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Link al proyecto

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"Todo el mundo habla del contenido de los medios interactivos en estos días. Tanto los artistas independientes como la industria del entretenimiento ven ahora que estas nuevas tecnologías son relativamente chatas si un contenido significante. Pero el apuro por llenar de contenido a los medios interactivos ha desviado nuestra atención de las profundas y sutiles formas en que la interfaz, al definir como percibimos y navegamos el contenido, modela nuestra experiencia de éste. Si la cultura, en el contexto de los medios interactivos, se transforma en algo que “hacemos”, es la interfaz la que define cómo lo hacemos y cómo se  “siente” lo realizado."
David Rokevy

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Link al proyecto

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http://mediosgroisman.com.ar/disenos-inconclusos/

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Martín Groisman - “Ficción de datos. La narración sin argumento”

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Airlindo Machado - "El advenimiento de los medios interactivos”

Lev Manovich - “La pantalla y el usuario"

David Rokeby - “Los armónicos de la interacción”

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Eduardo Kac - "Negociando el sentido: La imaginación dialógica en el arte robótico"

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Mariano Sardón - morfologías de la mirada - Ruth Benzacar Galería de arte

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"Body Movies" at V2_ (2000) by Rafael Lozano-Hemmer

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"Body Movies," 2000
Relational Architecture 6
projectors, computers, surveillance camera, custom software
outdoor public installation
dimensions variable

Installation view at V2_, Rotterdam, The Netherlands.

Thousands of portraits, taken on the streets of the cities where the project is shown, are projected on a giant screen or façade using elevated robotically-controlled projectors. However, the portraits are completely washed out by powerful xenon light sources placed at ground level. When people cross the square their shadows appear on the screen and the portraits are revealed within them. The shadows and portraits generate a play of reverse puppetry and embodied representation. Silhouettes measure between 2 and 30 metres high, depending on how far participants are from the screen.

A camera-based tracking system monitors the location of the shadows in real time. The computer vision interface, which is shown and explained on the site, triggers quiet feedback sounds when a shadow and a portrait match in scale. When the shadows have revealed all the portraits in a given scene, an automatic command is issued to change the scene to the next set of portraits. This way the people on the square are invited to match different representational narratives. Over 60 people may take part at any given time, creating a collective experience that nonetheless allows discrete individual participation. 

"Body Movies" is the sixth in the series of “relational architecture” installations that Rafael Lozano-Hemmer has designed for cities in Europe and America for the past ten years. These interactive interventions have been exploring the intersection between new technologies, public space and performance art. The piece attempts to create an anti-monument of alien presence and embodied relationships.

Video courtesy of the artist and bitforms gallery nyc.

To learn more about Lozano-Hemmer's work, please visit: 
bit.ly/pSbJgx
bit.ly/HeemCA

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Mar Canet & Varvara Guljajeva: Binoculars to... Binoculars from

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CONNECTING CITIES @ ARTE CREATIVE
Networked City 2013

VARVARA GULJAJEVA & MAR CANET SOLA (Based in Estonia)
BINOCULARS TO… BINOCULARS FROM…, 2013

Binoculars to… Binoculars from… is an installation which is able to connect to a number of cities in an extraordinary way. When you look through the binoculars, instead of seeing the scene physically in front of them, you are transported to a different site. This opening of a real-time window into another location is not unidirectional: when looking into the binoculars, your eye is captured and shown on an urban screen at the observed place. Hence, the inhabitants of the other, connected city will see the huge-scale, searching eye looking at them.

As well as playfully connecting to other cities, and dealing with issues of extended surveillance, this work underlines the ideas of the French anthropologist Marc Augé. Binoculars… creates an excess of time and space, allowing one to travel to a totally different location and be present there in a matter of milliseconds, whilst still remaining in one’s first physical location.

Partners: Produced by FACT in Liverpool and adapted by Ars Electronica in Linz; Medialab-Prado in Madrid; Public Art Lab and Foundation Bauhaus Dessau in Dessau; Public Art Lab and ikono in Berlin; iMAL in Brussels; m-cult in Helsinki; Federation Square in Melbourne; Foundation Riga 2014 in Riga.

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Un juego de estilo de elegir tu propia aventura de Twitter donde los usuarios de Twitter intentan no ser despedidos como el nuevo asistente de Beyoncé.
https://twitter.com/CORNYASSBITCH/status/1258448684678705157

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Thao & The Get Down Stay Down - Phenom (Official Music Video)

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Lo virtual tiene poca afinidad con lo falso, lo ilusorio o lo imaginario. Lo virtual no es, en modo alguno, opuesto a lo real sino una forma de ser.

