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ZeroOne San Jose / ISEA2006 artworks
Artworks


(D-K) Digital Kakejiku San Jose
Invited Artworks
Written by Michela Pilo   
May 11, 2006 at 03:29 PM

Akira Hasegawa

D-K ( D i g i t a l - K a k e j i k u )

Concept

D-K (Digital Kakejiku), which in English can be translated as " a moving Digital-Hanging Scroll", arises in one's mind, specifically relative to what one views. It is the combination of sensory perception and subconscious awareness. The changing scenery of the sunset, the "space" between haiku lines, the "space" between sounds, and the "space" between times - none are tangible, but all are part of experiencing "the moment". When experiencing D-K, the things that you see and feel all come from you. If they didn't exist in you, you would not be able to perceive them in the first place.

At a glance, D-K seems to consist of the visual elements seen on paintings. However, this is a completely new art form that uses a different communication style from other art forms which utilize the story telling approach. D-K is a sensitizing instrument that is generated by discontinuous data, and that makes us aware of the time, image, and the idea of a "living present".

This live picture is not continuous and has no meaning in itself.

Last Updated ( Jul 28, 2006 at 12:52 PM )
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99 Red Balloons: A game about flying perspectives
Interactive City artworks
Written by Steve Dietz   
Dec 28, 2005 at 11:18 PM

<em>99 Red Balloons</em>

Jenny Marketou, Katie Salen

99 Red Balloons: A game about flying perspectives Inspired by A Midsummer Nights Dream and the 80s pop song 99 Red (Luft)Balloons by the German singer Nena.

 

Location: Headquarters and lounge of The Tech Museum for Innovation;
Street game played at Cesar Chavez Plaza
Dates: ZeroOne San Jose: A Festival of Art on the Edge
ISEA2006, August 7 through 13, 2006

Play Sessions:

Monday, August 7, 2:00 to 3:00 pm Tuesday, August 8, 5:00 to 6:00 pm Wednesday, August 9, 1:00 to 2:00 pm and 5:00 to 6:00 pm Friday, August 11, 1:00 to 2:00 pm and 4:00 to 5:00 pm Saturday August 12, 1:00 to 2:00 pm, 2:00 to 3:00 pm, and 5:00 to 6:00 pm

Last Updated ( Aug 03, 2006 at 09:44 PM )
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@Silicon_Valley: SJC-MEX
Community Domain artworks
Mar 12, 2006 at 02:45 PM

Peter d'Agostino

@ Silicon Valley

@Silicon_Valley: SJC-MEX is a forum for exploring many of the paradoxes of natural, cultural & virtual identities.

It is a model for interaction & communication across geo-borders & tech platforms by linking people in the former garden cities of San Jose & Mexico City through the web and live video/phone portals in both cities.

The iconic images of pyramid & garage represent physical/virtual times & places spanning North American histories & cultures.

http://www.peterdagostino.net/atSilicon_Valley/

Credits

@ Silicon_Valley © 2006 peter d’Agostino thanks to:
ISEA / ZeroOne joel Slayton steve Dietz todd Blair MACLA anjee Helstrup guillermo Ceballos brita d’Agostino UNAM genevieve Lucet rodrigo Fernandez TEMPLE U Maurice Wright, sandy James melanie Silva bryan Palmer sam Yun OJO dana Ainsworth

Installation at MACLA.

Last Updated ( Aug 05, 2006 at 12:12 AM )
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abstractmachine.v87D6
Transvergence artworks
Feb 11, 2006 at 08:34 AM

Concrescence + Game Machine + (^3)

Douglas Edric Stanley

 

Through various experiments, installations, and online software, the abstractmachine project asks the question of how we as artists and users can create, manipulate, and ultimately enact digital algorithms. If the specificity of the computer comes not only from it's digital aspect, but even more so from it's algorithmic aspect, how does this hyperprogrammable nature transform the media we manipulate - i.e. the images and sounds we design using these machines? Amongst the many machines available within the abstractmachine project, two creation platforms will be presented to illustrate our response to these questions: one dedicated to the creation and manipulation of algorithmic cinema, the other designed around algorithmic musical composition.

Last Updated ( Aug 04, 2006 at 09:12 PM )
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Acclair: A Neurocapital service
Edgy Products
Feb 26, 2006 at 10:45 PM

Luther Thie and Eyal Fried

Acclair: A Neurocapital service
Acclair is a security and neuromarketing service that points to a new form of discrimination: Acclairism, a discrimination based on the individual’s bio-data and membership in an “acclaired” elite. Through Acclair, a company providing brain-testing services as part of an exclusive security clearance for air-travelers, we explore a situation wherein people freely accept a highly invasive, highly authoritative manipulation in return for financial, tangible rewards and an upgraded social status. We illustrate the financial and social benefits of such a system through its Neurocapital and Amnesty programs that offer alternatives to racial profiling.

Last Updated ( Jun 06, 2006 at 10:33 AM )
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Altitude Zero
Container Culture
Written by Steve Dietz   
Mar 11, 2006 at 08:59 PM

Hu Jie Ming

Interactive installation: 6 cabin window encased LCD monitors mounted on both sides of the container

Hu Jie Ming, Altitude Zero, installation schematic (detail) Altitude Zero (2006) project contemplates current global cultural conditions. The interaction between dominant cultural forms and marginal cultures precipitates the emergence of fragmented pockets of variant cultural forms. Often disparaged and in danger of extinction, these edgy cultures are finding their ways for manifestation and representation.

The installation consists of 6 monitors camouflaged as cabin windows. The video images show ocean waters, drifting materials such as abandoned and polluted objects, symbolizing detachment and alienation from mainstream cultural domains. The objects drift between sea bottom and sea level creating a sense of movement and instability. The drifting materials remind us of the remanents of different cultures and times. Sometimes they clash against the windows, and float away at other times, resonating between the viewers and the objects. Video images are activated according to the audience presence and movement via sensors.

Last Updated ( Apr 12, 2006 at 01:58 PM )
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Amy and Klara
Edgy Products
Feb 26, 2006 at 10:41 PM

Marc Böhlen

Towards machinic male-dicta and synthetic hissy fits

Amy and Klara have similar interests. They both read Cosmopolitan and Salon.com, for example. But they do not get along. Not at all. Maybe Klara's thick German accent bothers Amy. And neither of them particularly likes the color pink. Unfortunately for Amy and Klara, they live on the same block and have pink houses! And when they become agitated they tend to fall into mutual accusations and even rants. Yes, it can get rather nasty at times. Best then just to leave them be and to stay clear of the hissy fits. Else you risk being drawn into the fighting.
 

Last Updated ( May 30, 2006 at 12:27 PM )
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Animalia
Transvergence artworks
Feb 11, 2006 at 08:24 AM

Angela Main, Caroline McCaw

Exhibition at the Children's Discovery Museum of San Jose:

Monday, August 7th - Friday, August 11th; 10:00 A.M. until 7:00 P.M.
(Please note that Children's Discovery Museum will NOT be participating in the ZeroOne San Jose 'Opening Night Crawl' event on Tuesday, August 8th, but will stay open that evening until 7:00 P.M.)
Saturday, August 12th; 10:00 A.M. until 10:00 P.M. (extended hours)
Sunday, August 13th; 12:00 P.M. until 7:00 P.M.

From Tinguely’s auto-destructive art assemblages to Philip K Dick/Ridley Scott’s (Blade Runner) animal replicants, artists question what is ‘made’. Animals have a place in the history of performance, both tamed and trained, and in their role as placeholders of what it is to be ‘natural’. Donna Haraway positions our cyborg selves as creatures simultaneously animal and machine, who populate worlds ambiguously natural and crafted. It is in this pantheon of human, animal and machine that animalia positions us.

Last Updated ( Aug 05, 2006 at 12:07 AM )
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Apocrypha
Transvergence artworks
Written by Administrator   
Feb 07, 2006 at 05:49 AM

Michelle Glaser, Victor Gentile, Patrizia Washer, Paul Watt, and Stewart Washer

Apocrypha is a satirical work that posits a colony of prehistorical archaebacteria as an “oracle” able to divine answers to questions posed by “disciples” who contact the archaebacteria by web and on site access. A receipt is issued upon completion of the transaction, providing physical evidence of the deific exchange and a cryptic prophecy for disciples to ponder.

The stimuli of text or voice message from visitors to the exhibition via computer input elicits a chemical response from a colony of archaebacteria. This response is translated into text that the supplicant (or gallery visitor) is able to interpret and apply to everyday life. The archaebacteria response is actually a physical alteration that can be read as one of a series of numbers. These numbers are mapped using code-breaking principles of repetition and predicability onto corresponding lines of an ancient text to create an apparently meaningful response to the problem posed. The text utilised as the source of wisdom is the Apocrypha (an ancient collection of sacred texts excluded from the canonised version of the Bible). Originally, apocryphal writing was considered to be a text of sacred origin, designated to be hidden until the due time of its revelation.

Last Updated ( Jul 15, 2008 at 06:45 PM )
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assemblage for collective thought (act)
Transvergence artworks
Mar 15, 2006 at 12:25 PM

Anna Munster and Andrew Murphie

act

How do new thoughts form through distributed media? What are the collective dynamics through which these thoughts assemble? This presentation will use a combination of dynamic software from wikis through mapping to vj software to explore the processes through which new concepts emerge transvergently from collective practice. In assembling the texts and visualizations in this presentation, we do not wish to finish the process of collaborative thought production but rather shift it into another phase – to construct open machines that nurture collaborative authoring, technozoosemiotic processes, technozoomorphic forms and transvergent networks.

 

Last Updated ( Apr 19, 2006 at 11:55 AM )
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Baby Love
Invited Artworks
Written by Michela Pilo   
Jun 23, 2006 at 01:37 PM

Shu Lea Cheang

BABY LOVE is a National Taiwan Museum of Fine Arts commission with support from Council for Culture Affairs, Taiwan and Taipei Cultural Center,TECO in New York in collaboration with SQV Design International Tatung University, Mechanical Engineering departmen eLife Techonology Innovation Center Sony Computer Science Laboratory Paris.

BABY LOVE is the second installment of Shu Lea Cheang's Locker Baby Project which also includes BABY PLAY (presented at NTT[ICC], Tokyo in 2001) and BABY WORK (to be realized). Referring to Ryu Murakami's noted novel Coin Locker Babies (1980), the updated locker babies are borne out of Tokyo coin lockers by DPT (DollyPolly Transgency) with genes extracted from deep-sea pearls. The biobot locker babies are the clone generation of our sci-fi fantasia reality, entrusted to receive, store, transmit and negotiate human memory and emotions. BABY LOVE situates human and its baby clones in a perpetual spin of fairground teacup ride. Love songs uploaded by public via the web and USB interface are coded as ME (memory and emotion) data for the clone babies. By taking a teacup ride with the babies, the ME data are retrieved, jumbled and eventually crashed.

Last Updated ( Jul 11, 2006 at 12:13 PM )
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BIOTEKNICA LABORATORY REMIX
Transvergence artworks
Feb 11, 2006 at 08:57 AM

Shawn Bailey, Oron Catts, Jennifer Willet and Ionat Zurr

 

BIOTEKNICA: Laboratory Remix (with Teratological Prototypes in Collaboration with Tissue Culture & Art Project) is a complex installation, including functional laboratory equipment, a free standing tent, and a video work, all in support of a single tissue culture sculpture - a Teratological Prototype. Developed with Oron Catts and Ionat Zurr, the prototype consists of a P4HP bioabsorbable polymer scaffold sculpted in the form of a teratoma, and seeded with mammalian cells - growing live in the gallery environment. This work mobilizes the notion of remixing the laboratory environment as a critical turn in creating an interface between non-specialists - and ‘real’ and mediated representations of the laboratory.

Last Updated ( Aug 06, 2006 at 09:14 PM )
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BlueStates
Interactive City artworks
Mar 13, 2006 at 10:14 PM

Exploring Relational Space

Mark Pesce, John Tonkin

Cities are not merely collections of buildings; they are the living, breathing, teeming product of the human bodies who inhabit them. A city razed to the ground may recover, but a city emptied of people is dead. Yet emphasis is always given to the locative nature of a city - the neighborhood you live in, the street, the floor, the unit - an assertion of a Cartesian primacy which ignores the more profound natural relationships of the city: the coming together and parting of human beings living social lives. Cities are their people; souls are the bricks from which a city is constructed.

BlueStates: Exploring Relational Space is an attempt to reverse the figure and ground of the city, ignoring its visible nature as a locative, Cartesian space, creating, instead, a view of the city purely as a social space. In this work, the trope of absolute location is abandoned in favor of the idea of relational proximity. BlueStates does not show you where you have been, but rather, it shows you who you have been with - a more perfect metric for the inner life of the city.

