand and learnhow to bring digital information out of the monitor, into the city, in people’s pockets, on objects and in the places we traverse in our daily lives);
  • developers (who want to learn how to build engaging ubiquitous interactive experiences);
  • artists, journalists, scientists and researchers (wishing to add ubiquitous technologies to their toolset for expression, information, knowledge, education and research practices);
  • and strategists (with the desire to gain knowledge and insights to confront with the next step of digital communication).

 

Technologies you will use:

  • iPhone, iPad, Android smartphones and tablets
  • location based, GPS, digital compass
  • accelerometers for gesture-based interactions
  • augmented reality: location-based, marker-based, computer vision based
  • mobile tagging: QRCode, barcodes
  • HTML5, CSS3, WebGL
  • multimedia of all sorts, 3D, 2D, sound, immersive sounds and visuals
  • projection mapping for architecture-based content and interaction

 

Deadline for enrollment & Conditions

20th August 2011

Only a limited number of 35 people will be accepted:

CLICK HERE TO DOWNLOAD THE FULL PROGRAM, DESCRIPTION AND CONDITIONS FOR PARTICIPATION

ATTENTION! Students, artists, researchers, people working in educational or non-profit sector, young (less than 26 years old) and old (over 70), benefit from special conditions!

 

The Program for RWRThe Program for RWR

 

Contact:

info@artisopensource.net

 

Site:

http://rwr.artisopensource.net/

 

CREDITS

RWR is a project by

FakePress and Art is Opensource

in collaboration with:

Cantro Studi di Etnografia Digitale, Ninja Marketing, Ostello “Borgo Scacciaventi”

 

supported by:

LiberLiber, MELTINGPOT – Cantiere Creativo per la New Media Art, Piemonte Share Festival, StoriaContinua

 

More info at:

http://www.fakepress.it

http://www.etnografiadigitale.it

http://www.ninjamarketing.it

http://www.ostellocava.it

http://www.liberliber.it/

http://www.storiacontinua.com/

http://www.cantierecreativo.org/

http://www.toshare.it

 

 

 

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Maciunas, Fluxus manifestoMaciunas, Fluxus manifesto

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 BoxesFluxus Boxes

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

http://www.fakepress.it

http://www.mercoledinaba.info/

http://www.naba.it

RomaEuropa FakeFactory featured on La StampaRomaEuropa FakeFactory featured on La Stampa

A video about REFF RomaEuropa FakeFactory has been published on the website of La Stampa, an important italian newspaper.

watch the video here

RomaEuropa FakeFactory on La StampaRomaEuropa FakeFactory on La Stampa

REFF RomaEuropa FakeFactory, iPad version

REFF, RomaEuropa FakeFactory, iPad version

REFF, RomaEuropa FakeFactory, iPad version

Here are some screenshots

the REFF Book is about to be published. In the meanwhile previews start to emerge on the web of the interfaces of its mobile versions. Here are the screenshots of the iPad version

from REFF RomaEuropa FakeFactory on AOS

info at REFF RomaEuropa FakeFactory

REFF RomaEuropa FakeFactory

[PRESS RELEASE – ENGLISH ]

Almost two years after its creation il 2009, the REFF – RomaEuropa FakeFactory is back with the publication of its book, published in Italy by DeriveApprodi & FakePress:

REFF RomaEuropa FakeFactory cover

REFF
The reinvention of the real through critical practices
of remix, mash-up, re-contextualization, reenactment

Foreword by: Bruce Sterling

Over 30 contributions ranging from critical articles to interviews; a catalog of 30 works exploring the themes of remix in an extended way; the special mentions of the 2009-2010 contest; a new experience of reading integrating the digital and paper dimentions trough the use of Augmented Reality and tagging; an open source tool for creating ubiquitous, cross-media publications, by FakePress.

From the foreword, by Bruce Sterling:

“Right now, the behaviors and activities commemorated in this book are bizarre. Very. They are so peculiar that they are inherently difficult to describe, because they come from the outer reaches of an emergent network-culture.
I could write an entire book about these ideas and practices, a book that would be science fiction, architecture fiction, design fiction, a technical manual and also a manifesto for network economics. That book would be rather like this book, only less entertaining.”

REFF. An example of an artistic, cultural and political act. A truly Augmented Reality, a multi-strata object that entices to be discovered, read and used with more “sense” up to the performative one. A new prototype of publication, beyond the e-book.

Copyright
RomaEuropaFakeFactory book is licensed under Creative Commons Attribution-NonCommercial ShareAlike 2.5 Italy.