Pierre Levy

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https://www.instagram.com/anti_usuari00/

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https://www.instagram.com/crespotags/

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https://www.instagram.com/unioninfinita/

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https://www.instagram.com/poliptico_/

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https://www.instagram.com/stalkersaladeriva/

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Tutorial de navegación 'El Beso', obra de netart

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El falso Instagram de Amalia Ulman le llevó más de 100.000 seguidores

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frecuencia: cuán frecuentemente se puede interactuar, cada cuánto tiempo el usuario puede intervenir o participar en la obra.

extensión: cuántas elecciones están disponibles cada vez, cuántos caminos posibles se abren ante cada decisión

significancia: con qué intensidad esas posibilidades alteran el rumbo de las cosas. ¿Existen posibles caminos pre definidos (al estilo elige tu propia aventura) o esas intervenciones modifican el contenido de la obra, la transforman, la completan?

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BIG DATA + ARTE  //  ESTÉTICA DE DATOS Y CONECTIVIDAD

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BIG DATA + ARTE  //  ESTÉTICA DE DATOS Y CONECTIVIDAD

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Network Effect explores the psychological effect of Internet use on humanity.

Like the Internet itself, the project is effectively endless, containing 10,000 video clips, 10,000 spoken sentences, news, tweets, charts, graphs, lists, and millions of individual data points, all presented in a classically-designed data visualization environment. To see and hear it all would take hours, but the viewing window is limited to around seven minutes (according to the average life expectancy in the viewer's country), which induces a state of anxiety, triggers a fear of missing out, and totally frustrates any attempt at completeness.

The videos activate our voyeurism, the sound recordings tempt us with secrets, and the data promises a kind of omniscience, but all of it is a mirage - there is no one here to watch, there is no secret to find, and the data, which seems to be so important, is actually absurd. In this sense, the project mirrors the experience of browsing the web - full of tantalizing potential, but ultimately empty of life. We do not go away happier, more nourished, and wiser, but ever more anxious, distracted, and numb. We hope to find ourselves, but instead we forget who we are, falling into an opium haze of addiction with every click and tap.

The Internet is a miraculous tool, but all too often, it affects us like a drug. Many of its popular apps, news websites, and social networks have been carefully designed to addict and distract, so they can harvest human attention like the natural resource it is. "Keep searching and you will discover," these services seem to proclaim, but the deepest truths cannot be found by searching - and you will not find them in data, in videos, or in images of other people's lives.

We need time and space and silence to remember who we are, who we once were, and who we can become. There is a way, and every one of us contains the potential to find it.

Jonathan Harris + Greg Hochmuth
August 2015

Credits

Jonathan Harris

Greg Hochmuth

Greg Hochmuth is an artist and engineer specializing in data science. He studied computer science and design at Stanford University, and then worked as a product manager, engineer, and data analyst at Google, Instagram, and Facebook. Greg also operates DADA, an agency focused on data engineering and insights.

Data

Network Effect draws data from a variety of sources.

Behaviors

We began by choosing a list of 100 canonical human behaviors - basically, a long list of verbs (eat, sleep, stare, etc.). We tried to choose behaviors that were corporeal instead of cerebral (e.g. pointing not thinking) and that were temporally universal (i.e. not dependent on any particular moment in history). With this list in hand, we set about gathering data for each of the 100 behaviors.

Videos

To collect the videos, we built a framework to allow Amazon Mechanical Turk workers to find two-second examples of each of the 100 behaviors within existing YouTube videos, and we built a system for reviewing their submissions, until we had gathered 10,000 acceptable videos clips - 100 for each behavior. We adapted the FFMPEG library to automate the process of trimming and cropping the videos, and to double the speed of each video, reducing it from two seconds to one second, to create a frantic and more abstracted depiction of human life. Each clip is credited by title and author, and viewers can access the underlying videos on YouTube through the Credits section of the website. We paid each worker $.25 for each video collected, costing $2,500 in all.

Credits

The credits section displays thumbnail images of all 10,000 YouTube video clips that appear in the project, organized by behavior, with each video annotated by title and author. Each thumbnail is hyperlinked to its full original video on YouTube.

Audio

To collect the audio, we created a system to query the Twitter API for sentences that mention each of the 100 behaviors, following certain language conventions (e.g. "I swim because...", "Swimming is...", etc.). We manually reviewed the resulting sentences, selecting 100 for each behavior. We then created a system to feed these sentences into Amazon Mechanical Turk, asking workers to read them aloud while recording their voice with their cell phone, and then to submit the resulting MP3 files via an HTML form. In this way, we collected 10,000 spoken sentences - 100 for each behavior. We then used our FFMPEG library to merge these sentences into abstracted audio soundscapes, reminiscent of cocktail party chatter (but chatter in which everyone is talking about the same thing). These multilayered sound montages are paired with the videos to create 100 strange and overwhelming audio-visual environments.

