Book Description"Shaping Things is about created objects and the environment, which is to say, it's about everything," writes Bruce Sterling in this addition to the Mediawork Pamphlet series. He adds, "Seen from sufficient distance, this is a small topic."Sterling offers a brilliant, often hilarious history of shaped things. We have moved from an age of artifacts, made by hand, through complex machines, to the current era of "gizmos." New forms of design and manufacture are appearing that lack historical precedent, he writes; but the production methods, using archaic forms of energy and materials that are finite and toxic, are not sustainable. The future will see a new kind of object -- we have the primitive forms of them now in our pockets and briefcases: user-alterable, baroquely multi-featured, and programmable -- that will be sustainable, enhanceable, and uniquely identifiable. Sterling coins the term "spime" for them, these future manufactured objects with informational support so extensive and rich that they are regarded as material instantiations of an immaterial system. Spimes are designed on screens, fabricated by digital means, and precisely tracked through space and time. They are made of substances that can be folded back into the production stream of future spimes, challenging all of us to become involved in their production. Spimes are coming, says Sterling. We will need these objects in order to live; we won't be able to surrender their advantages without awful consequences.The vision of Shaping Things is given material form by the intricate design of Lorraine Wild. Shaping Things is for designers and thinkers, engineers and scientists, entrepreneurs and financiers -- and anyone who wants to understand and be part of the process of technosocial transformation.About the Author Hugo Award-winning science fiction author and futurist Bruce Sterling has been called by Time "perhaps the sharpest observer of our media-choked culture working today in any genre." Three of his novels have been New York Times Notable Books of the Year, and he has been a contributing writer for Wired since its conception. In 2005 he is "Visionary-in-Residence" at Art Center College of Design, Pasadena.
E il cuore di Bologna si fa wireless.Sotto i portici navigando in Internet. Si chiama wi-fi il futuro prossimo della connessione in rete a Bologna. Futuro che comincerà a partire dal prossimo gennaio, momento d’avvio per la connessione senza fili in un ampia fetta del centro storico. Il progetto sarà realizzato dalle società Hi-tel e Acantho, grazie alla collaborazione del Comune di Bologna, che proprio in questi giorni ha dato il via libera operativo alle fasi di test, della durata di sei mesi <http://www.crcitalia.it/rete_crc/emilia_romagna/news/Bologna_wireless.html>.
Landoli: digitale terrestre a fine 2008
Il passaggio dalla tecnologia analogica a quella digitale sarà fissato in Italia al 31 dicembre 2008. Lo ha indicato il ministro delle Comunicazioni, Landolfi, al termine del Consiglio telecomunicazioni dell'Ue, a Bruxelles. "Grazie alla decisione presa oggi -dice Landolfi- siamo ora in grado di allineare a livello europeo la data per il passaggio al digitale terrestre in Italia". La data dello "switch off" nazionale era fissata per legge al 31 dicembre 2006, ora slitta di due anni,
armonizzata nei 25 Paesi della Ue.
TRANSMEDIA :29:59+media art in public urban space+curated by Michael Alstad and Michelle Kasprzak December 1 - 31th, 2005:29th minute: Gwen MacGregor - '3 months - New York, Toronto'59th minute: David Crawford - 'Stop Motion Studies'Year Zero One is pleased to present TRANSMEDIA :29:59, a year long exhibition on the pedestrian level video billboard at Yonge-Dundas Square in downtown Toronto. Launched August 1st 2005, TRANSMEDIA :29:59 features one minute video works 24/7 every half hour on the 29th and 59th minutes. Featured for the month of December is Gwen MacGregor's '3 months - New York, Toronto' and David Crawford's 'Stop Motion Studies'.
Gwen MacGregor's 3 months - New York, Toronto is a one minute animation that is the first in a series using GPS technology. It tracks 3 months of MacGregors activities in New York and Toronto. As the work progresses each day is drawn and then fades, leaving a faint trace. Over the one minute the layout of the 2 cities unfolds as MacGregor goes about her daily activity. This piece continues MacGregor's interest in the perception of time in the ordinary and mundane moment.