Last Updated ( Apr 11, 2006 at 03:23 PM )
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BodyDaemon
Transvergence artworks
Feb 07, 2006 at 05:12 AM

Carlos Castellanos

 

BodyDaemon is a bio-responsive Internet server. Readings taken from a participants physical states, as measured by custom biofeedback sensors, are used to power and configure a fully-functional Internet server. For example, more or fewer socket connections are made available based on heart rate, changes in galvanic skin response (GSR) can abruptly close sockets, and muscle movements (EMG) can send data to the client. Other feature's such as logging can be turned on or off depending on a combination of factors.

Last Updated ( Jun 01, 2006 at 10:04 PM )
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Bounce // San Jose
Community Domain artworks
Mar 13, 2006 at 08:47 AM

Irene Chien, Ken Goldberg, Jane McGonigal, Greg Niemeyer and Jeff Tang

Bounce is a non-competitive conversation game in which two people separated by at least 20 years of age connect by phone and answer a series of AI-supported questions about life experiences that they have in common, such as, “What is something you BOTH think has changed for the better in the last 20 years?”

Last Updated ( Jun 28, 2006 at 01:25 PM )
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Breadboard Band Comes Alive, The
Pacific Rim artworks
Feb 12, 2006 at 08:18 AM

Shosei Oishi, Masayuki Akamatsu, Kazuki Saita, and Katsuhiko Harada

 

The Breadboard Band is a performing band that uses breadboards made of freely constructed electronic circuits to play music. We produce audio and visual expression through the most minimal, fundamental elements in the form of showing the electronic components of an instrument while directly touching and forming the electronic circuit by hand. The electric signals released from hand-made electronic circuits releases extremely rough and ferocious wave patterns. This performance is based on improvisational interplay, and we pull powerful music into shape through each member's operation, while discovering new sounds by hand.

Last Updated ( Jun 06, 2006 at 03:35 PM )
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Breeze
C4F3: Interactive Cafe
Written by Steve Dietz   
Mar 27, 2006 at 08:20 AM

Ambient Robotany

Jill Coffin and John Taylor

Breeze is an ambient robot inhabiting the body of a willow tree. Unlike us, Breeze can visually sense and react through 360 degrees, allowing her to reach out to you and others wherever you are near.

Last Updated ( Apr 21, 2006 at 03:36 PM )
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C5 Quest for Success
Invited Artworks
Written by Steve Dietz   
Mar 18, 2006 at 06:08 PM

C5

C5 Quest for Success

The C5 Quest for Success is an urban game about testing the analysis, management, and decision skills necessary for success in Silicon Valley. The goal of the game is locate the C5 Corporation Mobile Office through a process of navigating through pre-defined geo-cached sites where location clues are revealed. On each of three evenings the winner has an opportunity to pitch their proposal to an individual who can change their destiny and provide a golden opportunity: an Artist Residency at the Sally and Don Lucas Artists Program at the Montalvo Arts Center

Last Updated ( Jul 17, 2006 at 03:31 PM )
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Call
Interactive City artworks
Mar 13, 2006 at 09:45 PM

Germaine Koh

In an accessible public place sits a telephone resembling those used to make automatic calls to service centres. Instead of a keypad the phone has an LCD that informs the viewer that when he picks up the receiver he will be connected with a participant. Each time the handset is lifted, the phone randomly dials from its database the telephone number of one of the number of project participants who have agreed to receive calls from and have conversations with strangers at all hours of the day. These volunteer participants, from a wide variety of backgrounds and communities, will have been solicited through a variety of local media and means. The interactions are not recorded or otherwise determined in any way.

Last Updated ( Jun 07, 2006 at 01:47 PM )
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Calling for Ba Ba (Mrs. Ba)
Pacific Rim artworks
Feb 12, 2006 at 08:01 AM

Nhan Duc Nguyen

 

I hope to collect and compare anecdotes of Mrs. Ba from the Vietnamese diaspora in Vancouver and San Jose and transcribe these oral tales to one cohesive history in Vietnamese and English. This record will be a part of the shrines/installations to be installed in Vietnamese noodle restaurants in San Jose.

Last Updated ( Jul 08, 2006 at 04:24 PM )
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Cell Tango
Community Domain artworks
Written by Steve Dietz   
Dec 29, 2005 at 11:08 AM

George Legrady, Angus Forbes, Zachary Davis, Nicole Starosielski

Former title:  Global Collaborative Visual Mapping Archive (GCVMA)

Cell Tango consists of a dynamically growing archive of cell phone transmitted images with metadata contributed by participants from anywhere within the reach of cellular transmission and reception in the world. The project’s aim is to heighlight individual to community, or local to global participation through cellphone transmission technology. The community of participants create a visual archive of images without spatial-geographical boundaries, submitting contributions from the private space of their living room, to the public space of Times Square, to any wilderness area that may have cellular transmission.

Last Updated ( Jul 15, 2008 at 05:47 PM )
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Cellphonia: San Jose
Community Domain artworks
Written by Steve Dietz   
Dec 29, 2005 at 01:17 PM

Steve Bull, Scot Gresham-Lancaster and Tim Perkis

Cellphonia

Cellphonia: San Jose is a cellphone karaoke opera about Mexican wholesale nursery workers, hotshot Indian coders, Vietnamese dragon boat builders, Silicon Valley desk jockeys, and Filipino airport workers. Visitors or locals can choose which group’s song they want to sing. Cellphonia's libretto is delivered via RSS newsfeeds relevant to the subject. The music is algorithmically generated in ibalon, cancion, Bombay pop, Misery pop, and chiptunes. Every fifteen minutes the opera song cycle restarts. A festival caller hears a fragment of the libretto on his/her cellphone and is cued to repeat it, karaoke-style. At the end of the song, he/she is directed to the festival location of the Cellphonia: San Jose 24/7 streaming opera to hear the entire performance.

Image: "Cellphonia: San Jose turns all callers into divas." Courtesy of Steve Bull 2005

Last Updated ( Aug 07, 2006 at 10:03 PM )
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Chit Chat Club
C4F3: Interactive Cafe
Feb 27, 2006 at 09:24 AM

Judith Donath, Karrie G. Karahalios

Chit Chat Club

Chit Chat Club brings the online visitors into the public physical space of the cafe. It does this by both providing them with a view of the cafe and by giving them a physical presence with it.

Last Updated ( Aug 04, 2006 at 11:02 PM )
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Cloud Shape Classifier
Pacific Rim artworks
Feb 12, 2006 at 06:53 AM

Douglas Bagnall

To save people time in the search for interesting clouds, a computer watches the sky all day, every day. Viewers can interact with the computer via the Internet. It establishes individual relationships with each person, developing an idea of the kinds of clouds they like. When they return to the site they are shown the clouds that have passed that would have been their favourites. Their reactions help refine the computer's idea of their taste. It will also show the greatest clouds by popular opinion.

The computer and camera will be in Wellington, New Zealand.

Last Updated ( Apr 12, 2006 at 01:32 PM )
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CNNplusplus
C4F3: Interactive Cafe
Feb 27, 2006 at 08:28 AM

Heidi Kumao and Chipp Jansen

CNN Plus

CNNplusplus presents a technologically sabotaged newscast through subtle, automated media juxtaposition and replacement. The newscaster (video and audio) stays positioned solidly in the right corner of the screen as always, while our News Enhancement Program selectively replaces the other 2 regions of the screen. Independent news headlines replace weather, sports, stocks, and mainstream headlines on the bottom of the screen, while the upper left image is replaced with the results of a keyword-triggered Google Image Search. With the appearance and sound of a “normal” broadcast, CNNplusplus can entertain and educate the ordinary viewer.


Last Updated ( Jul 18, 2006 at 03:46 PM )
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DataNature
Residency artworks
Written by Steve Dietz   
Apr 01, 2006 at 09:27 PM

Ben Hooker and Shona Kitchen

Produced in residence at Sally and Don Lucas Artists Programs, Montalvo Arts Center.

City-dwellers would never be able to get rid of their fellow urban inhabitants even if they wanted to, as anyone who has ever seen weeds push up through a crack in the tarmac will know.
--Herbert Girardet, The Gaia Atlas of Cities. New directions for sustainable urban living

Hooker + Kitchen, DataNature ticket mockup

 

Airports are awe-inspiring places: concentrated, tangible examples of the wider notion of "technology," the application of scientific knowledge for practical purpose; to travel from point A to point B. But while we are in awe of them, dumbstruck at the noise and spectacle of a jetliner taking off or the dizzying complexity of an air traffic radar screen, scratch beneath the surface of these massive man-made structures and you start to find a much more intimate, human-scale landscape. A family of burrowing owls, for instance, that live between parallel runways, unfazed by landing aircraft, or the weekly baggage handlers' barbeque--the grill positioned just out of sight of the trapped, air-conditioned passengers waiting in the departure lounges.

DataNature is a multi-site electronic artwork that reveals and celebrates the strange, secret beauty and interconnectedness of seemingly disparate natural and man-made aspects of Norman Y. Mineta San Jose International Airport and its environs.

Last Updated ( May 30, 2006 at 11:34 AM )
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DEFENDEX-ESPGX
Transvergence artworks
Feb 07, 2006 at 05:52 AM

MarkDavid Hosale and John Thompson

The DEFENDEX-ESPGX is an interactive art object that combines real-time audio and video synthesis processing with physical interaction. The DEFENDEX-ESPGX is designed to simulate the look and feel of 1950’s technology. The content draws on nostalgic reference to bring about implied comparisons between the fearful culture of the Cold War and the culture of fear associated with the current War on Terror.

Last Updated ( Apr 12, 2006 at 01:41 PM )
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Desire Management
Edgy Products
Feb 26, 2006 at 09:24 PM

Noam Toran

Desire Management

Desire Management is a collection of five short films about the use of objects as vehicles for dissident behaviour. In the film, the domestic space is defined as the last private frontier, a place where bespoke appliances provide unorthodox experiences for alienated people: An airline hostess with a unique relationship to turbulence, an elderly man who enjoys being vacuumed, a couple who engage in baseball driven fantasies, a man who is forced by his partner to cry into a strange device. Based on real testimonials, the film presents the inherent need for self-expression in the face of socially imposed conformity.

Last Updated ( Apr 12, 2006 at 01:50 PM )
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disCONNEXION
Container Culture
Written by Steve Dietz   
Mar 11, 2006 at 08:44 PM

Xing DanWen

Slide projection and one large pile of shredded photographs scattered on the floor
Part of Container Culture (Beijing)
Curated by Zhang Ga

Xing Danwen, disCONNEXION Xing DanWen seeks to sketch a visual representation of modernity in the 21st century. She carefully chooses direct and intimate moments to portray the objects that she finds. Since the summer of 2002, she has traveled several times to South China's Guangdong Province, one of the most developed areas in the country. Along the coast, more than 100,000 people from Guangdong and migrant workers from Western China make their living by recycling piles of computer and electronic trash, operating in rough environment and social conditions. This huge amount of e-trash is shipped from industrialized countries - Japan, South Korea and mostly from the United States, and dumped here.

We are in an information and communication era, and rely extensively on these high-tech facilities for our modern life. These machines become deeply rooted in our daily activities, replacing the old ways of doing things. Millions of newly purchased products follow on millions of trashed ones. Confronted with vast piles of dead and deconstructed machines, the overwhelming number of cords, wires, chips and parts, with the clear indication of the company logos, model numbers and even individual employees, This deeply shocked Xing Danwen

Modernization and globalization shape urban development. In China, she has experienced and witnessed the changes that have taken place under the influence of Western modernity. These changes have contributed to a strong and powerful push for development in China, but at the same time they have led to major environmental problems and social inequality in remote corners of China.

Last Updated ( Apr 12, 2006 at 01:58 PM )
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DIY Urban Challenge
Interactive City artworks
Written by Steve Dietz   
Dec 28, 2005 at 11:38 PM

Jonah Brucker-Cohen, Katherine Moriwaki

DIY Urban Challenge

DIY Urban Challenge is a workshop in which participants "hack" the streets of San Jose, creating objects which interject themselves into the urban fabric, to stimulate new experiences of the city. During a two day workshop participants will traverse San Jose detailing points of intersection and friction, and will use recycled and cast-off materials as well as wireless technologies to develop objects which can be installed within the cityscape. Some of the questions we will ask with this workshop, will center on urban awareness and possible alternative "services" which could result in increased interactions between people in the city.