Brands

To collect the brands data, we created an Amazon Mechanical Turk survey, asking workers to name the top five brands they would associate with each of the 100 behaviors. We ran this survey 100 times per behavior, discarded brands with less than two guesses, and then took the top ten results based on the number of votes. In the world of technology, this kind of exercise is known as a " Wisdom of the Crowds " survey, in which a large group of non-expert participants are asked to guess a response to a question that would otherwise be difficult to answer. The Wisdom of the Crowds theory posits that such a crowd possesses a kind of collective intelligence, capable of producing answers that are close to the truth.

Definitions

To collect the definitions data, we wrote a system to query the Twitter API for sentences containing each of the 100 behaviors, immediately followed by the word "is" (e.g. "Swimming is..."). In this way, we were able to gather a large and ever-growing corpus of definitions for each behavior, crowdsourced from tweets by thousands of individuals. Based on the local time of each tweet, we were able to create an hourly histogram of definitions, showing, for instance, definitions of drinking offered at 10AM versus 10PM. The definitions data continues to update hourly.

Gender

To collect the gender data, we wrote a system to query Google Books Ngrams (a corpus of millions of digitized books - about 6% of all books ever printed) for each of the 100 behaviors from 1900-2008. Each year, we compared the relative prevalence of male pronouns (he, him, his) with female pronouns (she, her, hers) in close proximity to each behavior's different verb forms (e.g. run, running, ran). In this way, we were able to deduce the gender breakdown for each of the 100 behaviors over the past century. The data communicates the strong female bias of certain activities (e.g. knit, shop, cry) and the strong male bias of others (e.g. shoot, sweat, puke), as well as the various gender shifts occurring over time.

News

To collect the news data, we wrote a system to crawl Google News for news headlines mentioning any of the 100 behaviors, anytime from January 2004 to the present day. The news stories can be filtered by month and year using an interactive histogram. In this way, we were able to assemble a news archive for human behavior, with strange groupings like news about kissing, pointing, and staring. The news data continues to update hourly.

People

To collect the people data, we created an Amazon Mechanical Turk survey, asking workers to guess how many people in the world were doing each of 100 behaviors right at that moment. We ran this survey 100 times for each behavior, discarded the top and bottom 5% of guesses, and then averaged the rest to arrive at a number. In this way, we were able to venture a reasonable guess at the relative prevalence of each activity in the world at any moment in time, using a method that is, if not scientific, then at least systematic. In the world of technology, this kind of exercise is known as a " Wisdom of the Crowds " survey, in which a large group of non-expert participants are asked to guess a response to a question that would otherwise be difficult to answer. The Wisdom of the Crowds theory posits that such a crowd possesses a kind of collective intelligence, capable of producing answers that are close to the truth.

Reasons

To collect the reasons data, we wrote a system to query the Twitter API for sentences containing each of the 100 behaviors, immediately preceded by the word "I" and immediately followed by the word "because" (e.g. "I swim because..."). In this way, we were able to gather a large and ever-growing corpus of reasons for each behavior, crowdsourced from tweets by millions of individuals. Based on the local time of each tweet, we were able to create an hourly histogram of reasons, showing, for instance, reasons people "touch" at noon versus midnight. The reasons data continues to update hourly.

Usage

To collect the usage data, we wrote a system to query Google Books Ngrams (a corpus of millions of digitized books - about 6% of all books ever printed) for each of the 100 behaviors from 1900-2008. For each year, we tallied the prevalence of different verb forms for each behavior (e.g. run, running, ran). In this way, we were able to create a kind of historical stock market for human behavior, showing the rise and fall of different activities over the course of a century. The data communicates the overall dominance of giving, the rise of talking, smiling, staring, and panicking, and the decline of crying and writing, among many other trends.

Words

To collect the words data, we wrote a system to query Google Books Ngrams (a corpus of millions of digitized books - about 6% of all books ever printed) for each of the 100 behaviors from 1900-2008, including each behavior's various verb forms (e.g. run, running, ran). For each behavior, we tallied the overall prevalence of different neighboring words, organized by part of speech (i.e nouns, verbs, adjectives, adverbs). In this way, we were able to construct a statistical linguistic landscape for each behavior. For instance, the data communicates that we mainly fight war, battles, urges, and tears, and that the ways in which we fight are often bravely, desperately, manfully, and alone.