David Crawford's Stop Motion Studies extends his long-standing interest in narrativeand, in particular, looks at the subway as a stage upon which social dynamics and individual behavior are increasingly mediated by digital technology. As one of the most vibrant and egalitarian networks in our cities, subways bring people from a wide range of social and cultural backgrounds into close contact with each other. This process plays a significant role in shaping both the character of a city as well as our individual identities. In this remix of footage originally shot for previous installments in London, Paris, Boston, New York, and Tokyo, each installment's modular structure has provided a library of building blocks that have been edited into a linear animation approximately 7 minutes long. The speed of the transitions is based on network connection speed."SMS-13 (TRANSMEDIA :29:59)" includes footage from "SMS-Tokyo," a 2003 commission of New Radio and Performing Arts, Inc., for its Turbulence Web site. "SMS-Tokyo" was made possible by a grant from the LEF Foundation.
Gwen MacGregor is aToronto artist working in installation and video. Her work reflects her close observation of time and how its passage shapes small dramas or uncannily familiar situations. In 1998 her work was featured in a solo exhibition at the Southern Alberta Art Gallery and in 2001 her work was presented in the Present Tense Project series at the Art Galery of Ontario, Toronto. MacGregor's work has also been shown in many group exhibitions across Canada and in Mexico City, London, Prague, Venice, Shanghai and Los Angeles. In 2003 MacGregor was the recipient of the Friends of the Visual Arts Award, Toronto In 2004 she received the Canada Council New York Studio award. MacGregor is represented by Jessica Bradley Art and Projects in Toronto.
David Crawford studied film, video, and new media at the Massachusetts College of Art and received a BFA in 1997. In 2000, his Light of Speed project was a finalist for the SFMOMA Webby Prize for Excellence in Online Art. In 2003, Crawford’s Stop Motion Studies project received an Artport Gate Page Commission from the Whitney Museum of American Art and an Award of Distinction in the Net Vision category at the Prix Ars Electronica. In 2004, he received an MSc from Chalmers University of Technology and became an Assistant Professor at The School of the Art Institute of Chicago.*Year Zero One gratefully acknowledges the Ontario Arts Council,Yonge-Dundas Square and Clearchannel for their support of Transmedia :29:59.
Si è svolta a Venezia, presso il “Telecom Italia Future Centre”, la cerimonia di premiazione del Pirelli Relativity Challenge (www.pirelliaward.com/einstein.html), il concorso internazionale organizzato dal Gruppo Pirelli in occasione dell’Anno Mondiale della Fisica e riservato a progetti multimediali in grado di spiegare la teoria della relatività ristretta di Albert Einstein in modo semplice e in un tempo massimo di cinque minuti.
Alla manifestazione hanno preso parte, tra gli altri, Piergiorgio Odifreddi, matematico, scrittore e divulgatore scientifico, Marco Tronchetti Provera, Presidente del Gruppo Pirelli, e Carlo Massarini, conduttore televisivo e giornalista specializzato nelle nuove tecnologie.
La “sfida” lanciata da Pirelli è stata raccolta da circa 250 candidati provenienti da oltre 40 paesi, che si sono cimentati nella difficile impresa di illustrare in pochi minuti la centenaria teoria del fisico tedesco con l’ausilio delle tecnologie digitali. I loro progetti sono la dimostrazione di quanto l’eredità scientifica di Albert Einstein, a distanza di un secolo, sia ancora viva in tutto il mondo. Da segnalare, in particolare, la partecipazione di oltre 40 tra università e istituti di fisica, tra i più prestigiosi a livello internazionale. I progetti sono stati valutati da una giuria composta da Piergiorgio Odifreddi, Konrad Osterwalder, Rettore dell’Università di Zurigo, Fabio Pistella, Presidente del CNR, dal sociologo della scienza Massimiano Bucchi e dalla studentessa Maria Nicolaci.
Il primo premio, del valore di 25mila euro, è stato assegnato al canadese Kiran Sachdev per il progetto “Al’s relativistic Adventures”, un’animazione multimediale interattiva nella quale il piccolo Al svela agli spettatori in soli cinque minuti i segreti della celebre teoria di Albert Einstein, con tanto di consegna di attestato finale.
