September 22, 2012
Extended deadline final call – Remote Encounters

Final call for paper and performance proposals for the conference Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance, deadline 4pm, the 30th of September.

Please find the call online here:
http://remote-encounters.tumblr.com/call

Posted by: Garrett @ 1:04 pm
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September 20, 2012
Talk To Me

Another networked plant work, different from Sensobotanics and more in the vein of Ken Goldberg’s Telegarden. Talk To Me, by Long Bean 2011, is a continuation of the social art campaign Garã Pupa that took place in Riga in 2010 and has been on exhibition at RIXC in Riga since (I think) March 2011. Two other plants are also at Ventspils in Latvia and Basel in Switzerland. The project is effectively an experiment which encourages people to talk to plants.

Scientists have nowadays performed various experiments in order to verify the old assumption that communicating with plants makes them grow better. We invite you to send encouraging messages to the plants to help them grow tall and strong.

TALK TO ME is an online interface…that allows to talk to the plants remotely via the internet.

While the website is still active, messages can be sent and are presumably vocalised in the space of the installation there disapointingly seems to be no feedback for online users, no sound or video to demonstrate success of interaction. These may have been active in 2011 when the work was part of several exhibitions. Below is a timelapse video of the plant in Basel showing growth over a month.

Posted by: Garrett @ 6:04 pm
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September 19, 2012
Sensobotanics

Sensobotanics by Thomas Hawranke is a feedback system installation between a plant and the first person shooter game it plays on a computer.

The virtual light, displayed by the monitor, is transferred to the light environment in the room and stimulates the plant. The botanical reactions are then sent back to the controlling of the first person shooter…Game real-time and botanic real-time are adjusted by time expansion and time compression. Both spaces melt into each other and delocalize.

The artist describes a number of important considerations in the work related to time, interaction and feedback, e.g. how the time of plants relates to time within video games, how a plant receives feedback and in turn perhaps how games could be designed to accommodate that.

Time is a very important aspect in this project. Nowadays, when speaking of Realtime, one describes the notion of velocity or even acceleration. Realtime in games, means, for example, an „invisible“ framerate in highly detailed and realistic designs. Simulations in realtime are fast calculations and so forth. Considering plants, realtime seems very slow, time, which realtime describes, is expanded or decelerated. If you assign the botanical realtime onto the accelerated realtime, the first is almost unperceivable. Mathematical opperations must be used to level the different velocities of time, before the possibility of communication of both areas is warranted.

The plant´s perception happens through a kind of biosensoric. Different states can then be sensorically captured and read. After leveling the time velocities, the following step would be generating a kind of feedback. This feedback should also be equalized and finally a reaction to the plants behaviour should be simulated.

Originally seen at the Laboratory for Experimental Computer Science website
at the Academy of Media Arts Cologne.

Posted by: Garrett @ 12:45 pm
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September 18, 2012
Hyperion

Hyperion (be careful of the links on this site, one leads to a completely different project with the same name at the same domain) by Briana Hegarty, Oisin Prendiville, John Ryan and Deirdre Williams is a generative work consisting of three different ecosystems. It is:

a triptych of mutually supporting digital environments that also rely on, and react to, sensor-based information received from the real-world environment…Modelled as individual links in a food chain using a real-world biological marine ecosystem as a behavioural blueprint, the environments of Eos, Selene and Helios form a circuit reflecting the interdependency of such biological systems. Created with Macromedia Flash and utilising sensor and networking technology, each environment relies on the others for sustenance, in addition to reacting to stimuli received from the installation’s real-world physical enviroment.

The first screen, Eos, displays single cell plantlife, diatoms. The second screen, Selene, displays krill, herbivores that feed on diatoms. The third screen, Helios, displays squid, who hunt krill.

The three screens form a digital circuit: diatoms from Eos move into Selene where they are food for krill, these krill pass into Helios to be hunted by squid, when the squid dies it is passed back to Eos as nitrates in the water for the diatoms.

This digital circuit is however, also dependant on the physical environment it is displayed in: in Eos the diatoms photosynthesise depending on light (measured by a light sensor) and carbon dioxide (sounds levels are representative of this) in the real-world environment. We also use proximity sensors in Selene, and Helios and the creatures in these screens get startled if viewers come too close to the screens.

Posted by: Garrett @ 2:22 pm
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September 17, 2012
Electrolibrary by Waldek Węgrzyn

Another network related book work. Electrolibrary (this is the website part of the work) by Waldek Węgrzyn is a book that connects via USB to a computer to control a website. The work was designed for his diploma thesis at the Academy of Fine Arts in Katowice, Poland.

The book can be browsed…by turning pages, you can navigate through the website, getting additional information, quotations, movies and animations appropriate to the currently open page.

The content of the book is Waldek’s diploma thesis discussing phenomenon of a book as an inteface. The text contains number of references to different works, but the major inspiration is the manifesto “The topography of typography” published in 1923 by a graphic designer El Lissitzky which has also influenced the design of the book.

Originally seen on Digital MediaArts Numériques.

Posted by: Garrett @ 4:05 pm
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