URLs

http://www.scrapyardchallenge.com
Sign up for DIY Urban Challenge Workshop at ISEA2006

Last Updated ( Apr 28, 2006 at 09:27 PM )
Drift Bottles
Container Culture
Written by Steve Dietz   
Mar 11, 2006 at 09:18 PM

Huang Shi

Interactive installation, 5 glass bottles, mp3 players/recorders, speakers and microphones, processors, batteries
Part of the exhibition Container Culture (Beijing)
Curated by Zhang Ga

Huang Shi, Drift Bottles (schmatic)

In the middle ages, drift bottles were one of the few means for sailors to communicate with others in the open seas. Notes / messages sealed in the bottles often carried important information or heartfelt blessings. It would be a great surprise for a mediaeval sailor to find a drift bottle likely from some unknown destinations. Mysterious, incidental, and expectant, drift bottle can be seen as a symbol of maritime cross-culture exchange.

Today, cell phone, internet and television are rapidly changing our way of communication. Anyone could easily connect with others by simply punching some buttons. High technology is a double-edged sword not only facilitating our daily communication but also eliminating the joy of intimacy and surprise once enjoyed by many.

Last Updated ( Apr 12, 2006 at 01:57 PM )
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Drift Relay
Interactive City artworks
Written by Steve Dietz   
Dec 28, 2005 at 11:51 PM

Drift Relay

D. Jean Hester, Brian House, Kanarinka, Sarah Pace, Savic Rasovic, Christina Ray, Morgan Schwartz, Lee Walton

The Drift Relay is a collaborative psychogeographic experience in the form of a 24 hour relay-style exploration of San Jose. Participants ["Drifters"] will drift through new and familiar city spaces with a Glowlab coach and a mobile kit of recording tools, contributing to a collective journey of endurance and discovery. Project headquarters at ISEA will continually broadcast the remote group's location and status. Data and artifacts will be returned to the headquarters for processing and display throughout the duration of the Drift Relay. Taking the phrase "the city that never sleeps" to heart, together we'll locate the joys and difficulties of documenting ephemeral urban experience.

Last Updated ( Jul 31, 2006 at 02:30 PM )
enCODe
C4F3: Interactive Cafe
Feb 27, 2006 at 08:49 AM

Osman Khan and John Houck

enCOD

enCODe is a projection of virtual fish on the café’s table tops. Using machine vision algorithms the fish avoid objects on the table (including hands and arms). The fish “swim” between projections via a network of networked computers. Each fish s also able to carry a message which is uploaded by visitors from a website and is released into the virtual pond when fish are trapped. Thus the project becomes both a fun interaction that takes advantage of natural activity over tabletops and a communal bulletin board recording thoughts and reflections occurring during the event.

Last Updated ( May 16, 2006 at 10:26 AM )
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Ethermapping
Pacific Rim artworks
Mar 15, 2006 at 10:34 AM

Zita Joyce

Ethermapping explores the electromagnetic dimensions of the landscape - the flow of radio waves forming the ‘radio atmosphere’ within which we live. As human and economic life concentrates in cities, so do radio waves, intensifying in areas of economic activity.



Last Updated ( Apr 12, 2006 at 01:32 PM )
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Feral Robotic Dogs (FRD)
Edgy Products
Feb 26, 2006 at 08:04 PM

Natalie Jeremijenko

Feral Robot Dogs

Feral robotics is an open source robotics project designed to enable distributed and co-located teams of lay participants to 'upgrade' low-end commercially available toys with chemical sensing equipment, additional microprocessor hardware to enable environmental data collection and coordinated flock (or pack) behavior. The adapted robots 'sniff out' environmental toxins, that is, they follow concentration gradients of toxins sensed by their dog's noses. Not dissimilar to popular robot wars events, this project instead involves the release of 'packs' of feral robotic dogs that are designed and modified for release on sites of community interest, including public parks, school grounds and industrial sites. This creates mediagenic events, coverage, and discussion on contaminants in the local environments.

Last Updated ( Apr 12, 2006 at 01:51 PM )
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Fête Mobile
Interactive City artworks
Mar 15, 2006 at 09:05 AM

Marc Tuters, Luke Moloney, Adrian Sinclair

A collaboration between Luke Moloney, Marc Tuters and Adrian Sinclair, Fête Mobile is an experimental autonomous media platform that centers around a robotic blimp equipped with video-capture and wireless capabilities for remote sensing the landscape from above and interacting with the public below. Carried by a twenty foot blimp, Fête Mobile is an autonomously controlled vehicle that, nevertheless, offers its audience limited access to influence its trajectory as well as its optics through an online interface. As Fête Mobile flies through the streets it also creates a wireless bubble of social activity accessible to those within its immediate proximity. The audience are invited to connect to the blimp's on-board wireless micro-computer through their laptop computers in order to exchange files with the blimp's mobile archive. This allows Fête Mobile to function as a kind of autonomous "sneaker network", physically out of reach of the authorities.

Last Updated ( Aug 05, 2006 at 03:47 PM )
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Filmmaking Robot
Interactive City artworks
Mar 13, 2006 at 10:04 PM

Douglas Bagnall

Filmmaking Robot

The eyes of the robot collect up snippets of video and transmit them to the body when the buses they are on come within range of an appropriate wifi node.

The body sits in an art gallery. On the wall is a projection of its stream-of-consciousness editing, and on a separate screen are finished films which it completes nightly. Video received from the eyes is split into individual frames, which are analysed and stored. The output of the robot is made from arrangements frames and false memories that the robot forms from its favourite images.

Last Updated ( Jul 07, 2006 at 11:28 AM )
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Fingering
Pacific Rim artworks
Feb 12, 2006 at 08:28 AM

Tiffany Sum and Jonathan Minard

 

A video character is projected on the bright white wall in an isolated room. Holding a “finger-gun”, she is staring at the audience. Through visual computerization, her finger-gun will follow the motion of the audience in response to their spatial occupation inside the room. The size of the video character will change in relations to the proximity between the audience and the character: the closer the distance between them, the bigger the video character. If the audience stays completely still for more than 7 seconds, she will “shoot” at them, as well as herself in the virtual space. Nobody is hurt in the end but herself. The magic of montage becomes a tragic representation through visual and audio effects.

Last Updated ( Apr 12, 2006 at 01:33 PM )
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Free Network Visible Network
Interactive City artworks
Mar 14, 2006 at 10:54 AM

Diego Diaz and Clara Boj Tovar

with Liu Wei, Duy Nguyen and Adrian Cheok (IERC, Nanyang Technological University, Singapore)

Free Network Visible Network

Free Network Visible Network is an urban intervention project that uses the possibilities of the new technologies to create new landscapes in the public space by means of the visualization of the data that flow between digital networks. It changes our perception of the world with the “invisible meanings” that are around us.

Last Updated ( May 02, 2006 at 11:20 AM )
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Glance
Community Domain artworks
Written by Steve Dietz   
Dec 29, 2005 at 01:01 PM

Guillermo Galindo, Gustavo Vazquez

A performance installation featuring computer activated sensors and mechanical devices that will produce a rotation of sounds and images gathered by the artists. The sounds (composed and recorded) and videointerviews will reflect the ethnically and culturally diverse communities in the South Bay. Each of these communities will be asked to articulate their personal vision of a future as individuals and as members of a larger community domain. Eachartist, filmmaker Gustavo Vazquez and composer GuillermoGalindo, will bring their unique vision to the project while working collaboratively to create an impromptu symphony incorporating shared audio and visual material. The project will be presented as a one day performance installation.

Last Updated ( Jul 10, 2006 at 04:02 PM )
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Ho Fatso
Pacific Rim artworks
Jan 01, 2006 at 04:02 PM

Rania Ho

 

Ho Fatso is an interactive installation consisting of inflatable fat suits and a wrestling ring controlled by motion sensors. Made of rip-stop nylon, powerful leaf blowers and motion detectors, audience members are encouraged to don the fat suits, enter the ring and wrestle each other. Any action in the vicinity of the installation initiates the inflation of the suits and the wrestling ring. If there is no one in the ring, the blowers stop and the installation slowly deflates. Each of the suits are linked to the blowers through and intricate umbilical cord-like system. 

Last Updated ( Jun 12, 2006 at 11:29 AM )
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Homes
Community Domain artworks
Written by Administrator   
Mar 12, 2006 at 02:54 PM

Taraneh Hemami, Mohsen Emami-Nouri

Homes project enters the private world of Iranian families living in the Bay Area, creating physical and virtual spaces that narrate stories of their everyday lives through portraits of space, objects, and people. Audiences` interaction with the archives interconnects the stories of these individual homes.

Homes is a project of CrossConnections residency at the Center for Art and Public Life at California College of the Arts

Thanks to The Christensen Fund for their continuous support of CrossConnections project and Litescape Technologies for sponsoring Homes project at the ISEA 2006 festival. With special thanks to Farzad Naimi, Kayvan Alikhani, Ahmad Kiarostami, Amir Borna, Mehdi Mortezai, Nariman Riahi, Zohreh and Ghasem Malekmadani, Navid Ghaem-Maghami, Donna Schumacher and Shadi Yousefian for their contributions to the project.

Last Updated ( Jul 16, 2008 at 03:10 PM )
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How Stuff Is Made
Community Domain artworks
Written by Steve Dietz   
Dec 29, 2005 at 11:57 AM

Natalie Jeremijenko, Chris Dierks, Jesse Arnold, Robert Twomey

How Stuff is Made
Encyclopedia entries are wiki-based visual essays that document the manufacturing processes, labor conditions and environmental impacts involved in the production of contemporary products. Entries are produced by college and high school students under the guidance of university faculty and teachers who ensure high standards of evidence for student work (appropriate citations, accurate quotations, etc). Students solicit the cooperation of local industry, visit their production facilities and document their labor conditions, non-proprietary manufacturing processes and the environmental effects of these practices.

http://www.howstuffismade.org/ 

Last Updated ( Mar 17, 2006 at 10:27 AM )
I-5 Passing
Transvergence artworks
Written by Administrator   
Feb 07, 2006 at 05:29 AM

Christiane Robbins

 

I-5_Passing Project, ©Robbins, Jetztzeit Studios, 2001-08.

We live in the beginning of a “new” century in which the public sphere in California has shrunk, been compressed, and themed to the point of annihilation of any fixed point of authenticity. The current institutionalized regional development of the I-5 Freeway - the connective tissue between Los Angeles and San Francisco - is narrowing the bandwidth of cultural programming, social interaction and environmental concerns to that of lifestyle, market dynamics and branding. The next paradigm of social space, just now emerging, is a broadened spectrum ranging from the banal to the ecstatic – from contested visions of suburban utopia to suburban dystopia.

We find ourselves now living in a “flat-space” where 20th century notions of living have taken on wholly different and contested meanings. Whereas “flat space” once evinced a topographical description of the central valley, it now references an intensified agglomeration of big box stores, highway infrastructure and parking lots in which space is corporate, Tyvek wrapped and hyperefficient.

Last Updated ( Jul 15, 2008 at 05:12 PM )
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Interrogating the Invisible
Pacific Rim artworks
Feb 12, 2006 at 07:18 AM

Ian Clothier

 

The Leistavian FBI will create an online survey form which allows for the input of multiple cultural identifications. Those that register one main cultural identity will become a control group, while those that register two or more cultural identifications, in particular those with at least one affiliation to a Pacific Rim nation, will be the target group. The form also collects information on attitudes to cultural identification issues. The data will be presented online as statistical summaries, in the installation area as large scale vinyl imagery (non-rectangular, adhered directly to wall, where image component size registers survey responses), and as a projected animation which registers change in survey responses.

Last Updated ( Jul 17, 2006 at 03:37 PM )
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IN[ ]EX: Vancouver
Container Culture
Written by Steve Dietz   
Feb 08, 2006 at 05:46 PM
in[]ex

Artists

Kate Armstrong, Bobbi Kozinuk, M. Simon Levin, Laurie Long, Leonard Paul, Manual Pina, Jean Routhier


Curator

Alice Ming Wai Jim.

IN[ ]EX, an interactive, city-wide collaborative media art project involving a shipping container and thousand of smaller modules. IN[ ]EX is a distributed audio sculpture in which thousands of wooden blocks with embedded technology are released into the city to engage the public as active agents. IN[ ]EX invites audience activity, movement and interaction, as well as engages with the larger urban context as the blocks are dispersed throughout the city and culture in general.

Last Updated ( Jul 07, 2006 at 02:45 PM )
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Karaoke Ice
Residency artworks
Written by Steve Dietz   
Mar 05, 2006 at 12:08 AM

Nancy Nowacek, Katie Salen, Marina Zurkow

Karaoke Ice is a commissioned residency project by ZeroOne San Jose, San Jose State University, and the The Sally and Don Lucas Artists Programs at the Montalvo Arts Center.

