Orbitando Satélites shows some of the results of a process
of
investigation begun by Plataforma Cero in May 2011 with the meeting of a
group of artists, investigators and amateurs dedicated to listening,
watching, thinking and imagining satellites.
We hope to be able to share the feeling of wonder that they generate in
us, showing that anybody can observe and listen to satellites and that
technology, space, and their poetics, are a contemporary Commons.
Participants :
Alejandro Duque / Joanna Griffin / David Pello / Reni Hofmueller / Luca
Carrubba "Husk" / Lord Epsylon / Xiu Cueva / Bruno Vianna / Cinthia
Mendonça / Laura Plana / Pedro Soler / Gonzalo Garcia / Pablo Gallo /
Victor Mazón / Raquel MP19 / Una_Fremen / Ana Arboleya / Nuria
Rodriguez / Cristina Ferrández / Lorena Lozano / Josian Llorente / Aritz
Zabaleta /
investigation begun by Plataforma Cero in May 2011 with the meeting of a
group of artists, investigators and amateurs dedicated to listening,
watching, thinking and imagining satellites.
We hope to be able to share the feeling of wonder that they generate in
us, showing that anybody can observe and listen to satellites and that
technology, space, and their poetics, are a contemporary Commons.
Participants :
Alejandro Duque / Joanna Griffin / David Pello / Reni Hofmueller / Luca
Carrubba "Husk" / Lord Epsylon / Xiu Cueva / Bruno Vianna / Cinthia
Mendonça / Laura Plana / Pedro Soler / Gonzalo Garcia / Pablo Gallo /
Victor Mazón / Raquel MP19 / Una_Fremen / Ana Arboleya / Nuria
Rodriguez / Cristina Ferrández / Lorena Lozano / Josian Llorente / Aritz
Zabaleta /
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en plataforma0 - LABoral (Gijon). 60 paginas que reunen muchas de
nuestras ideas alrededor del tema de los satelites.
This last weekend we had the chance to present the Manual of Orbitando
Satelites [OS]. We handed copies to friends and people participating
on the Santa Monica synergy meeting. But we made it also to zzzinc.
Fuimos tambien a un lugar llamado zzzinc, donde esta semana realizaron
la reunion de desarrolladores con OpenFrameworks (oF):
http://zzzinc.net/2011/3er-encuentro-de-desarrolladores-openframeworks/
Text by text and one by one, we shared and disscused the so many views
and perspectives our manual collects; a very lively presentation by
Laura, Reni, Cristina, Nuria, Lucia, Fabi, Pedro y la banda trapera
del rio que nos lleno de energia la noche anterior. It's difficult to
wrap all what happened this weekend in Barcelona that included a few
tries to get the voices over the sats from overseas.
Aca su payload/contenido:
Orbitando satélites (About this manual)
NAUKA00, EL SATELITE DISIDENTE
Cartografiando / The Cartographer
Sábado 19:00hs.
Astrologia artificial: geoestacionários
Astrologia artificial: o arabsat-5a e as revoltas árabes
Manifesto del Movimiento de los Sin Satélite #MSST
La Declaración de Bogota (1976-today-hoy)
Gpredict>OSC>din>pd (the OpenSoundControl patch)
Software Defined Radio: Gnuradio+FUNcube dongle
El Arte de las Aéreas
Construccion de un satelite
Azimuth-altitud-zenit_
Agoræ
Mateur
Sgaan Materia Obscura
Spatial aesthetics
Radio Magic(rev.02)
Rarae Aves (act.1)
INDEPENDENT SPACE TRAVEL
Exposición Orbitando satélites
Here is a 6 megas file that you could download and share. Descarguelo
aqui/get it from here:
http://bogotadeclaration.files.wordpress.com/2011/08/os_manual_lowres.pdf
We should now collect the addresses of people who participated on this
little manual so to send them copies!
http://bogotadeclaration.wordpress.com/2011/11/19/manual/
https://n-1.cc/pg/pages/view/956337
_______________________________________________
Orbitando mailing list
Orbitando@listas.plataformacero.cc
http://listas.plataformacero.cc/cgi-bin/mailman/listinfo/orbitando
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Este texto fue escrito en parte en respuesta al simposio ISEA
sobre arte virtual y al taller Orbitando Satélites en Laboral
Centro de Arte de Gijón. Su objetivo es hacer un breve resumen
de algunas de las referencias teóricas y una exploración
más sociológica de la forma en que organismos como
la NASA, la Agencia Europea de Medio Ambiente, los Ministerios
de Defensa, ACNUR y el Observatoire Leonardo des Arts et
Techno-Sciences se acercan a los problemas de los presupuestos,
ideas y procedimientos en materia de satélites.
Dado que entre los organizadores y participantes de estos
simposios y eventos se encuentran artistas, especialmente
artistas de software, cabe destacar que la perspectiva del
arte también está haciendo aportaciones interesantes en
relación con el aspecto imaginario y social de los satélites.