Sono stati inoltre assegnati, grazie al contributo di Telecom Italia, cinque premi speciali del valore complessivo di circa 50mila euro: i vincitori sono stati Alan Boyle e Clay Frost di MSNBC (Stati Uniti), l’Institute of Physics e Fulcrum TV (Gran Bretagna), Enrico Pizza (Italia), Ivan Jimenez e Ines Bonet (Istituto di Astrofisica delle Canarie, Spagna) e Ammu Irvinti, Ngoc Mai Tran, Viet Anh Nguyen Dang, Dallit Lou Menezes (Stati Uniti).
“Con il Pirelli Relativity Challenge – ha commentato Marco Tronchetti Provera – abbiamo voluto lanciare una sfida, raccolta con entusiasmo dal mondo scientifico e dagli appassionati, per favorire la divulgazione attraverso le nuove tecnologie dell’importante e complessa teoria di Einstein. È il modo in cui il Gruppo Pirelli, da sempre in prima linea sui temi dell’innovazione e dello sviluppo della scienza, ha scelto di celebrare l’Anno Mondiale della Fisica e, allo stesso tempo, di venire incontro al diffuso desiderio di conoscenza delle grandi tappe del pensiero umano e del progresso scientifico, manifestato soprattutto dai più giovani. Riteniamo che l’acquisizione e la comunicazione delle conoscenze, grazie anche al contributo delle tecnologie digitali, siano di fondamentale importanza per la crescita della nostra società”.
La cerimonia di premiazione del Pirelli Relativity Challenge è stata trasmessa via Internet in tutto il mondo nell’ambito del grande evento internazionale di chiusura solenne dell’Anno Mondiale della Fisica organizzato dal CERN (European Organization for Nuclear Research) di Ginevra, dal titolo “Beyond Einstein”, che ha messo in collegamento grandi istituzioni scientifiche, centri di ricerca, università e laboratori di fisica.
Jon Phillips (www.rejon.org) is an Open Source developer, artist, writer, educator, lecturer, and curator with 12+ years of experience creating communities and working within computing culture. His involvements with mixing culture and software development have been presented internationally at the Desktop Developers Conference (2005), SFMoMA (2004), University of Tokyo (2004), Korea Advanced Institute for Science and Technology (2004), UCLA Hammer Museum's Digital Storytelling Conference, UC-Berkeley's 040404 Conference (2004), USC Aim Festival IV (2003), and the ICA London (2002). He is a core Open Source developer on Inkscape (http://www.inkscape.org ), a scalable vector graphics editor, the Open Clip Art Library (http://openclipart.org x), and is writing/producing a book, "CVS: Concurrency, Versioning and Systems." Currently, he is visiting faculty at the San Francisco Art Institute (www.sfai.edu ) in the Design+Technology department and is an Open Source developer for the Creative Commons (www.creativecommons.org ).
Phillips completed his MFA in June of 2004 at the University of California, San Diego, where he studied with Lev Manovich (http://www.manovich.net/ ) and additionally with Sheldon Brown, Geof Bowker, Jack Greenstein and Joseph Goguen. He completed a BFA, New Media, at the Kansas City Art Institute where he studied with Patrick Clancy (http://www.patrickclancy.org/ ). He is affiliated with the Center for Research and Computing in the Arts (CRCA, http://crca.ucsd.edu/ ), California Institute for Telecommunications and Information Technology [CAL(IT)2, http://calit2.net/ ], and University of California Digital Arts Research Network (UC DAR Net, http://ucdarnet.org/ ).