Karaoke Ice (day view), Nancy Nowacek, Katie Salen, Marina Zurkow

Karaoke Ice is a delicious pop culture mash-up, an ice cream truck-turned-mobilekaraoke-unit, deployed to unite people in a collective quest to transform the streets of San Jose into a space of community interaction. Participants karaoke for an audience while sitting in the transformed front cab of the vehicle, and use a customized karaoke engine to select, sing, and record a song for later broadcast, as the truck makes it way to a variety of festival locations. Free frozen treats lure prospective performers to participate, distributed by Remedios the Squirrel Cub, who drives the truck and choreographs enigmatic rituals of his own to the tunes emanating from the citizen performers. Lucy in the Sky with Diamonds. Superstition. Heart of Glass. The streets of San Jose transformed through flavor and song.

Last Updated ( Jun 22, 2006 at 11:12 AM )
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Landstream
Interactive City artworks
Mar 13, 2006 at 11:33 PM

Olga Kisseleva

Landstream

Artist comes to San-Jose with her assistant-scientist her assistant-graffer. They study the density and the quality of electromagnetic fields. They meet local graffers and they explain them the landstream project. Together the team realizes an in-city fresco with the real time field’s capturing.

Last Updated ( Apr 11, 2006 at 03:09 PM )
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Light Bead Curtain
C4F3: Interactive Cafe
Feb 27, 2006 at 09:07 AM

Ami Wolf, Jin-Yo Mok

The Light Bead Curtain

The Light Bead Curtain is a visceral interactive installation. Taking the form of a beaded curtain, each bead, upon being touched, illuminates and adds a unique sound to an evolving soundscape. Simply by touching the beads the installation aims to affect the senses; to touch a person playful sense and amuse their sense of wonder.

Last Updated ( Jun 01, 2006 at 08:56 PM )
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Light from Tomorrow
Pacific Rim artworks
Jan 01, 2006 at 04:24 PM

Thomson & Craighead

Thomson & Craighead, Light from Tomorrow (map)

Light from Tomorrow centres on an expedition to The Kingdom of Tonga, where tomorrow’s outdoor light-readings are broadcast in close to real time through The International Dateline to today; specifically to a lightbox installed in the San Jose Museum of Art in California as part of the group exhibition Edge Conditions. The lightbox in San Jose responds to fluctuations and broader changes in outdoor light conditions in Nuku'alofa offering a tangible connection to the future, a window quite literally onto tomorrow.

Last Updated ( Aug 02, 2006 at 12:58 PM )
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LiveForm:Telekinetics
Interactive City artworks
Mar 13, 2006 at 11:23 PM

Jeff Mann and Michelle Teran

LiveForm:Telekinetics

LiveForm:Telekinetics creates experiences in transgeographic temporary performance zones, centred around wireless Internet access points that are now ubiquitous in the urban landscape. No longer tied to a terminal screen and keyboard, nomadic groups pack mobile feasts of sensors, antennas, robotics, food, and music, and head out on the town. Networked telepresence picnic parties unfold in vacant lots, roadsides, cafés, alleyways, bars, and hotel lobbies - wherever bandwidth is plentiful and security guards scarce. The events are not meant as entertainment for an audience, but as experimental and collaborative acts of creativity, research and development of new social forms, and interventions in public space.

Last Updated ( Jul 18, 2006 at 11:39 AM )
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Loca: Set To Discoverable
Interactive City artworks
Written by Steve Dietz   
Dec 28, 2005 at 10:32 PM
Loca

Drew Hemment, Mika Raento, John Evans, Theo Humphries

Loca: Set To Discoverable is an artist-led interdisciplinary project on mobile media and surveillance.

A person walking through the city centre hears a beep on their phone and glances at the screen. Instead of an SMS alert they see a message reading:

"We are currently experiencing difficulties monitoring your position: please wave you network device in the air."

Loca: Set To Discoverable sets out to expose the disconnect between people and the trail of digital identities they leave behind. Loca opens up a conversation with passers by, responding to urban semantics, the social meanings of particular places:

"You walked past a flower shop and spent 30 minutes in the park, are you in love?"

Last Updated ( Aug 07, 2006 at 09:58 PM )
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Mission Eternity
Interactive City artworks
Written by Steve Dietz   
Dec 28, 2005 at 11:45 PM

etoy

Mission Eternity

etoy.ZAI, etoy.GRAMAZIO, etoy.MONOROM, etoy.HAEFLIGER, etoy.MARCOS, etoy.KUBLI, etoy.NEWTRON, etoy.VINCENT, etoy.SILVAN, etoy.MIR, etoy.STAMBERGER, etoy.ROCK, etoy.ROCKET, etoy.THOMMY, etoy.ZAK, etoy.MAX

MISSION ETERNITY is an information technology driven cult of the dead.

etoy digitally sends TEST PILOTS across the ultimate boundary to investigate the afterlife, the most virtual of all worlds. The short-term plan (2006-2016) is to install an interactive city of the living and the dead that reconfigures the way information society deals with memory (conservation/loss), time (future/presence/past) and death.

Last Updated ( Aug 01, 2006 at 10:05 AM )
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Moveable Types and Instant Spaces / Love Virus
Container Culture
Written by Michela Pilo   
Jul 19, 2006 at 12:38 PM

Moveable Types and Instant Spaces

Artists: Taeyoon Choi, Tellef Tellefson and Cheon Pyo Lee

Moveable Types and Instant Spaces explores how temporary types of architecture can define an experience, and alternatively how social or personal actions and objects can change the perception of a space Lightweight materials are used, suggesting to the viewer that architecture is a concept rather than a reality and that it has less importance than that which it contains. “Pod types” are lightweight architectures that play off of existing sites. They human in scale and can be placed temporarily within the landscape. Working off the idea of wearable architecture, these small types strive to create personal space in the public realm. Each pod type derives its function and a minimum of form from the objects it contains, and in exchange the function of the objects is altered by the architecture.

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Mr Jones Watches
Edgy Products
Feb 26, 2006 at 10:08 PM

Crispin Jones

Mr Jones Watches

Mr Jones Watches is a series of seven wristwatches which seek to question the social currency of the watch and also propose some alternatives to the conventional representation of time. They were all produced as one-off working timepieces.

 

Last Updated ( Apr 12, 2006 at 01:50 PM )
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Neighborhood Public Radio
Community Domain artworks
Written by Steve Dietz   
Dec 29, 2005 at 01:38 PM

Jon Brumit, Lee Montgomery, Michael Trigilio, Linda Arnejo

npr

Just back from an ArtsLink Award project in Eastern Europe, Neighborhood Public Radio wishes to propose to broadcast the entire ISEA 2006 event, including their own live events, symposia, and debates in order to represent the neighborhood within and surrounding the San Jose ISEA event in an exercise of hyper-local media production as an exercise in free speech and creativity and as an alternative to exclusionary commercial mass-media practices.

Last Updated ( Apr 19, 2006 at 11:12 AM )
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Networked Rockers
C4F3: Interactive Cafe
Feb 27, 2006 at 08:36 AM

Rikayo Horimizu, Kenneth Haller, Kentaro Okuda, Michael Schneider

http://isea2006.sjsu.edu/images/artwork/networkrockers.jpg "Rock My Chair" is an interactive installation consisting of two sets of four rocking chairs. The chairs emit different parts of a melody according to their being rocked. People sitting near each other are able to create different harmonies and rhythms encouraging communication and play.

Last Updated ( Jul 21, 2006 at 05:09 AM )
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New West, The
Community Domain artworks
Written by Steve Dietz   
Dec 29, 2005 at 01:34 PM

Ludica

As computer games increasingly include affordances for player creativity, new art forms are beginning to conflate consumption and production, practices that constitute a kind of digital folk art emerging wtihin online game worlds. For ISEA, Ludica has created a virtual art park within the online world Second Life, designed to showcase these new forms of cultural production. Ludica curators,  ChingALing and China Bling (Jacki Morie) and Artemesia Sandgrain (Celia Pearce) solicited proposals for “site-specific” installations, performances and interventions from current Second Life artists and designers, the ISEA and electronic arts community, and international digital arts and game programs at Universities. Within The New West exhibition, fully populated by the curator's selections, was projected on a large screen in a darkened room.  People could visit the space virtually from wherever they were in the world via their Second Life avatar.  Guest avatars were available  on several computers at the ISEA conference itself for attendees to also visit the thirty plus exhibits.   The large screen display projected the visitors exploration and navigation of the virtual exhibition space. Additionally, performances and interactive selection were scheduled throughout the conference week.
Ludica's goal, besides showcasing the amazing range of artworks being created in virtual worlds, is to extend the ISEA electronic arts festival beyond its geographical location, making it accessible to a wider audience beyond those who can physically attend the exhibition in San Jose.

Last Updated ( Jul 15, 2008 at 06:12 PM )
Nocturne
Interactive City artworks
Written by Steve Dietz   
Dec 28, 2005 at 11:31 PM

Colin Ives

Nocturne

Nocturne is an interactive media installation focusing on animals such as opossums, gophers and the endangered kit fox that have found successful niches within the urban and suburban landscape. Footage of these animals is captured using video live traps and surveillance equipment. In the gallery, each captured video plays on a LCD screen or projection scaled to the creature's actual size. The video responds to the presence and actions of the human viewers visiting the gallery, becoming a mediated exchange between co-inhabitants of urban spaces. The project's intention is not only to acknowledge the individual lives of the animals represented, but also to forward the idea that they have an important presence in our contemporary city space—a presence that insists that the boundary between man-made and natural remains permeable.

Last Updated ( Jul 12, 2006 at 03:15 PM )
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Obsession
Transvergence artworks
Written by Administrator   
Feb 11, 2006 at 08:45 AM

Pia Tikka, Rasmus Vuori, Joonas Juutilainen

 

Obsession is an attempt to describe, how the traumatic acts of violence not only affect the individual, but how her family and life-environment are also violated. The narrative level of Obsession discusses subject matter of "sex and violence" in our representational culture. Inside the four walls of a self-service launderette, young Emmi and an entrant stranger, Henrik, measure embodied distance. From their interaction, a loaded emotional situation emerges. The computational core of Obsession is a narrative engine, based on content metadata. Inspired by the Russian film theorist Sergei Eisenstein, the”montage-machine” of Obsession maps spectators’ psycho-physiological states to cinematic elements.

Last Updated ( Oct 04, 2006 at 07:56 AM )
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On Translation: Social Networks
Residency artworks
Written by Michela Pilo   
May 16, 2006 at 02:56 PM

Antoni Muntadas

Produced in residence at Sally and Don Lucas Artists Programs, Montalvo Arts Center.

On Translation: Social Networks is an examination of the complex networks of economic, cultural, technological and military systems operating throughout the social fabric of the present day. The vocabulary used by diverse organizations provide a reference point for how each of these organizations situate themselves within this context. The project will be realized by 'scraping' text from the websites of a broad range of organizations (everything from Apple.com to Rhizome.org). Vocabulary usage will be analyzed, and associated with latitude and longitude data for a spatial reference to each organization. The four systems mentioned (economic, cultural, technological and military) form axes along which vocabulary usage data can be visualized.

Last Updated ( May 30, 2006 at 11:47 AM )
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other[wize]
Pacific Rim artworks
Feb 12, 2006 at 07:44 AM

Jenny Fraser

 

The interactive other[wize] stories will be imparted through the use of still images, video, animation, audio, and text - including Yugambeh language. The 'objects' are representative of important people or events and they transport the viewer to a story about someone from the past. The 'stories' will also include animals, landscapes, seascapes and others.

Events evolve in a non-linear way, grasping at the unknown, not sure of what will be found or how it relates to other information, until perhaps another time. This concept reflects how many Aboriginal people experience family histories. The viewer has the opportunity to experience a similar 'fragmentation' of history and they might think about their own relationship to place and times.

Last Updated ( Apr 12, 2006 at 01:34 PM )
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P2P: Power to the People
Interactive City artworks
Written by Steve Dietz   
Dec 28, 2005 at 09:45 PM

P2P: Power to the People

Gorbet Design, Inc.

Matt Gorbet, Susan Gorbet, Rob Gorbet

P2P is a 30-foot interactive marquee hanging on the façade of a building in downtown San José. 125 light bulbs, with 125 corresponding switches just across the street. By engaging in the everyday unconscious activity of flipping a light switch, passers-by can express themselves, forming any patterns they choose in the hanging web of lights. Solo interaction blends with group dynamics as messages from vanity to profanity, from emotion to allegiance, are constantly created and changed. Ultimately, P2P encourages dialogue about the future of public expression in a technology-filled world. What will you say?