Time

To compute the time limit for each viewer, we wrote a system to approximate their country of origin based on their IP address, and then used a life expectancy database to find the average life expectancy for people living in that particular country. We then translate years to minutes (e.g. 79.5 years = 7.95 minutes = 7:57), to determine how long each viewer will have to explore the project, before being blocked for twenty-four hours. The time limit is intended to induce a feeling of panic and anxiety, consistent with the feeling of Internet culture itself.

Chatter

While watching a given behavior's video clips, if the viewer presses and holds the mouse button, the "Chatter" movement appears, revealing the words, "MORE MORE." Repeated mouse presses cause additional MOREs to be added to the sequence, eventually overtaking the screen with a potentially infinite number of MOREs.

Epilogue

After the viewer's time is up, the project becomes inaccessible for twenty-four hours, replaced by a short statement by Carl Jung, overlaid on a simple video of clouds from YouTube.

Icon

The Network Effect browser icon - the so-called "favicon" - depicts an anonymous avatar, ageless and genderless. It was designed by Lloyd Humphries for The Noun Project and is simply titled, " User."

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Network Effect explores the psychological effect of Internet use on humanity. Like the Internet itself, the project is effectively endless, containing 10,000 video clips, 10,000 spoken sentences, news, tweets, charts, graphs, lists, and millions of individual data points, all presented in a classically-designed data visualization environment.

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We Feel Fine / by Jonathan Harris and Sep Kamvar

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An exploration of human emotion, in six movements by Jonathan Harris and Sep Kamvar

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Si la vanguardia de los años 20 surgió con formas nuevas para los nuevos media de la época,  la nueva vanguardia presenta formas radicalmente innovadoras de utilización de los media ya existentes.
Lev Manovich

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tiempo real, presente

marco fluctuante

ventanas coexistentes

escala y visión modificables

cualquier superficie puede ser pantalla

poder al espectador

obra potencial

autor /  lector

escritura / lectura: colectiva y anónima

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The interactive installation ON BROADWAY represents life in the 21st-century city through a compilation of images and data collected along the 13 miles of Broadway that span Manhattan.

The result is a new type of city view, created from the activities of hundreds of thousands of people.

http://on-broadway.nyc

A project by Daniel Goddemeyer, Moritz Stefaner, Dominikus Baur, and Lev Manovich.

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Hello World! or: How I Learned to Stop Listening and Love the Noise

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Hello World! is a large-scale audio visual installation comprised of thousands of unique video diaries gathered from the internet. The project is a meditation on the contemporary plight of democratic, participative media and the fundamental human desire to be heard. 

On one hand, new media technologies like YouTube have enabled new speakers at an alarming rate. On the other hand, no new technologies have emerged that allow us to listen to all of these new public speakers. Each video consists of a single lone individual speaking candidly to a (potentially massive) imagined audience from a private space such as a bedroom, kitchen, or dorm room. The multi-channel sound composition glides between individuals and the group, allowing viewers to listen in on unique speakers or become immersed in the cacophony.  Viewers are encouraged to dwell in the space.

This is the final version of the prototype found at http://www.vimeo.com/468962. 

Music: Milosh "Push" from You Make Me Feel http://bit.ly/nFLY0j

Project Website: christopherbaker.net/projects/helloworld

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Para Bonsiepe existe en primer lugar un usuario que desea cumplir una acción. En segundo lugar se encuentra esa tarea que él quiere realizar En tercer lugar existe un utensilio o herramienta del que necesita ese usuario para llevar a cabo la acción. Y sostiene que en el momento en que estos tres elementos se comunican aparece la interfase. La interfaz no es el objeto sino el espacio en el que se articula la interacción entre el cuerpo humano, la tarea y la herramienta.

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Según el Diccionario de la Real Academia Española, interacción es la acción que se ejerce recíprocamente entre dos o más objetos, personas, agentes, fuerza o funciones.

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Calder: Hypermobility | Triple Gong, c. 1948

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Rotary Glass Plates (Precision Optics). 1969

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Rotary Glass Plates ( Precision Optics), 1969
Replica of kinetic sculpture created by Marcel Duchamp in 1920.
Mixed media. 
47 x 72 x 39 inches.  

Five painted plastic plates turning on a metal axis and forming continuous circles when seen in motion from a distance of one meter. I made this version for a sculpture class, taught by artist Stephan von Huene, in response to a design problem dealing with spatial concepts. Chouinard Art Institue, Los Angeles, CA. 1969.

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Leandro Erlich, el creador de ilusiones que perturba Buenos Aires