Experimenta _ New media art in Australia and Asia - with online gallery
POSTMEDIALE KONDITIONARCO 2006
Kuratorinnen:Elisabeth Fiedler, Christa Steinle
Wissenschaftlicher Beirat:Peter Weibel
Ausstellungsarchitektur: Manfred Wolff-Plottegg
Eröffnung: Dienstag, 15. November 2005, 19 Uhr
Ausstellungsdauer: 16.11.2005 - 15.01.2006
Öffnungszeiten: Di-So 10-18 Uhr, Do 10-20
UhrAusstellungsort: Neue Galerie -
5voltcore: Emanuel Andel / Christian Gützer
Kerstin von Gabein
Margarete Jahrmann / Max Moswitzer
Sigrid Kurz / Karl-Heinz Klopf
Alois MosbacherMuntean / Rosenblum
Taife Smetschka / Interface Culture
From mini-FM to hacktivists: a guide to art and activism
Curated by Mercedes Vicente
10 December – 5 March 2006
From mini-FM to hacktivists: a guide to art and activism examines contemporary artistic and activist practices in the context of alternative media and provides the historical grounding for today's internet collaborations. The 80s free radio and public access television, via cable or satellite, served as precedent to today's electronic forms of tactical media. This legacy of activists and alternative media has shown a revival in the post-99 anti-globalisation movement with the rise of worldwide Indymedia networks, pirate radio, television and the internet.
Among the works exhibited in From mini-FM to hacktivists, this survey presents the mini-FM project of Tetsuo Kogawa, founder of free radio in Japan in the early 80s, whose model has taken a renewed currency today among media activists and artists such as the collective neuroTransmitter. A selection of recent video productions Paper Tiger TV and Deep Dish TV, TV media collectives that have been operating in the US since the early 80s in public access TV, set up a backdrop for today's media activism concerning issues of war, globalisation, youth, gender and media. Allan Sekula's Waiting for tear gas (white globe to black) a photo reportage of Seattle's WTO protests, depicts the rise of the anti-globalisation movement. Martha Rosler revisits one of her most emblematic photomontage series Bringing the war home: house beautiful 1967-2005, which draws a parallel between the Vietnam and Iraq Wars. Taking the form of guerrilla cyber tactics and capitalising on the ubiquitous nature and vulnerability of the internet, collectives like The Yes Men and 0100101110101101.org have cloned news and spoof websites. These have created a great deal of confusion and succeeded in exposing the effects and ideology behind global corporations.
Cultural Futures: Place, Ground and Practice in Asia Pacific New Media Arts is an international event exploring cultural issues in the emerging new media environment. Cultural Futures will bring internationally significant artists and media practitioners to Auckland / Tamaki Makaurau for dialogue, workshops and exhibitions. The symposium, exhibitions and workshops will develop international awareness of local work in new media arts; and link international practices in new media arts to dialogues in Aotearoa's cultural identity. The symposium will be of interest for artists, academics, and media practitioners interested in the relationship between local cultures and global media forms. Confirmed presenters include:
Amanda McDonald Crowley (Australia)
Albert Refiti (Aotearoa)
Charles Koroneho (Aotearoa)
Chaz Doherty (Aotearoa)
Cheryl L'hirondelle (Canada)
Creative Combat (Australia / NZ)
Fatima Lasay (Philippines)
Jenny Fraser (Australia)
Lisa Reihana (Aotearoa)
Rachael Rakena (Aotearoa)
Raqs Media Collective (India)
Cultural Futures is produced with the generous support of Creative New Zealand, the Asia New Zealand Foundation, and partners listed on our sponsors' page. Other partners and sponsors have indicated their interest and will be listed here as they are confirmed. This interim site is for informational purposes only, the full site will be available here later in 2005. Please signup for the e-mail list to keep up to date with developments and registration information.
The Electronic Literature Organization seeks submissions for the first Electronic Literature Collection.
The Electronic Literature Organization seeks submissions for the first Electronic Literature Collection. We invite the submission of literary works that take advantage of the capabilities and contexts provided by the computer. Works will be accepted until January 31, 2006. Up to three works per author will be considered.
The Electronic Literature Collection will be an annual publication of current and older electronic literature in a form suitable for individual, public library, and classroom use. The publication will be made available both online, where it will be available for download for free, and as a packaged, cross-platform CD-ROM, in a case appropriate for library processing, marking, and distribution. The contents of the Collection will be offered under a Creative Commons license so that libraries and educational institutions will be allowed to duplicate and install works and individuals will be free to share the disc with others.
The editorial collective for this first volume of the Electronic Literature Collection, to be published in 2006, is:
N. Katherine HaylesNick MontfortScott RettbergStephanie Strickland
This collective will review the submitted work and select pieces for the Collection.
