Satellites are all around us. Floating in the space there are more than 13000 pieces of metal streaming all kind of data. Our concept of space and time changed since we can base our day life on tools like google maps, gps and others satellite stuffs. There is a continuous stream of information in and out from our planet that define a new way to live the globe.
Soñando Satelites [Dreaming Satellites in Spanish] is a ritual of re-appropriation, a celebrations of the fact we are involved in the same data-space. It is an artistic sound visualization of ficcional satellites that exist as narrative objects. Floating in a noplace between the materiality of the communities involved in these projects and the immateriality of dreams, soñando satelites wants to explore that possibility that exist in the use of outer space as space of commons.
Space is the last place still not privatized where all our data and dreams persist over time. Dreams like the one of Palestine Space Agency that create AMMAN01 with the desire to redefine the concept of space; like Oficina de asuntos extraterrestres who launch a deep space sonar in the form of ancestral rituals of colombia indigenous peoples; or like Bolivia government who seeks for autonomy with Tupak Katari I satellite. These projects, ideas, dreams, are psycosatellites in the Soñando Satelites map, because they work on the consciousness proposing to look over our head as a land to explore and hack.
This work is the second step of an original project from 2011, called just Soñando Satelites. With this new version I want to work with fictional data, fake satellites from real community/art projects that exists over the planet. This installation mix together real and fictional satellites creating a hyper real narrative where a story is told through data and sound.
The form that this installation takes is a simple projection of the planisphere of earth: when a satellites is passing over our ground station (Quito in that first version) a sound is played from the same satellites visualization.
The sound of each satellite is created by taking some data like elevation, azimuth and position and using it to drive generative synthesizers.
In the case of fake satellites instead I mostly used recording from interviews like for the Ulises I, old movies, like for Afro futurism African Satellite, personal field recording like for the Amman01 and oficina de asuntos extraterrestres. You can find the recorded sound here. All the code is described and published here.
Some example of the sounds:
AMMAN01
Oficina de Asuntos Extraterrestres
PEGASUS 01
This installation was especially developed for “Arte in Orbita” exposition, from curators Pedro Soler and Fabi Borges, exposed in march 2015, in the CIty of Quito, Ecuador.
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artistic concept
Distópia Visuál come out from the desire to express personal experiences in the form of performance. Distópia Visuál investigate the effect on personal perception of a physical transformation. A surgery of both eyes leads toward a new way to look at reality to the subject. The choreography is a dialogue between two bodies and interactive space of light tubes. The bodies and the stage in which walk the public, change with light and darkness, motions and reflections, expressing the process suffered by the dancers.
general principle
A duo where two ways to see physical changes and their influence on practical life is staged.
We take the risk of changing things in our daily lives and out of our comfort zones?
Sight is the privileged sense in contemporary society. Everything is primarily known through vision. And it is through accumulation of images that we learn to behave socially, codify rules and acquire social values. In a society dominated by media we construct our own image of the world, in which the eye is the barycenter.
Does a modification of visual perception leads towards a new reality?
And what about the subject?
Thanks to an immersive environment public can live together with performers this emotional process.
description
Distópia Visuál is a performance combining contemporary dance and technology. This works focus on the sense of sight relating the movement with the illusion produced by the shadows and the mirror in the floor. Through white and black plastic tubes, leds, silver reflective plastic, conduit electrical, circuits, supporting materials, we have build an interactive environment made of light, video and audio. The goal is experimenting the possibility to falsify regular visual perceptions of the public who walk inside freely during the performance by combining very bright white columns in conjunction with black ones, close one to another. Sensors measures the amount of movement – acceleration, rotation, proximity – of dancers: this data is related real time with light patterns and audio composition generating an interactive mediascape mixed with recorded music. Suddenly a video appears in the ceil: a surgery of both eyes, personal experience of the authors – Luca Carrubba and Gina Castilla – that gives back the key concept of the performance. A duo, man and woman, are the characters who pass through this transformation and who share their tension, obsession and happiness with the public.
Duration: 25-35 minutes
choreography investigation
It is a meeting between two subjects, an unconscious spectator and a performative subject whom try to engage a reaction to spectator condition. The set of movements are an invitation to spectators toward participation.
A shock to the torpor of spectator that push him to became a participant eye of the reality surrounds him. As for the surgery which he have been spectator, this attendance will bring him to a permanent change of his daily life condition.
The two dancers have been the director and creator of the body of the other. Waves, fragmentation awareness regarding body spaces, the idea and intentions need to become a physical change. In this case an eye operation for myopia and astigmatism. How to perform about 20 years of living with the use of glasses?.
