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Obra de Rafael Lozano-Hemmer. 144 lámparas fluorescentes robóticas controladas por 7 cámaras de vigilancia. Las lámparas responden a los movimientos de una persona. En el caso de haber varias, las lámparas intentan crear pasillos de luz entre ellas. El vídeo lo explica con ejemplos:

(vía DVblog)

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Tweetleak: Un dispositivo instalado en un lugar público donde convergen el mundo digital y el real. El aparato va imprimiendo, en forma de pegatinas, tuís de gente de los alrededores (a los que se les informa, por supuesto, mediante Twitter). Los que pasan por allí pueden coger esos tuís y luego… bien, colocarlos en otro contexto.

Tweetleak, a monolithic anthracithe-colored pole, which is placed in a public place, aggregates tweets from nearby and “materializes” them. The collected fragments from people’s lives on the web leave the digital public space on adhesive paper strips. being taken away by other individuals, they are distributed in physical space, eventually being placed in another context in another environment.

default to public: tweetleak from sport4minus on Vimeo.

Es parte del proyecto Default to public: “interventions in the field of digital self-exposure and physical privacy using the example of twitter”.

“default to public” is a project dealing with the discrepancy between people’s feeling of privacy on the web and the physical world. It consists of an ongoing series of objects and interventions linking the physical world to the online world in unexpected and narrative ways to create awareness for self-exposure.

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Making art on computers is nothing new, and generally based on software development. If we want to get to the root of something considered “Device Art” from that point of view, we have to take a look at (artful) software development and the rise of mobile devices. One might suspect the first programmable devices were mobile phones, but gaming handhelds, like the Nintendo Game Boy are probably a good platform with which to start this discussion. This is where the homebrew movement kicks in. People tried to modify games and get their own software running on the hardware plugged into televisions and portable handhelds. Second, programmers created tools in order to make developing and running their own software on these platforms easier. Once these tools were completed and distributed, a new generation of users was given the opportunity to run (and maybe create) their own software. Devices like mobile phones, handheld gaming units and vintage hardware activate new developers.

Device Art - A Broad Overview of Current Developments | Vague Terrain

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Here, I have attempted to do the same thing for our galaxy, the Milky Way. Our galaxy is unimaginably vast, and we really have no idea what is out there. We are discovering new planets in other star systems all the time, learning new facts about the galactic core, and even learning about whole new portions of the galaxy. This map is an attempt to approach our galaxy with a bit more familiarity than usual and get people thinking about long-term possibilities in outer space. Hopefully it can provide as a useful shorthand for our place in the Milky Way, the ‘important’ sights, and make inconceivable distances a bit less daunting. And while convenient interstellar travel is nothing more than a murky dream, and might always be that way, there is power in creating tools for beginning to wrap our minds around the interconnections of our galactic neighborhood.

Milky Way Transit Authority

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Música Vista es una instalación artística creada por Carlos Tricas para el festival Periferias 2008. Un sistema de procesamiento de imágenes (ejecutado en Processing y Pure Data) analiza la posición de los objetos situados en el suelo y con esa información modifica la música que se oye. El espectador puede ir moviendo los objetos y oír los cambios de inmediato.

Un vídeo:

Y aquí una foto de fernand0:

La verdad es que me ha llamado mucho la atención por el uso de Processing, una herramienta que estoy mirando y parece francamente potente.

(vía Reflexiones e irreflexiones)

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Estaba leyendo sobre una exposición de arte en Singapur cuando me topé, al final del todo, con una obra que me llamó mucho la atención. Se llama Gendered Strategies for Loitering y es obra de Shilpa Phadke, Shilpa Ranade y Sameera Khan. Trata de las ciudades de Singapur y Mumbai, y sobre si las mujeres pueden estar en un espacio público sin hacer nada. De la descripción que hace Priscilla Bracks:

Their basic premise was that in Mumbai whilst men regularly loitered in café’s, on the street etc, smoking, chatting and enjoying the act of doing nothing, women were generally denied this pleasure because a woman seen to be doing nothing in public was viewed suspiciously, or worse, as a prostitute. This attitude I think speaks volumes of the objectification of women when a women cannot simply ‘hang out’ without casting doubt upon her respectability. To be in public, women must be seen to be moving with a purpose. Ie she should have some reason for being there. So if a woman is waiting for a friend on the street, she would stand at a bus stop and not on the street corner, to clearly demonstrate she is waiting for something. The artists contrast this with loitering behaviour in Singapore which is apparently gender neutral. The difference in Singapore they say, is that no-one loiters. Everyone must have a purpose and move about the city in a very defined, well regulated way. Extra cold air pours out of ducts above the entrances to railway stations to discourage loitering at the doors. Little footprints painted on paths direct on which side one should walk. Even foreigners living in the city who have a culture of loitering, do so in regulated way - the Indonesians gathering in City Plaza on a Sunday, the Indian and Tamil constructions workers in Little India on a Sunday. I actually experienced this work on a Sunday and went out to Little India to test the theory. Though the streets were a sea of humanity, I was one of only 4 women I saw walking around Little India that evening - an uncomfortable, but revealing experience.

Ya era consciente de que no en todos los espacios públicos puedes estar simplemente sin hacer nada, según una combinación de circunstancias culturales y organizativas. Pero dejando de lado los problemas de seguridad pública, es fascinante comprobar las grandes diferencias entre sexos ante el simple hecho de estar sin hacer nada en un lugar público.

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Era vagamente consciente de que alguien, hace muchos años, había caminado por la cuerda floja desde una de las torres gemelas a la otra. Pero no fue hasta hoy que descubrí el nombre del personaje: Philippe Petit. Roger Ebert le entrevista a propósito del documental, que suena fascinante, Man on Wire que cuenta cómo el 7 de agosto de 1974 caminó nada menos que ocho veces entre las dos torres. Sólo se rindió cuando la policía amenazó con enviar un helicóptero.

Pero lo que me ha asombrado de la entrevista son las respuestas. Como muy bien dice el propio Ebert:

But what kind of man would be brave enough, or foolish enough, or confident enough, to attempt such a feat? As someone who is himself afraid of heights, I wanted to ask Philippe Petit, and I did. My questions are pretty obvious. His replies are remarkable for their thoughtfulness, and his poetry of expression.

Y sí, son respuestas meditadas, inteligentes y matizadas. Un ejemplo:

It’s always easy to describe something complex by applying to it an already known label. So, the “Zen-like state of concentration” is what people are inclined to say about my state of focus. But I would rather struggle for my description to be honest.

Fascinado, me fui a la Wikipedia, buscando información sobre los detalles. ¿Cómo se plantea uno hacer algo así? ¿Cómo se tiende el cable? Pues resulta que fue un proceso largo y muy laborioso. Fascinante, la verdad. Tengo ganas de ver ese documental.

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Un impresionante grafito animado. Qué de trabajo:

(vía Art News Blog)

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