Last Updated ( Apr 26, 2006 at 11:34 AM )
Pacific Washup
Container Culture
Written by Steve Dietz   
Apr 01, 2006 at 04:41 PM

Rachael Rakena, Fez Fa'anana & Brian Fuata

Container Culture: Auckland

Raachael Rakena, Pacific WashUp Pacific Washup was produced during a short collaborative residency at Performance Space in Sydney, 2003. The three collaborating artists had never met before and had no prior knowledge of each others practice. Through the first days of the residency we engaged in dialogue about who we were, where we came from, and why we had been brought together. This was a predominantly cultural discussion of family and place. We had commonalities through our Polynesian heritage and links to the Pacific Islands and New Zealand. However, our contrasting 'uncommonalities' regarding the geographic and cultural positions we inhabit as indigenous people of the Pacific, as migrants or non-migrants, became significant too.

Last Updated ( Apr 24, 2006 at 10:46 AM )
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Palabras
Community Domain artworks
Mar 13, 2006 at 09:16 AM

Sharon Daniel

with Michael Dale, Carlos Trilnick, Cecilia Velasquez Traut, El Envion at Villa Tranquilas and Fundacion Crear Vale la Pena in Buenos Aires

Palabras An interactive exhibition of videos created in a series of workshops at cultural centers in two impoverished shantytowns in Buenos Aires and in an ISEA “organization-based” workshop in San Jose. Workshop participants use cheap “disposable” digital video cameras to document their daily lives and a custom-built web application that allows them to edit, tag and publish their video online. The workshop focuses on strategies for collective self-representation using software designed to allow participants to discover relationships and make connections between their personal stories. Thus, communities not traditionally thought of a scholarly or academic, produce and interpret knowledge using media and information technology.

Last Updated ( Apr 11, 2006 at 03:49 PM )
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Park View Hotel
Residency artworks
Written by Michela Pilo   
May 05, 2006 at 01:09 PM

(the sudden appearance of an embedded system), 2006

Ashok Sukumaran

Plaza de Cesar Chavez and the Fairmont Hotel, San Jose

Park View Hotel provides focused optical communications between the Park and the Fairmont Hotel, neighbors in downtown San Jose. Using devices mounted in the park, the audience can "light up" interior hotel spaces in their line-of-sight. In response, these interiors leak out their properties : onto the exterior of the building, onto other "properties" public and private, and into the park below.

This work was developed in collaboration with Sun Microsystems Inc., Menlo Park, using SunSPOT (tm) embedded technology, and is a residency project commissioned by ZeroOne San Jose and the Sally and Don Lucas Artists Programs at the Montalvo Arts Center.

Last Updated ( Jul 23, 2006 at 09:46 PM )
Parking Spaces
Interactive City artworks
Mar 13, 2006 at 10:46 PM

Matt Roberts

Parking Spaces

For this project the Mobile Performance Group (MPG) investigates one of the most ubiquitous spaces in the United States, the parking lot. In “Parking Spaces” MPG will move through the city looking for empty parking lots to use as raw material to create improvised sound and image from and as a performance space. The formula for this performance is as follows; roam the city searching for parking lots, once an appropriate space is found record and collect both audio and visual material from that space. Using only recorded audio and visual material from that space the performers will create an improvised audio/visual performance using custom real-time audio video software. The improvised performance will be presented, at night, in the same space the material was found. Interested audience members can check our site for location updates, call for location updates or come across our performances by chance as they and we roam the city.

Last Updated ( Apr 11, 2006 at 03:11 PM )
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Particles of Interest: Tales from the Matter Markets
Transvergence artworks
Feb 11, 2006 at 08:03 AM

Diane Ludin, Ricardo Dominguez, Tristan Shone, and Caleb Waldorf

Ricardo Dominugez at his b.a.n.g lab (nano matrix) at CAL IT 2. 

"Nanofabric is the new black in fashion apparel and accessories."- Hugo Boss, 2005

"Patenting particles makes everyone smile around here."- Harris & Harris Group (Nasdaq:TINY), Sep. 21, 2005

Particles of Interest: Tales from the Matter Markets will be a 3 stage event project for ISEA 2006: stage one, an on-line Open Particle Patenting System; stage two, a Particle Tale installation to be constructed in San Jose, California; stage three, Trans_patent campaign in collaboration with invited artist, artists groups, scientist, activist and stock traders around the planet.

Last Updated ( Aug 07, 2006 at 01:06 PM )
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Pasts and Presents
C4F3: Interactive Cafe
Feb 27, 2006 at 09:19 AM

Judith Donath, Martin Wattenberg and Orkan Telhan

Past and Presents

Past and Present is a visualization of activity in the cafe, both current and in the past. The visualization is shown on a large projection screen in the cafe. It is an abstract, animated image in which the movements of the elements are shaped by the actions of the people in the cafe. The topology underlying the animation is the space of the cafe, and as people move through it, occupy a space for a long time, order drinks, etc. they reshape that topology and thus the patterns of the animation. It is an abstract visualization in much the same way that ripples on a pond are a visualization of activity on and near the surface of the water.

Last Updated ( Jun 13, 2006 at 11:23 AM )
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PCTN (Paper Cup Telephone Network)
Interactive City artworks
Written by Administrator   
Feb 26, 2006 at 11:20 PM

Matthew Biederman, Adam Hyde, Lotte Meijer

PCTN (Paper Cup Telephone Network) diagram

The Paper Cup Telephone Network (PCTN) is a free communication system. Just like the games played by children, anyone can put the cup to their ear to listen, or to their mouth to speak. However, the difference between the PCTN and the original game is that the “string” is connected to the world wide web where your voice is streamed to all the cups on the network carrying it blocks or even miles or a continent away.

Last Updated ( Sep 25, 2006 at 06:13 PM )
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Phenakistoscape
Container Culture
Written by Steve Dietz   
Apr 01, 2006 at 02:05 PM

Annie On Ni Wan

Hong Kong Container

“The phenakistoscope (also spelled phenakistiscope) was an early animation device, the predecessor to the zoetrope. . . . The word "phenakistoscope" comes from Greek roots meaning "deceiving viewer"."
Wikipedia

Phenakistoscape is a kinetic interface through, which is an experiment in the metaphysics of moving image projection and an exploration of the language of mobile projection, with particular emphasis upon on its distinctive temporal and spatial modalities.

Annie On Ni WAN, Phenakistoscape diagram Phenakistoscape uses a custom-made biped robotic video projector. The camera movements of the moving images take control of the movement of the robotic projector, which pans to left when there is a pan to right shot in the video and tilts up when there is a tilt down shot. The robotic video projector walks randomly with slow speed inside the container space as well.

With Phenakistoscape, a mechanical algorithmic approach to video projection is introduced as a language of mobile video projection. New methods for extending the practice of moving image space within physical space are presented as a dynamic and unexpected labyrinth that reconstructs the architecture of time and space. Phenakistoscape presents an entirely distinct scheme for unfolding the profound poetry encoded in cinematic space, and hence it effects the creation of an exceptional perception of moving images.

Last Updated ( Apr 01, 2006 at 03:49 PM )
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PI (Personal Interpreters)
Edgy Products
Written by Administrator   
Feb 26, 2006 at 10:50 PM

Fabian Winkler

PI / Edgy Products

description: PI (personal interpreters) is a set of small robotic devices, which deconstruct TV broadcasts' audio signals. The robots interpret the regular audio signal as control code and translate it into abstract rhythmic sounds using the actual TV set as resonant body. In this translation process they create surprising image/sound relationships, challenging the audience to watch well-known TV content in novel ways.

Links:

project URL: http://web.ics.purdue.edu/~fwinkler/PI

http://artscool.cfa.cmu.edu/~winkler/PI

 

Last Updated ( Jul 15, 2008 at 06:49 PM )
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PigeonBlog
Invited Artworks
Written by Steve Dietz   
Feb 04, 2006 at 02:23 AM

Beatriz da Costa with Cina Hazegh and Kevin Ponto

PigeonBlog is being developed in conjunction with Preemptive Media's AIR project.

Pigeon Blog

PigeonBlog provides an alternative way to participate in environmental air pollution data gathering. The project equips urban homing pigeons with GPS enabled electronic air pollution sensing devices capable of sending real-time location based air pollution and image data to an online mapping/blogging environment.

Last Updated ( Aug 07, 2006 at 10:09 PM )
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Pimp My Heart
Edgy Products
Feb 26, 2006 at 10:30 PM

Takehito Etani and David Tinapple

Pimp My Heart

Cranked-up bass sounds leaking from cruising pimped cars are a familiar annoyance of the city streets in the world. What if the bass sounds are the drivers’ real-time heartbeat instead of beats of music? Does our relationship with the vehicle/driver and the pedestrians change? The HBBB system amplifies the heartbeat of the driver in real-time by interfacing the car audio with a heartbeat sensor. By hacking on the technology/hobby that is often used as psychological armor, territory-marking tool, the project turn the body/vehicle relationship inside-out, addressing the vulnerability of human body and emotion and aims to understand our obsession on automobiles and it’s modification rather than dismissing the culture as something aggressive. A group of local car enthusiasts will be involved in developing the design of the demo vehicle, as well as driving around the visitors to night cruises on their own vehicles with HBBB.

Last Updated ( May 11, 2006 at 03:56 PM )
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Ping Genius Loci
Interactive City artworks
Mar 14, 2006 at 09:47 AM

Adam Somlai-Fischer, Bengt Sjölén

Ping Genius Loci

Ping Genius Loci is built up from 400 radio networked, solar powered, self sustainable intelligent analogue pixels, that are placed on a 20 by 20 meters grid. These pixels function in the bright sunshine, and are interfacing the people walking in the grid. For ZeroOne festival only part of the Ping Genius be shown on selected days. The area required will be ca 10 by 10 meters.

Last Updated ( Jul 10, 2006 at 03:39 PM )
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Pioneers Hitchhiking in the Valley of Heart's Delight
Interactive City artworks
Mar 13, 2006 at 09:04 PM

Julie Newdoll, Jim Pallas and Michael Mosher

"Pioneers Hitchhiking in the Valley of Heart's Delight" consists of five life-size cutouts painted with the portraits of people that were responsible for advancing the technology that drives Silicon Valley. These cutouts will be implanted with small GPS devices and then abandoned in public places in and around San Jose with a request for passers-by to deliver them to a prescribed location. Real-time information about them and their whereabouts will be part of an art work at YLEM's booth in the conference center.

Last Updated ( Aug 07, 2006 at 10:15 PM )
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PlaceSite Network: San Jose
Interactive City artworks
Written by Steve Dietz   
Dec 28, 2005 at 11:05 PM

PlaceSite Network

Damon McCormick, Sean Savage, Parker Thompson,

Project PlaceSite introduces a new way of using wireless networks -- to create digital community services by, for and about people who are together in the same physical place.

PlaceSite is an open platform for a new breed of Web service tied intimately to physical places. It lets people share information locally, apart from the global Web.

PlaceSite is built upon what already exists -- users don't need to install new software or purchase new hardware. It also enables location-based services without relying on participation by cellular carriers or Internet service providers.

Last Updated ( Aug 05, 2006 at 03:14 PM )
Playas: Homeland Mirage
Transvergence artworks
Feb 11, 2006 at 08:38 AM

Jack Stenner, Yauger Williams and Andruid Kerne

Playas, New Mexico has always been a virtual construct. With past lives as a railroad town, mining town and ghost town, it is now slated to be used as an anti-terrorist training facility for the Department of Homeland Security. This installation uses the metaphor of the mirage to investigate the "reality" of our constructed meanings. The game player explores the remnants of this shell and discovers tracings of previous lives, all the while, avoiding those who might present harm. Viewers of the installation are unable to avoid contribution to the scenario as they instigate the spawning of in-game characters, some innocent, and some malevolent. Similarly, as they move through the environment their presence has repercussions, perturbing the vision like a mirage. In the end, there are no winners, but hopefully there exists a set of questions about our place in the world, our constructions, and our personal responsibility for the end result.

Last Updated ( May 04, 2006 at 10:58 AM )
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Public Mood: Light Temperature
C4F3: Interactive Cafe
Written by Administrator   
Feb 27, 2006 at 09:51 AM

 Will Pappenheimer

Will Pappenheimer, Public Mood: Light System

Every 15 minutes Internet users will be able to change the overall light temperature of the large cafe space. The overall light temperature will be based on a computational distillation of information from a news stories described and imaged my Google News. This system will utilize a dimmer controlled combination of red-blue-green lights to achieve a variety of colors. Lights will be directed primarily at the ceiling. If possible a computer station in the room will display the source and results of the current entry. The concept is based on the tradition of the "mood ring" which is composed of a material which changes color chemically based on the body temperature of the ring bearer. In this case it is a public issue which must be chosen by the Internet participant and then translated into color temperature for the destination space. A simple computational model will be chosen for the source news text and imagery which will then be translated into a color temperature based upon varying models maintained by different cultures. This system represents an offering and participatory mood encapsulating current issues of public concern.