The physical work suggested from the surgery has take the form of the anesthetic effect: slow manipulation and movement decomposition. With the coming of new world (of lights) new motion coordination comes as well. Action and reaction with/against the public engaging their participation. Choreography have been designed by Alexander Carrillo and Gina Castilla
scenography
The scenography of Distópia Visuál is an interactive lighting space that aim to falsify the visual perceptions of the people inside it. The space is composed by a virtual cube of lights, like a column forest with an infinitive mirror ground floor. The effect is awesome. Inspired by the work of Iranian artist Hossein Valameneshwe have built – under the technical guidance of Francesca Mereu – the original design of cylinder floating tubes connected with the movements. The lights follow and determine the spirit of the narrative: the externalize the transformation process of the performers, the new way to look at the world, the perception of it before and after the surgery.
video
During the performance the roof will be suddenly transformed in a projection screen and a surgery of both eyes will be showed. A real eye surgery video – experienced by the authors – that has worked as inspiration material of our artistic scenic research. Eight minutes long of uncomfortable images that perform a physical transformation on the dancers and impose a new way to look at the world.
music
The music – written by German composer Tim Kienecker and Italian musician Giuseppe Montagna –is a mixed sound scape of real time composition and recorded media. Through the use of sensors dancers build direct relation with the environments underlining the personal inner world of emotion. The recorded media helps to create rhythm and contribute to a collective atmosphere where the public can be part of it. The climax of the performance is the surgery in which the strongness of the images is opposed to to a techno party music creating a surrealistic momentum.
production
Distopia Visuál is a work in progress. It has been produced by Estereotips and co-produced by L’Escruct Theater Sabadell (Spain).
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Audiogames is an arsgames poject. Estereotips is one of the founders and coordinator of the project.
Audiogames is an experimental video game installation.
Audiogames is a technologic playground not sight-oriented in which sense of hearing and ability to listen is the privileged way to interact. The player moves in a 6X4m space interacting with a binaural sound engine in real-time.
AudioGames is an attempt to build a common game space where both blind and sighted people can play together.
gameplay
Audiogames goal is to play digital games without using the sense of sight. The goal of the game is to catch all the virtual sound objects until the last level. Each object generates a different musical note in a binaural sound engine and when player collides with one of them this bounce around the game space generating a real time sound composition. Once player got the bonus, the higher note in game, sound objects will disappear if touched. By the contrary, the lowest note in game will ends the game.
If players walks out from game area all the sound will stops and a sound of electric show will alert him/she.
Introductory videos can be watch at the page:
audiogames.arsgames.net
artistic concept
Our first goal has been generate an interactive space where user can experiment and play basing on sense of hearing. Audiogames is an artistic video game that leaves aside images to underline the sound dimension: it represents to us a critical approach to our image centered contemporary society. This approach to video game will let to play blind people as ordinary user making no difference between different skilled players. With audiogames we are exploring the idea of inclusive gameplay in which normal and disabled people can both play computer game together due the specificness of the game itself or of the interface.
We created a new type of technological interface: an intangible and invisible one totally different to what we are use to.
We believe is very important experiment with different kinds of technological interfaces and gameplays more over classical ones, sight oriented, with the goal to include blind people as players and to let classical players live new game’s experience and cultivate own sound perception.
technical description
The game area is about 6x4m.
The user, who can be blind, moves around a virtual and real space, while the audience can watch the interaction with sound objects in a screen located outside the game area..
User’s position in the space is detected by custom made tracking software creating an interaction between virtual and real world. All the sound information is sent back to the player through wireless headphones.
We also wrote a custom software based on binaural sound synthesis principles generating a real time sound world where user can freely moves and interacts.
All the software used or written for this work is open source and available to download at:
http://code.autistici.org/svn/planetQ/audiogames/
Co-producers
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DualE is a solo dance interactive performance about 20 minutes long that use different artistic expressions at same time incorporating motion capture sensors, real-time projection and generative sound.
DualE wants to play the relationship between body and technology as subjectivity in the making still unable to materialize itself in the stage.
The organic body and the technological self are a set of conflictive entities that engage a confrontation as ritual of freedom. This ritual is built in stage by perform several emotional facet of both entities: they attract or repel them self, discuss and confront, seduce or flee each other, creating a symbiosis of unity and diversity.
[See image gallery at estereotips.net]
The residency is over. After two long weeks of activities it ends up with a collaborative performance that was really interesting despite the little time we had.
During this resicency I had the chance to discover works from a bunch of south east Asian artist I never met before. Gina and I was so ignorant (still we are) about the local scene and carp2dragon was a good experience to mind the gap.