Site

http://www.romaeuropa.org
http://www.fakepress.it
http://www.deriveapprodi.org

Facebook

http://www.facebook.com/pages/REFF-RomaEuropa-FakeFactory/121217751261830?ref=ts&v=wall

Press & Contacts

Davide Sacco – Ufficio Stampa DeriveApprodi
ufficiostampa@deriveapprodi.org
+39 328 3921381
+39 392 3273987

Oriana Persico – Media & Communication FakePress
oriana@fakepress.net
+39 347 7126928

AUTHORS, ARTISTS & CURATORS
(in alphabetical order)

“VOICES”
Richard Barbrook, Tatiana Bazzichelli, Germana Berlantini, Mike Bonanno, Loretta Borrelli, Andy Cameron, Massimo Canevacci, Francesca Canu, Carlo Cappa, Antonio Caronia, Dario Carrera, Stefano Coletto, Fiorello Cortiana, Umberto Croppi, Marco Fagotti, Marc Garret, Alex Giordano, Maria Hellström Reimer e Milica Lapčević, Lorenzo Imbesi, Stephen Kovats, Simona Lodi, Francesco “Warbear” Macarone Palmieri, Federico Monaco, Movimento ScambioEtico, Andrea Natella, Eleonora Oreggia aka xname, Luigi Pagliarini, Federico Ruberti, Marco Scialdone, Guido Scorza, Valentina Tanni, Jasmina Tescnovic, Cristina Trivellin e Martina Coletti

“VISIONS”
0100101110101101.ORG, Antoni Abad, Alterazioni Video, Apparati Effimeri, David Benqué, Jens Brand, Alex Dragulescu, Amy Francescini (Future Farmers), Flyer Communication (FLxER), Derek Holzer, Carlo Infante, jodi.org, Steve Lambert, Les Liens Invisibles, Fosco Loiti Celant, Garrett Lynch, Guthrie Lonergan, Quayola, Rebar Group, Ben Rubin, Adam Somlai-Fischer (Architecture), Sosolimited, Eugenio Tisselli, Troika, Hannes Walter e Stephen Williams (Fluid Forms), Marianne Weems (The Builders Association), Clemens Weisshaar e Reed Kram, Jaka Železnikar

” REFF Special Mentions 2009/2010″
Daniele Mancini / Urban Fields, Agnese Trocchi, Mathilde Neri Poirier / Hotel Nuclear, Luther Blissett, Agatino Rizzo / Cityleft, Adriano Sanna / Image Hunters, Pasquale de Sensi, Paola Zampa, Michael Cipolla, Chiara Passa, Anna Olmo, Eva Pedroni Simoncelli, Francesco D’Isa, Marco Pignatti, Samo Pedersen, Anna Gramma, Ivan / Eri Nav, Nanette Wylde, Laura Spampinato, Alessandro Suizzo, Chiara Micheli, Andrea Paglia, Difesa Jubecca, Andreas Maria Jacobs, Leif Ahnland, Stefano Pala e Francesco Rosati, Alessio Ballerini, Gregor Rozanski, quwt, judsoN, Bernardina / Demo Architects, Jelena Jovic, Sara Basili, Juan Lopez, Jimenez Lai, mag.MA Architetture, moriyuki, Giorgia Borroni, Cortomobile, Cenk Dereli, Titusz Tarnai, Daniele Salvatori, Chiara Angioli, Luis Rolando Rojas, Yurij Alekhno, Jose Antonio De Jesus Corona Gonzalez, Snak3, Adriana e Morena, Sheriff Xenoph, Pier Giorgio De Pinto

Edited by:
Cary Hendrickson, Salvatore Iaconesi, Oriana Persico, Federico Ruberti, Luca Simeone (FakePress)

http://www.romaeuropa.org

Available in the best bookstores from November 2010

fakepress wit cityvision mag and wifi art, at circolo degli artistifakepress wit cityvision mag and wifi art, at circolo degli artisti

FakePress: the next step of publishing.

The book explodes, and in this explosion its pieces disseminate, creating a new form of expression, a new way of writing onto the world.

Not books anymore, at least not in the classical ordinary way. Books become disseminated narratives, ubiquitous contents, traversable, wearable, shareable, interactive, emergent, time-based, location-based, relation-based.

Wearable technologies, Ubiquitous publishing, Augmented Reality, multiple-author, open ended narratives.

FakePress will present new forms of urban interaction and of critical innovation at:

LOVE AND KILL YOUR OWN TOWN

Curated by
Francesco Lipari and Ottavio Cialone

September 19th 2010
CIRCOLO DEGLI ARTISTI
VIA CASILINA VECCHIA 42, ROME

http://www.cityvision-mag.com/
Love and Kill your own town: Facebook event
Press Release
Flyer
Poster

Please link back to: http://www.artisopensource.net/2010/09/09/fakepress-circolo-degli-artisti-cityvision-and-wi-fi-art-rome-september-19th-2010/

IAR2010

IAR2010

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.

AOS @ IAR2010

AOS @ IAR2010

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.

the crowd at the HUB Milan

the crowd at the HUB Milan

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.

Mauro Rubin @ IAR2010

Mauro Rubin @ IAR2010

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.

FakePress next step publishing

FakePress next step publishing

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.

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