Last Updated ( Sep 27, 2006 at 02:18 PM )
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Rerehiko
Container Culture
Written by Steve Dietz   
Apr 01, 2006 at 05:05 PM

Rachael Rakena

Container Culture: Auckland

rere ... flow, fly, be carried by the wind, sail, rush, flee, escape, rise, leap, . . .
hiko ... move at random or irregular, lightning, electric, . .
whakapapa ... layering, genealogy

Rachael Rakena, Rerehiko An email announcing the arrival of a newborn child bears the same face as an email expressing sympathy at the loss of a loved one. The digital text of the email and its aesthetic of pixels create the new patterns for the wharenui (meeting house) of cyberspace in which our indigenous community often meet. This work explores the communication using excerpts of real emails circulating within a Ngai Tahu community (an indigenous tribal group from the South Island of New Zealand).

Rerehiko becomes a cyberspace whare whakairo (decorated meeting house). The community float through their own email text performing narratives that evoke their many collective concerns in the new century. Linking to creation stories through the construction of a new realm of the cosmos, the cyberspace, in which this indigenous group already resides, an echo of the Pacific Ocean crossed by our ancestors.

Last Updated ( Apr 01, 2006 at 05:12 PM )
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RPM's Remixed
Transvergence artworks
Feb 07, 2006 at 05:40 AM

Josephine Dorado, Vedat Emre Balik, Laura Escude, Elizabeth Haselwood, and Rachel Bishop

RPM Remix

RPM's Remixed is a telematic, transdisciplinary performance based on remixing Alvin Lucier's "RPM's" score – integrating dance, video and sound improvisation between artists in New York, Houston, Tampa, and Los Angeles.

Alvin Lucier, a well-known composer of music and sound installations that explore natural phenomena and resonance, is renowned for making spaces "sing." This piece explores the possibilities of using one of his scores to make a virtual space "sing" by using improvisational techniques as well as the natural feedback and delay created by streaming.

Last Updated ( Apr 12, 2006 at 01:47 PM )
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Saint Joe
Interactive City artworks
Written by Steve Dietz   
Dec 28, 2005 at 11:54 PM

John Klima

Saint Joe 

Saint Joe is a hyper-narrative that unfolds within the landscape of VTA light-rail system. Participants can board the train at any stop, at which time using their mobile phone, they can dial a provided number to enter their origin, and their destination. As the participant's voyage commences, a dynamic audio history unfolds, referencing a variety of landmarks along the way. The landmarks however, are not your standard tourist fare. Locations, buildings, and vistas both mundane and curious are chosen to carefully weave a semi-fictitious tale of the city. Drawing from actual San Jose history, archived newspapers, police records, and local folklore, an audio and visual construction is elaborated while the viewer travels from station to station. 

Last Updated ( Aug 07, 2006 at 10:00 PM )
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San Jose Voices
Community Domain artworks
Written by Steve Dietz   
Dec 29, 2005 at 11:29 AM

Daniel Jolliffe

San Jose Voices Beginning March 1st 2006, the web site www.sanjosevoices.net will provide participants with information on the San Jose Voices project, along with a San Jose phone number to call in order toparticipate. This number will be programmed to only accept calls from San Jose’s 408 area code,making it a readymade reflection of the San Jose community. Anonymous callers will be able to leave one-minute messages on any subject, which are then converted into MP3 files. These voicesare then brought to the public soundscape in two ways.

First, calls are archived and made available anonymously on the www.sanjosevoices.net site,individually or as downloadable podcasts. The site acts as both distributor of information about thework and as a listening post for those on the Internet to experience the diverse voices of San Jose.

Second, during the ISEA 2006 festival, calls will be broadcast anonymously in public spacethrough a large sculptural speaker installed in an appropriate public location such as the Plaza Caesar Chavez. These voices are amplified by a solar-powered, horn-like fiberglass sculpture to a volume level sufficient to dominate the immediate soundscape.

 

Last Updated ( Mar 15, 2006 at 03:12 PM )
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Screens Exposing Employed Narratives (SEEN)
Community Domain artworks
Written by Steve Dietz   
Dec 29, 2005 at 11:04 AM

Osman Khan and Omar Khan

Project Assistants: Cesar Cedano, Alice Ko, Drura Parish, Matt Zinski

 SEEN-Fruits of our Labor deals with projected hopes, the American Dream, (in)visibility and the global marketplace. It addresses the current US debate on immigration which, in our view, is blind to people's actual needs, shortsighted in its solutions and myopic in its framing of what it means to be an American. SEEN expands this debate and reflects on the real impacts of globalization on people's sense of self worth. Our project asks members of three communities that make up San Jose's Labor needs -- Silicon Valley's tech workers, undocumented service workers and outsourced call center workers -- one question: What is the fruit of your labor? Their responses are displayed back to the general public on a 4'x8' infrared LED screen whose content is visible only through digital capture devices (cell phone cameras, digital cameras and DVcams etc.) used by the audience.

Last Updated ( Jul 15, 2008 at 06:41 PM )
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Secrets
C4F3: Interactive Cafe
Feb 27, 2006 at 09:13 AM

JD Beltran

Secrets

Secrets, told through the use of video and subtitles on mini-LCD screens, are revealed in hidden and unexpected spots scattered around the café. They are discovered by visitors and patrons of the café in places like under the salt, in the interior door of a bathroom stall, at the cocktail bar, or beneath the sugar dispenser at the coffee counter. The secrets themselves were and are being collected by the artist in a multi-year project, and are found by her through posting calls on internet sites, as well as through distributing thousands of postcards about the project in cities all over the world. Potential participants are directed to a website, www.seekingsecrets.com, where participants can send their secrets without even revealing their e-mail addresses. The artist sets these secrets to her own video footage, resulting in a series of short, intriguing, and revealing films. The C4F3 patrons and visitors themselves are invited to participate in the project and submit their own secrets, which are made into videos by the artist during the first week of the ISEA2006 conference, and are screened in the mix of secrets during the second week.

Last Updated ( Apr 12, 2006 at 01:53 PM )
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SimVeillance: San Jose
Interactive City artworks
Mar 15, 2006 at 04:01 PM

Katherine Isbister, Rainey Straus

SimVeillance: San Jose SimVeillance: San Jose re-presents urban passersby within a game environment that mirrors a ‘real-world’ public space.

The artists will recreate the Cesar Chavez plaza in downtown San Jose using the Sims 2, and will work from images captured by surveillance cameras trained on the square, to populate the simulated square with replicas of ‘real’ transients.

Last Updated ( Jun 06, 2006 at 03:49 PM )
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Sine Wave Orchestra
Community Domain artworks
Mar 13, 2006 at 09:35 AM

Kazuhiro JO, Daisuke ISHIDA, Mizuki NOGUCHI and Ken Furudate

Sine Wave Orchestra

The SINE WAVE ORCHESTRA is a participatory sound project. Under the concept that each participant control a sine wave, the public is invited to produce his or her own sine wave. Each participant can use any device that can produce a sine wave. In the performance, there is no conductor and the line between who is the player and who is the audience is deliberately left blurred. Although the intention to present sound to others is absent, people share the same time and space in order to experience sound. In shared time and space, the sine waves interfere with each other and represent a communication among the participants acting as collaborative performers.

Last Updated ( Apr 14, 2006 at 02:32 PM )
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Situated Digital Archaeology
Community Domain artworks
Written by Steve Dietz   
Dec 29, 2005 at 01:25 PM

James Morgan, Mike Weisert, Ethan Miller, Aaron Siegel, Johnathan Brilliant

 Situated Digital Archaeology

50 - 100 san jose locals will be interviewed to collect points of cultural importance (which will be mapped). These initial interviewees will be selected from 3 primary language speaking groups in San Jose (English, Spanish & Vietnamese or possibly Chinese). These people will be chosen to represent a cross section of their language group (age, gender, origin) and surveyed for locations of cultural importance including home, work, faith and social obligation.

Last Updated ( Mar 17, 2006 at 12:21 PM )
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Skatesonic
Residency artworks
Written by Steve Dietz   
Mar 30, 2006 at 09:48 PM

Cobi van Tonder

Download Saktesonic Poster

Skatesonic is a commissioned residency project by ZeroOne San Jose, IDEO, and the The Sally and Don Lucas Artists Programs at the Montalvo Arts Center.

The Lickr

This uniquely augmented skateboard called _the Lickr_ is a new musical controller instrument/toy. Equipped with a wireless microphone, battery pack, optical wheel rotation sensor, 2 proximity detectors, 3 gyro sensors and bluetooth transmission device, the system tracks the 3D-movement of the skateboard.

Movement is analyzed and turned into musical fantasy.

The Lickr has its ear close to the ground. It hears in audio and data. The real audio from skateboard on surface is an integral part of the music - a fundamental layer of the environment that enables a grounding. This centrality (a memory) from which to depart, compare through repetition, difference, layering, and erasure A morphing from organic to synthetic. A pre-meditated musical architecture is created to allow boundaries within which to control the musical outcome. The music becomes a game and skaters can jam like a band.

Last Updated ( Jul 15, 2008 at 05:14 PM )
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Social Memory Columns
Interactive City artworks
Mar 14, 2006 at 11:25 AM

Derek Lomas

Four columns 7'x2'x2' square white wooden ‘Memory Columns’ are placed throughout the metropolitan area, each seeded with the same text and imagery. These Memory Columns induce passerby dialogue conducted via Velcro-ed permanent markers. A physical and virtual social interaction develops around each column, as thoughts and sentiments flowing by are deflected from their usual path and are projected onto the column. After a 3 day exposure period, each column will have effectively captured a snapshot of the local collective memory. By deploying multiple columns within different parts of San Jose, we are able to probe the various cultural consciousnesses that flow throughout the city.

Last Updated ( Aug 03, 2006 at 10:03 PM )
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SONIC FABRIC
Edgy Products
Written by Michela Pilo   
Apr 19, 2006 at 01:06 PM

Alyce Santoro

SONIC FABRIC is an audible textile woven from recycled audiocassette tape. Many pieces incorporating SONIC FABRIC can be included in an installation, including the "sonic shaman/superhero" dresses, a large SONIC FABRIC umbrella, and the "tell-tail thangkas", strings of silkscreened flags (based on the idea behind tibetan prayer flags).

SONIC FABRIC is a textile woven from recycled audiocassette tape that has been recorded with a collage of sounds collected from a wide range of sources, including music, ambient nature and urban noise, spoken word, etc. The material can actually be made audible by running a tape head over its surface. A dress made from the fabric was worn and "played" on stage by Jon Fishman, former drummer of the band Phish, on April 16, 2004.

Last Updated ( Apr 19, 2006 at 01:29 PM )
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Soundbike
Interactive City artworks
Mar 14, 2006 at 09:16 AM

Jessica Thompson

SoundbikeSOUNDBIKE is a portable sound piece that uses motion-based generators mounted to an ordinary bicycle to broadcast the sound of laughter as the bike is pedaled through the urban environment. The laughter is generated by playing sequences of short source clips that start when the bike reaches a cruising speed and then respond to the bike's velocity. The piece is exhibited by loaning the bike on an honour system.

Last Updated ( Jun 05, 2006 at 12:38 PM )
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SPECFLIC
Interactive City artworks
Mar 15, 2006 at 09:40 AM

Adriene Jenik

Day: Wednesday
Time: 9:30PM - midnight
Location: Martin Luther King, Jr. branch San Jose Public Library, 4th & San Fernando
Ticket Price: FREE and open to the public
Performance Duration: ongoing during that time period (2.5 hours)

SPECFLIC


SPECFLIC 2.0 is a performative media event set in 2030. Taking place in and around the Martin Luther King, Jr. Main Public Library, San Jose, CA http://www.sjlibrary.org, SPECFLIC is distributed cinema; a "story-event" created by layering different media forms (including large projections on iconic public buildings, cell phone cameras & SMS, live performance and radio).

