March 30, 2007
Tesão by Edwardo Kac

Tesão by Edwardo Kac

Art Press this month (just, its the March issue, number 332) has an article about Edwardo Kac which reminded me that he had quite a few early works dealing with networks (particularily ideas concerned with telepresence).

Tesão (1985/86), which means Horny, is one work (image above, video below) I was unaware of but has served the purpose of illustrating the art works created with Minitel (France’s visionary early network system which is still in use today) in the eighties. Roy Ascott refers to works like these several times in his publication, Telematic Embrace: Visionary Theories of Art, Technology and Consciousness, as an example of some early screen based, network delivered art. essentially if your interpretation is (as mine is) that the net in does not solely mean internet.

Tesão is one of Edwardo Kac’s Media Poetry and Language Art works, an animated poem which was:

shown online in the group exhibition Brazil High-Tech (1986), a national videotext art gallery organized in Rio de Janeiro by Eduardo Kac and Flavio Ferraz and presented by Companhia Telefônica de São Paulo.

Other early pre-internet works of note which have connections with networks on Edwardo Kac’s site include the fax live TV performance Retrato Suposto — Rosto Roto (Presumed Portrait — Foul Face) (below top left and middle left) and the fax works EarthDay Impromptu (below bottom), Elastic Fax I and Elasticfax 2 (below top right).

Edwardo Kac works

Posted by: Garrett @ 2:01 pm
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March 28, 2007


M-Views, developed at the MIT media lab in the interactive cinema group, is a system composed of the M-Views Production Platform (M-Studio and M-Views Server) and the M-Views Device (M-Views Presenter and M-Views Camera) used for exploring and creating mobile cinema (image above of M-Studio and M-Views Presenter):

Mobile cinema takes as its starting point the truism that “every story is a journey,” and can communicate a narrative that includes character, situation, and changes to spectators who are moving through a physical environment. The construction of such a narrative is complex because the audience will become an active participant equipped with networked, low cost, and intelligent mobile devices.

The system is a complete package, from capture software, editing, hosting and presentation (image below of M-Views architecture) which aims to provide users with all the tools needed to create mobile cinema. Examples of mobile cinema created with M-Views are available here to download: Another Alice trailer and M.I.T. in Pocket.

M-Views diagram

Originally sourced from Turbulance.

Posted by: Garrett @ 7:56 pm
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A gem of a post on the use of and the role that this possibly defines here: 2 diagrams on the human use of net artworks.

Posted by: Garrett @ 7:29 pm
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March 25, 2007
The Media Cartridge

Media Cartridge

The Media Cartridge (photos above of the device in action and diagrams below) is a project by Gabe Dunne which imagines a device that can be thrown into inaccessible spaces or high points to project words onto a surface. according to the artist, it is:

a new weapon for the Guerrilla media artist. It allows the artist to project words onto any surface, with a diameter of about 20 to 30 feet. The Media Cartridge is launched in homage to the Hammer Throw in the Olympic games, with the included handle and cabling system.

Media Cartridge diagram

Similar in principle to many of the interventionist and opportunist ideas happening in projected media art e.g. Graffiti Research Lab, Frédéric Eyl, Gunnar Green and Richard The’s work Parasite and Daniel Sauter’s Light Attack (already mentioned here: Parasitic networks and opportunism in urban space) the work has one distinct advantage which allows the artist to distance themselves from the work, continue to control it and once finished retrieve the device:

Once engaged on a surface, the owner may call the cartridge via cellular telephone and reprogram the projection as they see fit.

To remove the Media Cartridge from the attached surface, you may connect to it, and upon entering a PIN, the cartridge will disengage, and fall to earth for the user to retrieve it. Multiple cartridges may be linked in order to create a moving message across multiple surfaces.

Posted by: Garrett @ 5:56 pm
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March 20, 2007
QueRy: The Gold Bug

QueRy: The Gold Bug

QueRy: The Gold Bug is a treasure hunt / game proposal for a Rhizome commission written by the Writer Response Theory, a collective exploring and discussing digital character art which uses QR Codes. It is:

a participatory net artwork that plays with the idea of unreadable digital text and encoding, and riffs on the emerging phenomenon of ARGs. We take the public domain work “The Gold Bug” by Edgar Allan Poe (a treasure hunt story featuring the step-by-step breaking of a cryptographic message) and embed it in QR codes of a series of simple maps. Any reader who encounters a map bring it to the site (or other places) to decode it, and may upload it to the site *along with a photo of it as it was found* in order to get a “bug.” The reader-contributed photos form the background of the total map as it develops, and each reader is recorded as a collaborator in the finished artwork map – a “gold bug,” after which the map is archived and the process restarts for new readers.

The work employs its own visual code / tagging / symbol system called QueRy. These work as codes for a decoder and as ASCII images containing both photographic (avatars of the game players) and textual (the text of Edgar Allan Poe’s The Gold Bug) representations.

Documentation of the proposed work seems to be spread across three different pages on the site, one is listed above, the second is a page which runs through the more practical aspects of the proposal while the third page explains the nature of the proposal with some illustrative images. To read the origins of the proposal see here.

Posted by: Garrett @ 7:40 pm
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and download a reader application for your mobile device.
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