Every artist had a different background and express trought different practice.
Mannet Villariba
He is a philipinian performer. He focus his practice on body and how he is touched by culture. During the residency Mannet performed a solo called kinetic orquestra. Trought the use of some basic blob tracking analisi and a wiimote he was creating real time sounds. But the point of the perfo was the body, his body, covered after a while of flour, jelly and others substances.
Nice performance full of emotions.
Some video: http://www.youtube.com/mannetsky
Tengal
Tengal comes from Philippines too, but with a different approach. He is a musicians, curator and independent artist. He is one of the core members organizator of an very interesting festival run in Manila, WSK.
As musicians he has a rich production on live cinema sets and movi OST. During Carp2dragon we perform together an audio visual improvisation that I hope to upload soon.
His practical expand from music to social activism and he his connected to a world wide network.
Check his work at https://soundcloud.com/tengal
Andreas Siagian
Andreas (square solid) is an hacker, engineer and artist. He merge science and technology trought social actions. He build sound machines by hi own and play really nice noise soundscapes.
He his a core member and founder of life patch citizen initiative’ introducing hacking, free software and open source technologies towards social change in Indonesia. During the residency he presented his work and organized a workshop about electronic s and building a basic synth-
You can see his works at andreassiagian.wordpress.com
Ricky Janitras
He is an Indonesian artist based in Jakarta. He work with visual culture using main vjs programs like resolume and quartz composer.
During Carp2dragon he made a couple of video improvisation together with Vietnamese artists.
You ca find his works at http://rickyjanitras.com/
Conclusion
This residency organized by Antonio Rosciano was a very good experience for me and Gina to open new windows in our immaginery. I had the feeling that every thing was to fast and wirthba lot of pressure. I would prefer less public events and more time to share with other artist based on real practice.
This time we had just 4 days in which we set up an Open Sound Control orquestra using Gina’s movements as input. We are quite happy with the final result beside short time.
Hope you like
Cartografiando is an experiment of collaborative narrative. Together with Brazilian poets, philosopher and artist Glerm Soares and a more people from Msst list, we wrote this little undefined narrative object. The original cartographer text was the starting point. This text was published in Orbitando Satelites Manual and was used as a narrative platform in different occasions like in CulturaDigital festival.
la nostra richiesta è quella di fare uno sforzo, non solo nel leggere e nel comprendere, ma anche e soprattutto nell’agire e capire.
Es la declaración de amor y de lokura de una Cartografo que llevado al extremo considera su propria arte como practica de dominación del mundo.
Es el grito de resistencia del cartografado, que nunca tiene voz pero siempre contempla la acción. Un encuentro decia, entre dos sujetos que viven en espacios tan lejanos cuanto cerca es su sensibilidad sobre el cuerpo, el movimiento, la liberdad, la red social y la tecnologia. Es un experimento de narración compartida, de material literario a partir del cual expandir hacia todos los mundos posibles y imposibles, hacia el deseo y el no deseado. Hacia todos los lenguajes conocidos – sean artificiales, naturales o artisticos – mas allà del control del
espacio. Porque nadie es ilegal. Porquè la liberdad, antes que nada, es de movimiento y de deseo.
>No Borders<
“Have you used it much?” I enquired.
“It has never been spread out, yet,” said Mein Herr: “the farmers
objected: they said it would cover the whole country, and shut out the
sunlight! So we now use the country itself, as its own map, and I
assure you it does nearly as well.””
Caroll, [3] Sylvie and Bruno concluded, cap. XI.
The Cartographer
I’m the cartographer. I draw routes, borders, destinies. The
dimensions of your world is in my hands.
I name all the things and these take the shape according to my will..
Northern winds follows the lines outlined in my papers, changing
direction as I dictate. No one exists outside my work: I name things
and decide whether and how they exists.When. In which time and space,
because I dictate man’s right on space.
I grant property and conceal identity.
The who and then become signs traced with my fingers. What it was gets
reshaped by my will.
Alternating and fleeting identities rest in the lines left by my ink
in the map. The peoples from the world take my yoke upon. Because I
determine their world.
And let’s admit that in my honorable category we’ve even had some
fools: humble people who thought they found a limit to our sacred art
of world’s jotting.
Trying to reproduce a map of the world on a 1:1 scale they imagined
limits that are no longer mine! I made it, here, in the sacred land of
all cultures where all the religions have originated from.
Here is where I constantly redraw the reality of my people, getting
rid of losers and celebrating the chosen ones. My map, mutant and
rhizomatic, takes its shape from the everyday practices of its
inhabitants who, while colonizing land, create new borders attributing
their language to the surrounding place.