The editorial collectives for each volume will be chosen by the Electronic Literature Organization’s board of directors. The tentative editorial collective for the second Collection, to be published in 2007, includes Matthew G. Kirschenbaum, Marjorie C. Luesebrink, and Noah Wardrip-Fruin.
Literary quality will be the chief criterion for selection of works. Other aspects considered will include innovative use of electronic techniques, quality and navigability of interface, and adequate representation of the diverse forms of electronic literature in the collection as a whole.
For the first Collection, the collective will consider works up to 50 MB in size, uncompressed. Works submitted should function on both Macintosh OS X (10.4) and Windows XP. Works should function without requiring users to purchase or install additional software. Submissions may require software that is typically pre-installed on contemporary computers, such as a web browser, and are allowed to use the current versions of the most common plugins.
To have a work considered, all the authors of the work must agree that if their work is published in the Collection, they will license it under a Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License, which will permit others to copy and freely redistribute the work, provided the work is attributed to its authors, that it is redistributed non-commercially, and that it is not used in the creation of derivative works. No other limitation is made regarding the author’s use of any work submitted or accepted.
To submit a work:
Prepare a plain text file with the following information:
The title of the work.
The names and email addresses of all authors and contributors of the work.
The URL where you are going to make your .zip file available for us to download. The editorial collective will not publish the address of this file.
A short description of the work — less than 200 words in length.
Any instructions required to operate the work.
The date the work was first distributed or published, or “unpublished” if it has not yet been made available to the public.
Prepare a .zip archive including the work in its entirety. Include the text file from step (1) at the top level of this archive, and name it “submisson.txt”.
Upload the .zip file to a web server so that it is available at the specified location.
Place all of the text in the “submisson.txt” file in the body of an email and send it to email@example.com with the name of the piece being submitted included in the subject line.
The Electronic Literature Collection is supported by institutional partners including the Center for Programs in Contemporary Writing (CPCW) at the University of Pennsylvania, ELINOR: Electronic Literature in the Nordic Countries, Maryland Institute for Technology in the Humanities (MITH) at the University of Maryland, The Richard Stockton College of New Jersey, and The School of Journalism and Mass Communication at the University of Minnesota.
This is Artificial's list of Art Games. It is not in any way exhaustive but meant as an inspiration.
Amanita: Samorost Samorost is an amazing universe. The main character goes through several levels with quirky details . You are actually playing the game, but at a very slow pace as it takes a long time to figure out what to do. A sequel is to be launched soon.
Ben Fry: DistellemapDistellamap is using the code in old game cartridges. He is 'translating' the code into a graphical picture. Everytime the code has a 'go to' the drawing has a curve. The one showed to the left is from Pac Man. This is not a game at all, but clearly using the code from games in the artistic practice. .
Cory Arcangel: Super Mario CloudsSuper Mario Clouds is a hack of an old Super Mario game. In the hacked version, only the clouds are left - not even super Mario is there!
Alison Mealey: Unreal ArtArt made in the Unreal engine. Mealey lets a number of virtual players play the game for a half hour and then uses the data from the games to produce complex drawings.
JoDI: SODJoDi's SOD is a modification of the game Wolfenstein. You can actually attempt to play the game, but everything is scramples - in the way that has become typical for JoDi.
Ferry Halim: OrisinalOrisinal is a number of small artistic games. Each one has its own charm.
Natalie Bookchin: The Intruder In Natalie Bookchin's the user is being kept busy with a number of more or less classic games - pong is one of them - while listening to a reading of a Jorge Luis Borges short story..
Vanessa Somerwine: The Nerve Game In the Nerve Game the player has to answer a lot of daily life questions while the level of stress and depression is increasing.
Thompson and Craighead: Trigger Happy (click on 'Trigger Happy' in the drop down menu) Trigger Happy is based on the classic game Space Invaders. However, what you shoot is text pieces from ...?
Geoffrey Thomas: Left to my own Devices You really are left to your own devices in this game. You control the guy in blue jumping around .
Gonzalo Frasca: September 12 September 12 is a political game - the title obviously referring to the day after Sep 11. In the game you shoot terrorist. It looks like your are aiming precise, but once the bomb hits, the terrorist is gone. Instead you hit civilians, whom later turn into terrorist. The meaning is quite easy to decipher ...