Last Updated ( Aug 07, 2006 at 10:01 PM )
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SVEN
Interactive City artworks
Mar 13, 2006 at 09:32 PM

Amy Alexander, Jesse Gilbert, Wojciech Kosma, Vincent Rabaud, Nikhil Rasiwasia

Surveillance Video Entertainment Network (aka AI to the People)

Sven

SVEN is a system consisting of a camera, monitor, two computers, and custom software, that can be set up in public places - especially in situations where a CCTV monitor might be expected. The software consists of a custom computer vision application that tracks pedestrians and detects their characteristics, and a real-time video processing application that receives this information and uses it to generate music video-like visuals from the live camera feed. The resulting video and audio are displayed on a monitor in the public space, interrupting the standard security camera type display each time a potential rock star is detected. The idea is to humorously examine and demystify concerns about surveillance and computer systems not in terms of being watched, but in terms of how the watching is being done - and how else it might be done if other people were at the wheel...

Last Updated ( Apr 11, 2006 at 03:27 PM )
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Tactical Sound Garden Toolkit
Community Domain artworks
Written by Steve Dietz   
Dec 29, 2005 at 01:05 PM

Mark Shepard

Tactical Sound Garden

The Tactical Sound Garden Toolkit [TSG] is an open source software platform for cultivating public "sound gardens" within contemporary cities. It draws on the culture and ethic of urban community gardening to posit a participatory environment where new spatial practices for social interaction within technologically mediated environments can be explored and evaluated. Addressing the impact of mobile audio devices like the iPod, the project examines new gradations of privacy and publicity within contemporary public space.

 

URLs: 

Project Website with Concept Diagrams and Images
http://www.andinc.org/tsg
Last Updated ( Apr 11, 2006 at 03:58 PM )
Third Eye, The
Container Culture
Written by Steve Dietz   
Apr 01, 2006 at 11:33 PM

Jin Jiangbo

Container Culture: Beijing

Jin Jiangbo, The Third Eye

The third eye perceives the earth. The third eye perceives the world, The third eye perceives you and me, And the third eye perceives our mind. Imagination from the far west and far east of the earth. The open of this third eye shall let the imagination hold free and fair dialogues, and through the channel, it shall inspire hope for the people from these two cities. The third eye crosses space and beyond.

Traffic Island Disks
Interactive City artworks
Mar 14, 2006 at 12:28 PM

Saul Albert, Michael Wienkove

Introduction

Traffic Island Disks is a radio programme about music, people and places. We invite you to roam the streets of the city with us looking for people wearing headphones, stopping them, and interviewing them while recording whatever they are listening to. Then you can use the website to upload, download and mix the results into a musical tour of the city.

Leading up to ISEA, The People Speak team will hold a series of one-day workshops, travelling the VTA bus route 73 around San Jose, recording what passengers are listening to, and what they have to say about it as they ride through San Jose. Then we'll mix together an audio tour of the route. This will be the first episode of a San Jose Traffic Island Disks show called 'Electric Light Radio'.

This tour will be available from our website, and from a wireless kiosk on the Electric Light Tower at Kelly History Park, where participants can find out how to record their own interviews and contribute to an ongoing musical map of San Jose.

Last Updated ( Apr 24, 2006 at 02:00 PM )
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TRANSCODED NATURE - The Origin of Order
Transvergence artworks
Feb 11, 2006 at 08:53 AM

Emerging Forms Research Group – RASTER Vladimir Todorovic, Goran Andrejin, Damien Lock

TRANSCODED NATURE _THE ORIGIN OF ORDER is the first in series of projects, which observe movements and changes of transcodabilities in nature. Transcoding is not observed as a change in a code or a format, but as a change of the whole through the order of the transformed code. While trying to address and frame those data metamorphoses, this project results in intentionally formal outcomes. Manifestations and forms are aiming for monumentality, formalism, and unquestionable transcodability. The effect often includes conceptualized and contextualized reactions to the previous data mutations. The first project in this series analyzes the origin of the order by transcoding the signals from a semi-eco system, or an eco simulation, in which rodents live and play. In this environment, some data from the physical space are shared with the data from a computer game and then transcoded into sound output.

Last Updated ( Jul 19, 2006 at 10:25 AM )
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Transcriptions
C4F3: Interactive Cafe
Feb 27, 2006 at 09:30 AM

John Mallia

Transcriptions

This installation is intended for use as a sign-in/comments area during an exhibit. Visitors to the exhibition may sign a guest book with a pencil amplified by means of an attached phono cartridge, making the physical recording of their signature, information and comments audible to other visitors in the immediate vicinity of the installation as well as more remote areas of the exhibit space. Visitors are also invited to use the two available manual typewriters to fill out survey cards. Short, continuously varied audio fragments of nervous pencil scratchings and dense, pattering typewriter keys are triggered in reponse to the vistors' typing actions and are projected through loudspeakers mounted inside of the typewriter cases.

Last Updated ( Apr 12, 2006 at 01:52 PM )
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Travels of Mariko Horo, The
Pacific Rim artworks
Jan 01, 2006 at 04:42 PM

Tamiko Thiel

 

Sometime between the 12th and the 22nd centuries Mariko Hōrō, Mariko the Wanderer, journeys westward from Japan in search of the Buddhist Paradise floating in the Western Seas. She does find Paradise, but finds also a chilling, darker side to the West, an island where lost souls are held in an eternal Limbo. She encapsulates her impressions of the places she visits in a series of 3D virtual worlds and invites you to see the West through her eyes. Supported by a Japan Foundation Fellowship at the Kyoto Art Center, and a Fellowship at the Center for Advanced Visual Studies, MIT.

Last Updated ( Apr 12, 2006 at 01:34 PM )
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Tripwire
Interactive City artworks
Written by Administrator   
Mar 15, 2006 at 03:35 PM

Tad Hirsch, Yang Ruan, Raul-David "retro" Poblano, Miguel Menchu

Tad Hirsch, Tripwire, ZeroOne San Jose, August 2006

Tripwire is a site-specific installation responding to the unique relationship between the Norman Y. Mineta San Jose International Airport and downtown San Jose. Custom-built sensors hung from trees at several public locations monitor noise produced by overflying aircraft. Detection of excessive aircraft noise triggers automated telephone calls to the airport's complaint line, on behalf of the city's residents and wildlife. Documentation of noise incidents is archived for later analysis.

Last Updated ( Sep 12, 2006 at 01:54 PM )
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Uncle Tasman: The Trembling Current that Scars the Earth
Pacific Rim artworks
Written by Administrator   
Feb 12, 2006 at 08:23 AM

Uncle Tasman
The trembling current that scars the earth

Natalie Robertson 
 “Whatu ngarongaro he tangata, toitu he whenua
Yellow-grey fumaroles hiss steamily, venting their pleasure, a marine volcano island named Whakaari, flirting with her land born admirer, Putauaki.

Tarawera is aghast when her man leaves her side and she bursts into tears, flowing and filling his footsteps as Putauaki heads towards the sea.

Putauaki however is slowed by a young son, Ko Putauaki, pleading his destination – daylight breaks and the father is frozen in shame as the shadows chase from his midnight fantasy.

Mountains move in Maori mythology, as they do in real life, falling seismically in love, having children, splitting up, running off with new lovers, falling silent and, sometimes, erupting volcanically.

Natalie Robertson taps a stick into the ground, testing her way forward trying to find solid ground between pools of steaming hot water and sulphuric yellow crusts of earth.

On lands bordering the ancient pa Waitahanui, Robertson sets up a camera.

In front of her, the mountain and a paper mill worth $300 million a year in exports.

She begins recording.
Mist and steam waft evocative. Power poles ghost into view, and out again; a shadowy mountain looms, ponders, and wafts away again, an extended moment captured for larger than life projection onto walls.

Uncertainty, seemingly, whether mist is man or mystic made.

Born at the foot of Putauaki maunga, Robertson has returned to film in her hometown Kawerau, using local knowledge to access the site, past the private property signs, down a gravel track, wending curvy parallel with the Tarawera River.

Robertson records and ripples spread rapid across the surface of water, bigger than a pond, not really a lake. Behind Robertson, over a hill, blocked by card swipe access and guarded by security workers, lies what was once Lake Rotoitipaku, out of sight from public eyes.

“That’s what I having been trying to tell you – Lake Rotoitipaku doesn’t exist anymore. ”

For generations a naturally heated “food basket” and geothermal “spa pool” for Ngati Tuwharetoa ki Kawerau, the lake is now full, dry and clogged with tens of thousands of truckloads of industrial sludge, a lake-no-more.

More importantly, the dump is next to an urupa – a cemetery, a sacred site – and birthplace of renowned leader and paramount chief, Tuwharetoa.

“Without local knowledge, no one would even know this was once Lake Rotoitipaku,” says Robertson, looking at satellite photos. There are bulldozer furrows, rugby fields long.

New maps have already been printed giving a smaller, nearby lake the same name. Supposedly, this replaces the old name, Fox’s Pond, a nickname applied by company officials and, apparently, picked up by cartographers.

But, digging through documents in Kawerau, Robertson finds a map dating back to 1883, showing true location of the lake, along with stories of its bubbling mineral waters fat with eels, and water vegetables – kumara would grow in weeks rather than months.

But, two maps? How can there be double truths, two lakes with the same name?

In fact, there are many maps, indeed layers of maps. Historic maps, tablecloth maps, and souvenir map scarves. Robertson has made mapping systems a central theme within her artwork, photographing road signs, place names, weather elements and referencing Maori oral maps.

Signposts of a new mapping system, an inferior two dimensional model compared with what Robertson prefers to describe as “cosmology” – a swirling universe that places the land central to Maori existence, calling to mind that the most important thing is not only people, people, people.

It is also whenua, the land.
Papatuanuku. Mother Earth.

“Whatu ngarongaro he tangata, toitu he whenua” – People pass away, but the land remains.

Three monitors greet visitors: one for each of the three mountains, Putauaki, Tarawera and Whakaari. A sulphuric fumerole hisses. A tauparapara, a chant begins, voice of elder Te Haukakawa Te Rire. A lament for lost lands and waterways echoes back. Robertson provides offstage commentary with a drive through Kawerau, recounting young lives lost to cancer, the names accumulating over the years. This one, then that one, encircling the town.

As a photographer and now videographer, Robertson is not trying to capture and expose environmental abuses, but to record the few remnants remaining of what once was.

Left unspoken is a warning that land remains volatile, volcanic spasms an intergenerational reality recorded by what some call Maori mythology.

Like a three dimensional iMax of the mind, Maori mythology consists of a cosmos growing from countless centuries of Polynesian navigation, leading to landfall  with star point accuracy. Mental maps do not stop at the beach, they help triangulate natural features like mountains, from different viewpoints, and in real-time as well, under mist or moon.

Perhaps there were times earlier, when land was ample, people few, and feats like securing kumara from the Americas were commonplace. In Kawerau, those times are long gone and mists come complete with chlorine gas sirens.

Researching, Robertson reviews more than 20 boxes of documents, gathered by multiple critics and challengers like Greenpeace, in stories of a paper mill that read like environmental Pulp Fiction. Bizarre characters, addiction to toxic substance abuse, random death. Some may remember Samuel L. Jackson psyching himself up for strife.

“… And I will strike down upon thee with great vengeance and furious anger those who would attempt to poison and destroy my brothers…”

So far, however, evidence that proves poisoning remains buried in boxes, stymied by special dispensations, lax bureaucrats, and allegedly vested interests stretching back half a century.

In 1954, Government passed the Tasman Pulp and Paper Company Enabling Act, allowing all effluent from the new Kawerau mill to be discharged into the Tarawera River. Parliamentary records, Hansard, show there was debate about effects on farmers downstream using the river for stock watering. But discharges were described by the government of the day as “so slight as to be almost unnoticeable”.

Exemption of the company from prosecution or individual action for damages was regarded as necessary in case “some crank gets a bee in his bonnet” as any existing environmentalists were regarded in the post-war peace boom.

One relatively minor example is asbestos – ripped out of the mill to protect the health of workers but then dumped on Maori lease lands.
Someone else’s problem.

Not for “Uncle” Tasman, the nickname wry commentary about the town benefactor, provider of jobs and contracts, enough income to keep a town of about 8,000 going for half a century, enough power to ensure critics are blacklisted.

Black also features in another local nickname – “The Black Drain” –colour of the last stretch of river below the mill to the sea.

New roads were built to truck waste away from the mill, liquid waste poured down a spillway, solid waste dumped straight into Rotoitipaku.

“My cousins and I went to have a look at the spill way,” recalls Wayne Peters in evidence to the Central North Island Inquiry at the Waitangi Tribunal in 2005.

“The sludge was slowly moving into the lake from the ngawha (hotpool) end. Little did we know this was the beginning of the end to our playground and foodbasket. Sadness filled our minds. Then anger took over, we knew what was happening was wrong. We lifted a big boulder from the side of the road and smashed the spillway. The workers fixed it up, and we smashed it again.