Names, things, cities. Borders which never existed and rituals which
are lost and defeated.
Today I celebrate my power: the strength of one thousand infantry
army, of 10 combat fighter helicopters. The impact of an atomic bomb.
Because one must admit I don’t directly kill people, but I certainly
get to choose what culture will survive.
Several years of sullen debates, fights, rectification and returns are
voided here and now.
Fiction becomes reality and, even if reality becomes war, pain, and
death for some, all of this will be paid back by the divine justice
that, through my people, will govern these consecrated lands.
Because drawing this map today means fix the first signs for a new
world to come.
passaporte em tua fronteira.
I just can imitate sounds of your accent or look for some pactual
“lingua franca”. Mas eu não posso entender nuances enraizadas nas
memórias de suas primeiras impressões sobre o Mundo.
Teu Mundo?
Meu Mundo?
Nossa fronteira do entendimento do espaço. Você lança os mapas, mas eu
os traduzo – e na tradução deixo pistas da rota de fuga.
Deixo pistas como aquele absurdo no sonho que te mostra por onde
acordar ou por onde cair em coma mais profundo.
O Mundo deles que ficaram de fora desta nova fronteira, tentando
mapear-nos aqui. E você aqui entre eles e nós.
Na fresta de um dicionário. E como numa dança ensaiada ela me traduz –
Tua lingua materna me seduz. Tuas canções de ninar.
E você me convida para uma caminhada, passo à passo onde medimos
forças de uma geopolítica que não nos pensa,
apenas nos desenha sem sentido nestes coloridos mapas, heráldicas e
hinos. Mapas deles.
Uma palavra que sopro te foge, limita teu vocabulário nas tuas crenças
sobre a História que te contaram sobre o novo mundo que o velho
criara.
Eu profano tua terra sagrada convidado-te a matar tua língua pátria e
ofereço-te o incesto com esta nova gramática, que quebra e racha
aquele solo, fazendo nascer o ritmo que não pode ser partiturado. Um
nome indestrutível para aquele disputado chão. Uma palavra de outro
léxico te seduz e te convida a ser cantada. Traga rápido tua tradução
para escala 1:1 neste teu alfabeto geométrico, no limite de dígitos
deste mais moderno GPS.
E se as bombas cairem sobre nossas cabeças, obdecendo coordenadas que
inevitavelmente e inconscientemente você rabiscou em teus mapas – já
teremos ido embora no último instante, agarrados na última palavra
inteligível, um ponto fora da legenda. Um ruído que assobiava para o
cartógrafo não mais como uma fronteira, mas como o sentido original e
completo do nome deste lugar aqui.
“Give me tree words” is a distribute installation playing on the concept of work. It invites spectator to define work individual context, revealing the intimacy day life in the extreme shortness of three word sentence: noun, verb and object.
It is a collective narrative platform for a reconnaissance of the immaginery around the word work. It has been developed and presented during “Logos – festival della parola” in Rome.
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Satellites are all around us. Floating in the space there are more than 13000 pieces of metal streaming all kind of data. Our concept of space and time changed since we can base our day life on tools like google maps, gps and others satellite stuffs. There is a continuous stream of information in and out from our planet that define a new way to live the globe. New connections, old surveillance methods and a new geospacial territory are possible in order to get autonomy. In this sense satellites are a narrative platform where build all together different connections between people, a stronger way to empower local communities. All this information should be free cause free is the space: the last place still not privatized where all our data and dreams persist over time.
Soñando Satelites [Dreaming Satellites in Spanish] is a ritual of re-appropriation, a celebrations of the fact we are involved in the same data-space that could control bodies or change relations between entities. A real time satellite sound track that invite to dream and propose to look over our head as a land to explore and hack.
It is a generative sound track connected to a realtime multi tracking satellites system called Gpredict. David Pello developped a patch# for the program to get object orbit calculation sent as OSC protocol. This feature was request# first time to Gpredict’s developer during interactivos?10 workshop from Alejandro Duque but just at Orbitando Satelites that patch has been made. This piece of software was the connection bridge between satellite domain and different [data] worlds. It lets extrapolate satellite data from original context in order to make it a creative prime material for something “completelly” different.
Soñando Satelites has been made using “din – din is noise” at first, a free sound software by S. Jagannathan. By drawing Bezier curves is possible to sketch audio like in a vector paint software.