Vuk Cosic: The ASCII UnrealAs a reaction to the photo-like 3D worlds, Vuk Cosic replaced all surfaces in letters from the Cyrillic alphabet. Some will also remember the the green/black color from the old computers.
Anne-Marie Schleiner/ Brody Condon/ Joan Leandre et al.: Velvet-StrikeVelvet Strike is a so-called 'patch' that you can add to you own game. In this case you can add non-military grafiti to the shooter gamer Counter Strike. The site tells you how to install the patch and allows you to add your own grafiti.
Carlo Zanni: Average ShovelerCarlo Zanni's Average Shoveler is not a game in the sense that it has user interaction. It does, however, lend its aesthetics from the 80's game Leisure Suit Larry. The piece functions in real time as the snor flakes contains news from the internet. From time to time there is also a big snowfall containing pics.
font http://www.artificial.dk/articles/artgamesnetworks.htm Editing: Kristine Ploug.
CALL FOR SUBMISSIONS: FLACK ATTACK
We invite you to contribute to Flack Attack, a new magazine coming out of The Port, with a production model based on the wiki concept. The process of working with Flack Attack will be continually mediated through Whitney’s Artport between 1 and 31 December.
The workflow of Flack Attack starts with the wiki set up at http://www.flackattack.org/. The wiki is open to all, and invites contributions in the form of articles, images, alterations, comments, etc.
An editorial office is being set up at The Port (inside the online world Second Life). Open meetings for discussing and editing the wiki contributions will be held at the office three times a week during December (see schedule). The editorial office will also fuction as design studio, community center, and place for further reflection.
By the end of December the first issue of Flack Attack will be published. We are planning to distribute it as PDF and print-on-demand via artport. (In addition, free printed copies might be distributed through the bookstore of the Whitney Museum in New York).
The theme of the first issue is ‘Flack Attack on Autonomy’. Autonomy as a complex concept in any governed situation. What is it to be autonomous within predefined social codes? Does the notion of autonomy contradict a common language and shared references?
In the specific case of online worlds the challenge is readily illustrated by the fact that all interaction takes place inside someone else’s programmed code. But the same basic dilemma can be applied to any instituiton we find ourselves in, be it a nation, a family or an economy.
We encourage a wide range of contributions. Everything from the structural and analytical to the personal and anecdotal.
/Simon Goldin & Jakob SennebyInitiators of The Port & Flack Attack
http://secondlife.com/ _google map for showing events_
This time the 2nd international student media art festival RE/ACT is divided into two parts that are separated in respect of time and context.
As a start, in December 2005, RE/ACT will present an exhibition of interactive student projects of the HFG / Karlsruhe and the UdK / Berlin under the name of “sensiblynew - haptic experience in contemporary media art” at halle02/Heidelberg. Parallel to that a symposium with internationally renowned consultants will take place. It will deal with the question of the social relevance of contemporary media art and their influences. Subsequently to the symposium a workshop will occur.
The 2nd part will be composed by the international student media art festival RE/ACT 2006. A competition exclusively for students will be arranged for more than 100 universities worldwide. An expert jury will evaluate and award the international pieces of art for an exhibition that will be presented in spring 2006.
RE/ACT presents an exhibition of interactive student projects of the HFG/Karlsruhe and the UDK/Berlin named “fuehlbar neu - “haptic experience in contemporary media art". Parallel to the Exhibition an Symposium with internationally renowned consultants will take place. It will deal with the question of the social relevance of contemporary media art and their influences. Subsequently to the Symposium a workshop will occur.
The main objectives of the CYBERHAND Project are to increase the basic knowledge of neuralregeneration, and sensory-motor control of the hand in humans and to exploit this knowledge todevelop a new kind of hand prosthesis which will overcome some of the drawbacks of currentsystems.
The Lunatics is a 6.5 minute interactive animated fairytale about consumption, exploration, and creativity.