“In time we came to realise that Rotoitipaku was gone FOREVER,” states Peters, the last word capitalised in submissions to the tribunal.

In just three decades the lake is full, promises to keep water flowing to a depth of “at least six inches” long forgotten by Tasman.

“A visit to the area today leaves me wondering how anyone could take a piece of paradise and turn it into hell. There is a stench that carries across the river to the homes of my aunties and uncles in Onepu; Waitahanui is surrounded by sludge and a pond of black water,” says Clem Park, a resident. He remembers swimming in Rotoitipaku as a child.

“Many times I asked Uncle Bunny why they allowed these things to happen. All he would say was they could do nothing.” Fast forward to the government of today.

Today an estimated 100,000 truckloads of ‘solid’ industrial waste dumped into a lake that is no more, while there is enough annual liquid waste to rival the output of Auckland.

Greenpeace reckons Kawerau, one of the largest geothermal fields in the country, is also one of the worst toxic areas in the country. People Poisoned Daily is the name of one Greenpeace campaign, with an online exhibit of people affected by milling.

Tairua Whakaruru has been a health officer for Ngati Tuwharetoa over the last seven years. He sits outside the mainstream health service, reporting on years, decades of requests for comprehensive surveys of the Kawerau population and nearby environs.

“There have been no reports done on health in the area in regards to the Tarawera River or the discharge into the air and onto the land. All these issues are of valid concerns to the iwi along the river,” the site quotes Tairua Whakaruru as saying.

Greenpeace adds to his comment. “Tairua would like to see Maori organisations do the health report on their own people who are effected by the discharge. This is also about the pain and effect this has had on the iwi and is still having.”

“Many of the old people have gone to their graves fighting this issue.”
As Robertson finishes her artwork, the OECD issues a follow-up report to its original environmental review in 1997.

“The whole area of waste management does not seem to be a priority for the Government,” states the OECD as part of its peer review process, in this case for the environment.

“As a result, waste issues are poorly analysed and, in many cases, disregarded,” reads the report. Thirty different first world countries sat on the review panel.

Back in Kawerau, ghosts of Lake Rotoitipaku stir.

A lifetime away from naming and shaming at the geopolitical level, Wayne Peters eye witnessed nature reacting to Uncle Tasman’s toxic love: “I can still remember the tuna (eel) on the road at Rotoroa trying to escape the paru (sludge) – it was as though they knew too, the lake and river was polluted, [so] we will die in the afternoon sun. Let us be an example of what pollution can do.

But, alas, it fell on blind eyes and deaf ears.”

Leases expire in 2013. What families get back is an area deeply contaminated with decades of industrial waste, clean up costs estimated in billions by Greenpeace workers.

By comparison, government recently advertised for a contamination site coordinator – to head a fund of just $3 million – for the whole country.

Reality behind political rhetoric claiming the environment as “cornerstone” to sustainable development seems alarmingly empty for a country dependent on exports and tourism being worth billions to the economy.

“I want this work to contribute to demystifying claims to New Zealand being clean, green and 100% natural,” says Robertson, aiming an artistic assault at Kiwi propaganda.

Much more could be at stake than a few billion dollars. Robertson seeks to remind corporates and locals alike of Ruaumoko - God of earthquakes and volcanoes, – and Papatuanuku’s unborn child, stirring and kicking, eager to live up to the promise of its name signifying an earthquake scar, a reminder that Aotearoa sits balanced along the Pacific “rim of fire” with potential for sludge from deeply toxic dumping sites to be scattered far and wide from what is known as the Taupo volcanic plateau if more eruptions were to occur.

As a daughter of Maui, Robertson contests “the way things are” recording what is left of a natural land, Maori cosmology now enveloping Western technology.

"It's my way of honouring those who have died," Robertson continues. "Of making some sense of why so many friends and people I know from Kawerau died of cancer so young. As the list grows, so does my superstition. Is it me? Or something in the air?"

Interviewing local Waitangi Tribunal claimant Tomoirangi Fox, she asks him what was the one thing he wants people to think about, and the answer, as always with people of the land, is practical.

“Who,” Fox asks, “is going to clean it up?”

A question that lays a challenge to government promises for a “triple bottom line” – one that includes the environment –volcanic mountains hopefully remaining patient with the pace of Pakeha justice.

Jason Brown, April 2007
Edited Natalie Robertson, June 2008

LINKS
http://www.natalierobertson.com/uncletasman/
"Are We There Yet?": Natalie Robertson's Road Signs
http://01sj.org

 

Last Updated ( Jul 15, 2008 at 04:55 PM )
Unprepared Piano
Invited Artworks
Written by Michela Pilo   
Jul 06, 2006 at 02:58 PM

In Unprepared Piano, a Yamaha disklavier grand piano is connected to a database of music MIDI files appropriated and compiled from all over the web. This library of electronic scores is then “performed” automatically according to a simple set of rules. The musical scores found online contain a wide variety of instrumentations and are not generally intended simply for piano, so our Unprepared Piano is told to perform each piece from beginning to end by randomly picking and choosing from its different parts. This means it might play bits of drum parts and percussion alongside chords and melodies intended for the other instruments.

Last Updated ( Jul 06, 2006 at 03:02 PM )
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Untitled Media
Community Domain artworks
Mar 13, 2006 at 10:57 AM

Ian Gwilt

Taking the form of a paper based, tick-box survey, (or PDA based software) visitors to a New Media gallery or exhibition complete a simple questionnaire as they enjoy the gallery experience. The questionnaire is based on a visual taxonomy for New Media Art (developed by the artists), which attempts to identify typical configurations for New Media Art pieces including technical set up, media content and user experience. The completed questionnaires are collected by the art establishment as a documentation of the show. Throughout the duration of the show the completed forms may also be displayed in the Untitled Media activity area as an ongoing review to the artworks and an insight to the public perception of the event.

Last Updated ( Apr 11, 2006 at 03:42 PM )
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URBANtells
Community Domain artworks
Written by Steve Dietz   
Dec 29, 2005 at 10:53 AM

James Rouvelle, Joe Reinsel, Steve Bradley

In a public location a simple kiosk labeled URBANtells will be set up. A participant will provide their cell phone and email address to an attendant. In return, they will receive a handheld device (working title: "digi-diviner")and instructions to walk and explore the neighborhood. A minute after they go outside, they will begin to hear a real time mix of sound art and verbal information triggered by their location from a speaker on the diviner. The content will come from interviews and research we will undertake in the months preceding the conference, as well as input uploaded from actual users. The information will address the complex layers of histories that comprise the urban experience and the degrees to which these histories intersect to inform our concept of location and how these understandings influence our behaviors. The verbal content of the audio stream will be a mix of the languages spoken in the neighborhood. Upon returning to the kiosk, participants will receive an interactive google map of their specific walk via email, containing buttons to play sounds and view images and sounds they may have uploaded during their trip. All data will be logged and made available via website for anyone to explore and mix during and after the close of the conference.

Last Updated ( Jul 26, 2006 at 02:56 PM )
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Vanishing Point
C4F3: Interactive Cafe
Feb 27, 2006 at 09:46 AM

Mauricio Arango

Mauricio Arango will create a reading-news-area in which visitors will be able to sit comfortably and read local and national newspapers. On the wall, there will be a projection of a map of the world connected to a database fed by news coming from several international newspapers. The visibility of each country on the map will depend of how much media coverage each country receives. Countries receiving little or no attention will disappear over time. Users will be able to interact with the map and learn about the countries on it and read stored news over the last 50 days.

Last Updated ( Apr 12, 2006 at 01:52 PM )
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WiFi ArtCache
Interactive City artworks
Mar 15, 2006 at 03:50 PM

Julian Bleecker

WifiArtCache

WiFi.ArtCache consists of a WiFi node containing digital art objects retrieved by attendees via an embedded 802.11 access point. These art objects are interactive and programmed in Flash or Processing (http://www.processing.org) in such a way as their behaviors and interactivity can be articulated based on the physical and virtual activity of other attendees who are interacting with the node's art objects. For instance, each art object can access variables and functions that specify such things as how many people are currently interacting with the ArtCache and thus alter characteristics — color, tempo, shapes, animations — based on a range of variables that, ultimately, indicate the kind and level of social activity in and around the ArtCache.

Last Updated ( Apr 11, 2006 at 09:41 AM )
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Wildlife
Interactive City artworks
Mar 13, 2006 at 03:39 PM

Karolina Sobecka

Wildlife

At nighttime projections from moving cars are shone on the buildings in the industrial/abandoned part of town. Each car projects a video of a wild animal. The animal’s movements are programmed to correspond to the speed of the car: as the car moves, the animal runs along it, as the car stops, the animal stops also. Aggressive driving is reflected in the aggressive behavior of the animal. The animals are avatars of the drivers, who, enclosed in their bubble of safety, are separated from the stark and dangerous world of urban reality, as being in a different universe. The projections both expose the starkness of the urban landscape, and transform it into a world of dark fantasy.

Last Updated ( Jun 12, 2006 at 12:53 PM )
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Yellow Chair San Jose
Interactive City artworks
Mar 13, 2006 at 10:27 PM

Anab Jain, Tom Jenkins

Yellow Chair

When a local household in San Jose decides its share its wireless network with neighbours and other strangers, the house members do not know what to expect. Few curious passersby stop by to see what would happen next. There is a rumour that somewhere else, at the other end of town, another household with a yellow chair is doing the same thing. What was going on? The rumour mill worked overtime, as people wondered why anyone would want to sit on a yellow chair to access a wireless network. But for those who sat on the chair, they knew it was a unique experience and a lot of fun. They had been ‘invited’ to enter personal networks, share music and movies and shout across town about war and politics if they so wished. They felt like cyber voyeurs, entering unknown territories, grabbing and dropping files across the neighbourhood, across the city, over a cup of coffee.

Last Updated ( Aug 05, 2006 at 03:27 PM )
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ZeroOne to the Globe--The World to San Jose
Invited Artworks
Written by Steve Dietz   
Apr 07, 2006 at 09:57 PM

Jon Winet, Dale MacDonald, Scott Minneman, Craig Dietrich

Using mobile phones, ISEA to the Globe--The World to San Jose will produce and distribute syndicated SMS and MMS messages to link participants and visitors to ISEA 2006 and to world events.

ISEA to the Globe, Jon Winet

Daily reports produced on site will link events in San Jose to subscribers worldwide. A parallel track of messages produced and harvested worldwide will bring international news and narratives to ISEA attendees.

The project highlights the ubiquity of electronic communications and the shifting locus of the Internet to mobile devices, as well as the activist, global "DIY journalism" potential of emerging technologies.

Last Updated ( Aug 06, 2006 at 09:50 PM )
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Zhong Chen (Prophecy)
Container Culture
Written by Steve Dietz   
Mar 11, 2006 at 08:02 PM

Xu Bing

Installation with artifacts, neon arrow signs, display pedestal
Part of the exhibition Container Culture
Curated by Zhang Ga

Xu Bing, Zong Chen (installation view)

Zhong Chen (Prophecy) is one component of the site specific Tobacco Project. This part of the installation consists of a display pedestal encased with original accounting paperwork, bank records, receipts and other historical artifacts that document the business transactions of the British American Tobacco Company in China it its formative days, the display also contains the artist's personal financial transaction record with the Duke Foundation during the creation of the Tobacco Project in 2000. The project traces the trajectory of the multinational tobacco company's expansion into the world's most populous country and urges us to reflect on China's modern and contemporary experience as a marketplace as well as her interaction with global economy, implicitly invoking its multiple interpretations. Xu Bing's Zhong Chen realizes its experimental quality by engaging art in a new kind of dialogue with commercial culture and international relations. The work is neither a representation of observed reality nor an installation of ready-made materials. Rather, it remains in close contact with reality while transforming reality. It would be futile to ask whether it is a "work of art" because Xu Bing did not make it as such, and because its meaning can only be grasped when it is approached as part of a broad, complex social and political process.

Last Updated ( Apr 12, 2006 at 01:59 PM )
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[murmur] in San Jose
Community Domain artworks
Written by Steve Dietz   
Dec 29, 2005 at 01:22 PM

Shawn Micallef, Gabe Sawhney, Ana Serrano

[murmur]

At each location where stories are available, a green [murmur] sign with a telephone number and location code marks where stories are available. By using a mobile phone, pedestrians are able to listen to the story of that place while engaging in the physical experience of being there. Some stories suggest that the listener walk around, following a certain path through a place, while others allow a person to wander with both their feet and their gaze. The stories are told by people who know the stories, in their own voices. English translation are offered when the story is told in a non-english language.

Last Updated ( Jul 19, 2006 at 10:14 AM )
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