Lately the recording was used as prime material inside a Puredata patch to add reverb, spazialization, wave distortion and interaction with satellite data. The patch used for that work was originally made by Alberto Zin# an modifyed by adding a wavedistorsion and a bitcrusher filter and was mixed with field recording of satellite communication done during the workshop. This recordings are real communication between an (italian) astronaut from ISS# and an italian radio amateur catched with an amateur radio by us. The patch get real time data from Gpredict and connect the presence of satellite in our geographical position to the audio filters. The mapping between audio and data is linear, synchronous: after a check of the presence of the satellite in our station, the altitute controls the filter directly. The composition is not to be considered a recording, the on-line material is provided only as example. It is a real time generated sound scape interacting with a plane of reality we don’t see but strong in his reflection.
Production environment
This work borns from my personal experience during last past years in Movimento do Sem Satelites [SatelliteLess Movement in Portuguese], an international nomadic collective originally from Brazil. Throught satellite metaphor we share a narrative and we create temporary autonomy zones that looks at satellite as a contemporary material to manipulate and play with.
The workshop Orbitando Satelites, at Laboral centro de Arte y Creación Industrial [Gijón, Spain] was a poetic, political and technical research workshop on satellites runed in may 2011 where this sound track was made. During the workshop organized by Pedro Solar and animated by many artist and activists with different skills we set up a space for collaboration where investigating satellite science and philosophy.
Orbitando satélites proposed an exercise on the visibilisation of these objects which hold a great and hidden influence on our daily lives in spite of being concealed from the human eye. Research was conducted on how they operate, gaining access to their signals by fabricating antennae and using radio systems; showing how to locate and observe them through the use of free software.
Following the tradition of independent communities involved in the creation of Free Information infrastructures, the meeting brought together experts and amateurs from different countries and cultures to draw up a declaration that poetically sketches a map of the possible uses of satellite-technology based systems.
Installation
Examples materials
Get the code:
http://code.autistici.org/svn/planetQ/sonandosatelites/
https://github.com/ladecadence/GPredict—OSC
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Michel De Certeau – The Practice of everyday life
“Be spectator is a hazard practice”
Rafael Sanchez, Mateos Paniagua – Cuerpo suspendido, una imagen-cuerpo contemporanea,
.Enter
DistópiaVisuál is an experiment, a work in progress.
DistópiaVisuál is a surgery, a brief reticular examination of human eye.
DistópiaVisuál is jorney into central contemporary human condition.
DistópiaVisuál is not a lonely jorney but an ocular travel togheter with J.G. Ballard and Michel De certeau.
DistópiaVisuál is a game of lack of attention.
Gaze is the privilege sense of contemporary society.
Every thing is knew primary through sight, vision.
Through images accumulation we learn behaviour, we code rules, acquire social values.
In hyper-mediatic society we build our image of world, in whom eye is the barycentre.
The below material is a starting point. It is our raw material upon on build our investigation and verify our postulate.
We start from a surgery as a research, asking if it self could be a answer.
A permanent modification of gaze could be considered as an active action of resistance against hypertrophy of the vision.
.Video
A surgery to both eyes. Three screen composition from surveillance camera from all around the world. A synthetic voice reads J.G. Ballard’s I beleive first, and Michel De Certeau’s The practice of every daylife then. A dreamlike music, floating, alienating than moving images but strictly connected to them at the same time.
This are the elements used on that video. A video realized as starting material for our artist research and as video for public screening introducing the project. Twelve minuts travel surgery inside the contemporary distopia.
.Performance
It is a meeting between two subjects. The first, an inconscious spectator of extended and multiply vision of surveillance technology. The second one, a dancing subject, through movements try to engage a reaction to spectator condition. The dancer’s movements are an invitation to each other partecipation, spectator, spectators.
A shock to the torpor of spectator that push him to became a partecipant eye of the reality surrounds him. As for the surgery which he have been spectator, this attendance will bring him to a permanent change of his daylife condition.
Destroy his own glasses will be the only symbolic act left him to liberation of the imposed gaze.
.How
In order to develop DIstópia Visuál we used just free software.
For the video editing part we used puredata-extended and a specific framework, developed by the collective, pantaliQa. The raw video is scientific material about a real surgery plus the recording from surviellance camera from different parts of the world taked from opentopia.com web community. Audio and video are executed and controllated in real-time from performer and have been recorded using gtk-recordMyDesktop software and final rendered with piTiVi.
The performance provides a video reproduction in the back and a stereo sound system for the audio Both audio and video are controlled in rea-time by the dacenr’s movements using a wiimote. During hte performance the public will be recorded and that material will slowly substitute the surviellance video screen.
The interactive installation will analize the position of the eye through openCV system in order to show online surviellance camera from all the world using opentopia community.