21-24 July 2005 - Habitat New Media Lab Prototype Exhibition, Gladstone Hotel, Toronto, Canada
About The Lunatics
Have you ever wondered if there’s more to life than this? Is there more to life than punching the clock? Is there more to life than buying stuff you don’t need? Is there is more to life than wasting time in front of the T.V.?Have you ever felt like you are sleepwalking through the days? The Lunatics did, and now you are invited to step into their shoes!The Lunatics is an animated fairytale about the titular tribe of people who learned that there is indeed more to life than this! Told by an elder Lunatic, this interactive experience guides you through the Lunatics’ transformative journey from being consumers to becoming creators. The Lunatics have always worshiped the moon, but during more precarious times, they ignored it in favour of a more consuming light. They wanted more, more, more; and their cherished moon slipped away. One day, a Lunatic realized that living without the moon was no way to be and set off, with you by his side, to bring it back.The Lunatics is presented using an exciting, new form of participatory theater, which blends the role of audience and participant. While wearing masks, you are transported onto the screen and into the story where you see, hear and physically engage with the tale’s themes. Your movements trigger animations empowering you to affect the world on the screen.Not only are you watching the story, you are in the story!
Videos & Photos
View them here.
For More Information
jemail("lunatic", "the-lunatics", "com");
Warren Brown is an illustrator, animator and creative director. His award-winning work has appeared on television and film. Currently, he is designing storytelling experiences that blur the line between audience and participant. Warren lives in Toronto with his wife, Sarah, and a trusted bucket of worms that eat his garbage.
Louise Charlebois As a writer, director, artist, photographer, and idea generator, Louise Charlebois has an interest in converging her diverse passions. She has a great love of pop culture, both high and low. An arts and crafts hobbyist, she hopes to bring a personal, organic touch to new media.
Kirstin Hargie Whether automatic writing, photographing, drawing, or moshing media interactively mixed media artist Kirstin Hargie collages the minutiae of the extraordinary ordinary. A consummate world lover, she one day wishes to drive around the world in an ice cream truck collecting stories and art. More about Kirstin at www.hargie.com.
"Social awareness through physical organic experiences."
Created by Warren Brown, Louise Charlebois, Kirstin Hargie Music Composed by Adam GoddardNarrated by Nick SewellSpecial Thanks to Faisal Anwar
Preemptive Media is a group of artists, activists and technologists who are making their own style of beta tests, trial runs and impact assessments based on independent research.
RFID - Radio Frequency Identificationis - not yet a household name or a pervasive technology, but Preemptive Media predicts that everyday encounters with this technology (whether known or not) will soon be commonplace.
mapping RFID of Tokio http://www.zapped-it.net/tokyo.html
RFID è l'acronimo di Radio Frequency IDentification (traducibile con Identificazione a radio frequenza) e denota un sistema per controllare sia la posizione che alcune caratteristiche di persone come di animali ed oggetti servendosi di dispositivi di due tipi: l'RFID tag (etichetta RFID detto anche RFID transponder o ricetrasmittente RFID) ed un lettore RFID fisso o portatile.
Si tratta di una tecnologia emergente e molti ritengono che questi strumenti e le procedure possibili grazie agli stessi avranno nei prossimi anni numerose e importanti applicazioni.
L'RFID è il segmento con la crescita più rapida nell'industria dell'identificazione automatica: grazie all'utilizzo di onde radio per la trasmissione dei dati fra le etichette ed i lettori, RFID offre agli utenti un accesso alle informazioni memorizzate sul tag che non necessita di visibilità diretta. Grazie al sistema ILR, i tag ed i lettori possono comunicare fino a distanze di 30 metri (100 piedi). La tracciatura ed il controllo tramite ILR presentano una serie di vantaggi rispetto alle tecnologie di identificazione tradizionali applicate ad ambienti di produzione, alla gestione dei magazzini, alla logistica e alla distribuzione. Grandi quantità di informazioni possono essere scambiate automaticamente e da notevoli distanze, anche in condizioni sfavorevoli dovute a polvere, sporcizia, grasso, vernice e temperature estreme. Negli ultimi anni la procedura di riconoscimento automatico (Auto ID) ha suscitato molto interesse e si sta sviluppando in ogni settore industriale, da quello di acquisto e distribuzione di servizi logistici a quello industriale, manifatturiero, metalmeccanico.