.Future Development
Our goal is to create a audio/visual interactive dance piece 20 minutes at least. Once we finished the first chapter, the gaze, we will continues focusing on the touch domain. Feeling of touch as re-discover of the world, as a conscious act of reappropriation of what we have all around; this is the main focus of our future investigation. Accepting a permanent vision’s modification the performer begins a chain reaction will push her/him to disclose other senses in the discovering of the world. For this new chapter we want to create a collection of sound tactil objects: every one will be created “in situ” and will be strictly connected at the place where they are realized (residence’s place), We want to use this objects on the stage and use them as tactil instruments played by performers and people. We want to engage an investigation on the sound and DIY and low cost technologies for the creation of that objects: contact microphonnes, lowcost biosensor, recycled hardware, are some of the technologies we are interested for experiment with.
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Fotograma Completo Principal is a interactive dance piece from Aniara Rodado company. Started in 2009 estereotips.net enjoy the project in 2010 bringing the work to “Le bains numerique” festival where it have been prized as creation project and won a artist residency developped in november 2010. Estereotips.net worked on interactive videos for this piece.
The cartographer is a live audio/visual documentary about the power of cartography, the possibility, through map visualization and border drawing, to reinvent a space, to give it a different connotation.
By focusing on specific features and components, a map is deliberately drawn to omit some elements (that are considered superfluous or inconvenient) in order to better express the inherent narrative/message that information has to convey to other users.
As the sociologist Benedict Anderson noted in his book Imagined Communities, the role of cartography has been central to the origin of the common and conventional concept of Nation throughout the centuries. Without a universal visualization (an abstraction) of the space shared and lived in by a community it would have been impossible to develop the idea of Nationalism, and to disseminate a sense of national pride and belonging as we understand it in the present day.
Cartography is nowadays fundamental in war political affairs: changing currents territories and remapping geographical borders is equivalent to manipulating culture and everyday habits. An example is the war the Israeli government (with the support of USA and Europe) has been carrying out in Palestine for the past 60 years.
After the erection of a wall to separate the newly formed nation (Israel) by Palestine, the latter is forced to take new form: new borders are drawn that embody, since the early days, a different way to inhabit the space. Some roads are closed and new practice space comes with the segregation politics. By building the wall, claiming parts of the Palestinian for themselves and renaming landmarks using Hebrew names, Israelis rob Palestinians of their land, history and identity. They rewrite geography and history. The new visitors (those lucky enough to get through the strict Israelian checks), will not arrive in Alquds, but in Orshalim.
The performance uses Pure Data real-time programming language as Concept Map tool and consists of three screens and an audio piece. The main screen displays the real-time visualization of the Pure Data live coding (the map), the second one shows video footage filmed in Palestine, the third one alternates quotes from Sacred Landscape by the Israeli cartographer Benvenisti that relate to the map that has been created on the main screen. The accompanying sound piece is a live remixed composition made from different recordings of the cartographer’s monologue. These recordings are the voices of artists and activists of different nationalities who were invited to read out the text in their own language thus creating an immersive global panorama of voices from all over the world.
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Paletine.Frag is an exhibition of augmented photography. The object of the photos is the city of Nihilin, Palestine, its people and its daily practice. Through a self-made device, the user generates a real-time audio landscape that accompanies him during the exhibition. The soundscape is constructed dynamically from individual audio tracks associated with each photo through a filter of granular synthesis. The original sound is deconstructed to create a unique interactive sound track.
.Background
The photo exhibition was born from the experience of the author in Palestine during the month of November 2009. The author with other members of the Italian computer hacklab bugslab has achieved a project of grassroots cooperation with the Popular Resistance Committee of Nihilin. Bugslab is a technology activist collective and in the last 10 years it mades different political activities in the city of Rome, Italy, to promote the conscious use of information technology, free software in general and the sharing of knowledge. From April 2009 it initiated a process of co-op with the Committee for Popular Resistance of Nihil, a city 30 km south of Ramallah, near the separation wall built by Israel Goverment in 2005. Since its first year of constructions a Popular Resistance Committee in Bihilin and subsequently in Nihilin and other West Bank towns were born to resist to the practice of apartheid placed by the Israelian government. Every Friday held a demonstration against the occupation shared by both local activists, women, men and children as by international as Israelis, Europeans and Americans in defense of the self-determination’s right of the Palestinian people. To support the process of the Palestinian struggle Bugslab, by mutual agreement with the People’s Committee, has initiated a process of information technology grassroots co-op. During the month of November 2009 members of the team helped the community in building a Nihilin’s medialab with 9 computers for use to achieve real-time news from the front. Simultaneously has been developed a website, www.nilin-palestine.org, organ of expression of the popular Committee, and a long trainig to teach participants how to use it, how to write news and how to capture a wild visibility in internet was made.