RFID utilizzato su un'automobile per il pagamento automatico dei pedaggi
Le procedure di Identificazione Automatica (Auto ID) aiutano a fornire informazioni di persone, animali, merci e prodotti in movimento, permettendo così la rintracciabilità in tempo reale. L'etichetta "barcode" (comunque presente anche nel sistema RFID) innestò una rivoluzione nei sistemi di identificazione che, con il passare degli anni, sono diventate inadeguate per il continuo incremento del numero di dati. I barcode hanno il vantaggio di essere estremamente economici, ma il loro handicap è la bassa capacità di immagazzinare dati e la non riprogrammabilità. La soluzione tecnica ideale può essere l'archiviazione dei dati in un chip di silicio, infatti il più comune congegno elettronico in uso, per questo scopo, oggi giorno è la smart card basata sul contatto fisico (smart card GSM, carta di credito bancaria), che si rivela un handicap e rende lo strumento di difficile impiego.
articoli correlati http://www.physorg.com/news8220.html
Right about Now
Art and Theory since the 1990sW139, Stedelijk Museum Bureau Amsterdam and Stedelijk Museum Amsterdam, in collaboration with the department of Art History at the University of Amsterdam, have joined forces to bring you a unique series of lectures entitled Right about Now: Art and Theory since the 1990s. The lectures, realised with support of the Mondriaan Foundation, will be held in English.Since the early 1990s, debate and reflection on contemporary visual art have primarily centred on concrete artistic practice and notions like production and presentation. But in the meantime, what have been the developments exactly in the field of critical theory? Right about Now can be considered a serious attempt to formulate an answer to this question.A select group of respected Dutch and foreign academics and thinkers (including leading experts like Hal Foster, Claire Bishop, Daniel Birnbaum and Nicolas Bourriaud) have been asked to scrutinize recent art history and present their findings in the form of a lecture. The speakers will address trends and themes (including 'Interactivity', 'Documentary Evidence' and 'Money') that have influenced theoretical debate since the start of the 1990s and will investigate the significance these notions and developments might have for today's artistic discours. By initiating this series, the organizers hope to encoura ge public debate regarding the art of the recent past, as well as partially bridge the gap existing between academic research and the artistic 'fieldwork' of artists and curators.---
Lecture 1: Wednesday November 30th, 2005 INTERACTIVITY Speakers: Claire Bishop (UK), Nicolas Bourriaud (FR)
Lecture 2: Wednesday January 25th, 2006 DOCUMENTARY EVIDENCE Speakers: Sophie Berrebi (FR/NL)
Lecture 3: Wednesday March 1st, 2006 THE BODY Speakers: Maaike Bleeker (NL), Deborah Cherry (UK)
Lecture 4: Wednesday March 29th, 2006 MONEY Speakers: Marc Spiegler (USA), Olav Velthuis (NL)
Lecture 5: Wednesday April 19th, 2006 CURATING Speakers: Beatrice von Bismarck (DE), Jennifer Allen (USA)
Lecture 6: Wednesday May 10th, 2006 REMODERNISM Speakers: Daniel Birnbaum (SE)
Lecture 7: Wednesday June 7th, 2006 ENGAGEMENT Speakers: Hal Foster (USA), Sven Lutticken (DE/NL)---
programma pdf http://www.rightaboutnow.nl/pdf/Programm.pdf
Run by Trampoline – based at Broadway Cinema - the Radiator Festival takes place every second year in Nottingham. While involving partners from throughout the East Midlands, the festival umbrellas Trampoline's second home, Berlin. Radiator is a high reaching festival blending an exhibition of specially commissioned artworks with a wide variety of other arts events, activities and screenings, community resources, networking opportunities and technical workshops. In this season Radiator is particularly looking at new technology and performance based work. While the festival tackles the technology in ways both live and online, local and international, the Digital Cultures Symposium (2-4 December) will take a focused approach into an exploratory analysis of the mobile and network technologies that performers and dancers work with. The Digital Cultures Lab (28 November – 4 December) examines whether interactive performance and other systems of technology-based creativity have contributed to the collaborative culture of new dance.