Unlike other similar projects, our intention was not to make a tecjnical tool for functional operations to use as “experts” but rather to share self-managed technology practice with the goal to establish a technical/journalism group that was autonomous from any external source (such as Bugslab itself). The action of grassroots co-op has been totally self-funded by the collective, no institutional financial aid has been requested to keep as much as possible the autonomous nature of the initiative.
.Photography
The photographs portray moments of daily life Nihilin. Its people and its uses. The exhibition consists of about 15 photographs. Is divided into three stages:
The town and the people who inhabit it
The computer lab and computer course
The weekly friday demonstration, in particular the one coincided with the twentieth anniversary of the fall of the Berlin Wall.
[See image gallery at estereotips.net]
.Sound
The sound part is made with Puredata software. Through reactivision visual markers we assign a specific sound track to each photo. Each time a picture is recognized by the device this sound track passes through a filter of granular synthesis and it will be played back directly through the headphones of the visitor. The original sound is recorded in the same place where the photo was taken and is closely related to the context represented visually. The granular synthesis filter decomposes the original sound to reconstruct it in real time, according to the movements of the viewer; in that way we generate a sound landscape that even if it loses the link with the direct object of the photo, it acquires depth and evocative composition.
Some of the original field recordings below:
Arriving to Nilin
Friday Demostration
Demostration Bombs
Arriving to Nilin2
Demostration 2
Going to Friday Demostration
Grain Industry
Jerusalem
Jerusalem Market
.Device
The device that allows the visitor to create his/her sound landscape in real time is home-made and it is the sum of different materials used at the same time. It is a safety helmet that has been fitted with a wireless camera in the front, an FM receiver in the rear, and a pair of eadphones in the lateral. The camera sends the signal to a maincomputer which, after process it, reproduce the sound and send it back to the helmet via a common FM trasmissor connected to the computer. The total value of materials used in its construction is about 50 €. During the research that led us to build this device, we considered it essential to adopt low-cost and easy to reproduce technologies by anyone in any context. For the kind of technology we implemented it’s possible to use only one device at time.
.Software
The software that manages the entire process is composed of two parts: a visual markers reader and a granular synthesis software. Reactivision system is used for recognize markers, as it is embedded in the programming language Puredata: through wireless camera software recognizes the presence of the marker in the picture and plays the audio track back associated with it. The granular synthesis software, also made with Puredata, generates the synthesis from the original track and sends it to our sound2vision’s helmet through a FM emisor changing the audio parameters in real time depending on the viewed picture.
Fischietto (whistle in english) is the result of a collaboration between estereotips.net and painter Benito Saluzzo. For the occasion of his exhibition in the city of Potenza (Italy), the artist wanted to experiment with new creation paradigms by trying to unveil the production process behind his work and make this process his own work. A picture is made, Whistle, and a video that has accompanied it throughout the show.
The first prototype we developed at PlayLab consists of an interactive sound space. We generated a 3D world using Blender software, as visualization of a real 3×3 m empty playground where user was free to move. User’s position in the space is detected by home-made software using Open CV library and communicated to the 3D world in real time creating an interaction between virtual and real world. We created a sound program based on vision/sound synaesthesia principles, generating sound for the 3D world in real time depending on the user’s position and movements on the playground. The user, who can be blind, moves around a virtual sound space, while the audience can watch in a screen the interaction of this user in the 3D world (the user has no access to that). We based on Pacman gameplay to set up the basic rule of the game for the user/player.
About:
Audiogames web site project
More infos on the press (spanish):
– PlayLab en Telediario 2º edición TVE1 (minuto 20)
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Only available in italian
]]>E. W. Dijkstra
It is a nomad hacklab, moving between technological festivals and events, for share free tecnology. It was born from some Brazilian artist, pushed especially by Glerm Soares, some Spanish artist and some member of estereotips and it shows itself as a audio/video noise performance, creating a partecipative ritual between people in stage and online msst community. It was already presented during Piksel09 in Norway and during Ahacktitude festival in Milan (Italy). First than that MSST is a movement for reclaim free tecnology and knowledge, because we are more than guinea pigs! March and dance with us!
Above you can read our manifest to join us!
Artisans of bits and volts, humanist poets, nomadic scientists – where are we going? I trust in the pulse of your steps, our revolution is the next second, and the constant challenge is not to surrender to the conformity of being entertained or entertaining: distracting the fact that we want to live beyond history, walls, banks, genetic similarity. We want an ecosystem that is worth of all this Prometheic pyrotechinic – this being, which is supposed to be Sapiens. Some intelligent symbiosis to keep this flame heating an harmonic environment.
But, if today we still looking at some of us marching for a piece of land to survive or alienating their most creative instincts in a desperate search for exist inside a culture of self-destructive consumption, we have to ask: What’s the role of those sheltered and fed in thinking about an autonomy in knowledge and information transmition for those efforts that wants revert this pulsion of humanity self-destructive greed?
The conjecture of this manifesto is inside a function pointing to a cracking sparkle at the horizon: The day we will be able to build our first handmade satellite and send it to this sidereal space wich is already full of corporative and governamental devices. Will our satellite be able to transform our networks in something more autonomous? Or we have to re-think all technocracy to reach that by a tottaly different path? How?
Mirrors is an interactive installation. A bathroom mirror that is both,medium and border, dialogue with the self image. But a self image altered by digital data, that shows an augmented reality and rebuilts it as a nostalgia for the old time.
“MesaQ – Table User Interface” is an interactive video mixer in table form. By moving some objects on its surface, user can manipulate video output in real time, applying effects and transitions. The table was built to organize collective sessions of vjings at parties and raves. It ‘has been exposed on several occasions between Italy and Spain. Reactivision has been used for the tracking part and PureData for feedback on the surface and video output.
TuTagghiuStuPalluni, Sicilian for “I’ll cut the ball”, is an interactive installation made during the workshop on architecture and urban design «Woz 2008» in Palermo. Made with some elementary school children of two city’s districts (Albergheria and Ballarò), the installation consists of a soccer game with a single door; whenever the ball hits the wall, on which is projected a door, a media content comes alive among those chosen, manufactured and proposed by the children. The workshop in preparation of the contents that precedes the game is the most creative and interesting moment and also a time during which they discuss some key issues for us as the public spaces, the game and the identity and finally, the reappropriation of spaces.
In April 2009 the installation was revived at the Centro Cultural IBDA Center in Dheisheh refugee camp (Bethlehem, Palestine), during the campaign Sport sotto l’assedio (Sport under the siege).
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Grid is an interactive installation by Gianluca Beccari presented as part of the exhibition “Il mito della velocità. Arte, motori e società nell’Italia del ‘900” at Palazzo delle Esposizioni in Rome in February-May 2008. Estereotips has programmed the interactive system.Grid is an immersive environment reacting to the presence of visitors. Promoted by Italian Institute of Nuclear Physics (INFN) aims to introduce some of the latest Institute’s work, especially Large Hadron Collider (LHC). From a galaxy in slow motion, installation’s stage zero, the environment shows off some suggestive audio and video sequences. The door to the different contents is a light ray, in the center of the room, that reacts in an audio/visual way to human presence.
The aesthetic goal of the installation is not to explain didactically nuclear science but rather than free the concepts related to his imagery.
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Guernica is a work of contemporary film music lasting about an hour, which is performed live by a group of musicians and a video jockey.
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This project leaded by Ana Sala aims to be an instrument of trans/cultural dialogue, a bridge between Europe and Asia, East and West, as the city of Istanbul is for his geographical location.
We are interested in investigating the use of cartography as a exploration tools. Familiarity of this format allows us to subvert its conception, its consumption and its use. In other word, rewrite a new reality. The Istanbul Map is a ironic game where users are invited to discover a new mapping of the city.
The process of developing the map is the result of participation and exploration of activist community in the city; a mixture of creativity and knowledge, a visualization format on continues trasformation, a test on what can be planned and what is accidental, an alternative way to define the processes of memory construction in any cultural context.
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Datafighters is an interactive installation that explores the relationship between art and videogames. Through a wiimote, you can play a horizontal shoot’em up which produces sound in real time. Every enemy, in fact, enables or disables the step of a sequencer of 8 steps and 5 tracks. Through the game, reproposing the typical videogame’s style of the Eighties, player creates music, making this act uncertain but interactive.Going over debate whether the game is art or not, we believe that the game may be considered a tool for art creation, like other software used with same aim.
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The Adventures of Prince AchMed::Reloaded:: born from the collaboration with the Catalan artist DaaX!.
This performance is a real-time A/V remix from the movie “The Adventures of Prince Achmed” (1926) by Reiniger, Koch, Ruttmann, considered by many to be the first animated feature film. It tells one of the stories contained in The Thousand and One Nights and for its bright colors and its Arabic style lends itself very well to a live reinterpretation. During the passage of the film DaaX! takes care to comment and give rhythm to action through the algorithmic composition of music; meanwhile Qé breaks the linear time of the film to sequencing-recreating-remixing the highlights of the narrative.
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