Algunos de los artistas más importantes que trabajan en este
campo son Max Neupert, Duque Alejo, Paglen Trevor, Kancler
Tjasa, Laura Kurgan, Aleksandra Mir, Lena von Lapschina,
Marceli Antunez, Eduardo Kac, Nam June Paik, Peter Sforza,
Walid Raad, Harum Farocki, Reni Hoffmuller...
Una forma de acercarse al aeroespacio político es a través
del nuevo concepto de estética espacial, que define y utiliza
términos como "geopolítica" y "cartografía" dentro de un
marco teórico que abarca referencias tales como la poética
del espacio desarrollada por Gastón Bachelard, las definiciones
de Foucault del panóptico, la heterotopía y los espacios
otros, así como Mil Mesetas de Gilles Deleuze, y Velocidad
e información: ¡Alarma en el ciberespacio!, de Paul Virilio, en
el que el autor vaticina la idea de la geoesfera, la
geopolítica y la geoestrategia de una nueva era en tiempo
real. Desde esta perspectiva, a partir de la Guerra Fría, la
esfera del espacio público ha definido y se ha apropiado de
conceptos inestables, tales como las fronteras, los no lugares
y la vigilancia, que convergen en los lugares reales e imaginarios
de la distopía, la atopía y la utopía, así como del espacio
exterior, las TAZ, el ciberespacio y las Neterotopías.
Por otro lado, los estudios geoespaciales utilizan la perspectiva
de las políticas de satélites y la asignación de dispositivos
aplicados a una amplia gama de situaciones, desde las
poblaciones humanas sin fronteras territoriales a las causas
y consecuencias de la actividad humana sobre el futuro del
planeta. Durante la Guerra Fría, la política nuclear se utiliza
para justificar el alto coste de la tecnología GPS, crucial
para determinar la posición de lanzamiento de mísiles balísticos
y la política de defensa. A partir de entonces el uso de
satélites en conflictos bélicos pasó a ser habitual, como por
ejemplo en la Guerra del Golfo (1990-91), en la que el
organismo cartográfico de defensa de EE.UU recogió datos geográficos
a través de satélite.
El uso no militar incluye herramientas como la desarrollada
por la Agencia Europea de Medio Ambiente, una nueva cartografía
que permite a los usuarios ver la Tierra, la información
y los datos de los satélites utilizados por ACNUR,
agencia parte de la ONU. Para contextualizar y cuestionar el
trabajo de las agencias en esta área, algunos artistas trabajan
con imágenes por satélite, mapas y su política cultural.
En su obra, Paradigma, por ejemplo, Tjasa Kancler recopila
datos acerca de la propuesta de mísiles de defensa de EE.UU.
sobre la base de un sistema antimisiles en países de Europa,
mientras que Trevor Paglen muestra una posición en tiempo
real de los militares estadounidenses y las naves espaciales,
clasificadas por inteligencia y temas. En el texto Satellite
Art: An interview with Nam June Paik, Eduardo Kac, otro
artista muy interesado en estos temas, describe los peligros
que comportan para nuestra sociedad la tecnología militar y
del progreso.
Las imágenes por satélite permiten detectar migraciones o
desplazamientos humanos en el territorio a través de las
imágenes capturadas por satélites y radares, incluso imágenes
nocturnas. Las agencias informan de situaciones de exceso en
zonas, ciudades y territorios en crecimiento amenazados por
el urbanismo masivo o procesos industriales. Así, la conquista
del aeroespacio permite también la construcción de una
dinámica en red partícipe de las políticas espaciales que no
solo anticipan el riesgo en territorios físicos, sino posibles
formas de actuar en las zonas satelitales, tanto a largo
plazo como en situaciones de emergencia. Desde campos
como la estética espacial, artistas, teóricos e investigadores
cuestionan esta conquista y trabajan para alertar de los riesgos,
profundizar en el imaginario acerca de los satélites y
expandir su campo de posibilidades.
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Aerospace policy
1.INTRODUCING GENEALOGY OF SPACE
GEOPOLITICS / MAPPING / CARTOGRAPHY
PHISICAL AND NON-PHISICAL PLACES
2.THE AERO-SPACE POLICY
2.1 SATELLITES
Types
uses
GPS
2.2 THEORICS
VIRILIO
BAUDRILLARD
Mapping Virtual Skies ISEA2010 RUHR
2.3AGENCIES
NASA
EEA
MINISTERIO DEFENSA ESPANYA
ACNUR OLATS
INSTITUTO DE ASTROFISICA DE CANARIAS
LEONARDO SATELLITES SYMPOSIA
2.4 ARTISTS
MAX NEUPERT
ALEJO DUQUE
TREVOR PAGLEN
TJASA KANCLER
LAURA KURGAN
ALEKSANDRA MIR
MARCELI ANTUNEZ
EDUARDO KAC
NAM JUNE PAIK
PETER SFORZA
WALID RAAD
HARUM FAROCKI
LENA VON LAPSCHINA
1.INTRODUCING GENEALOGY OF SPACE. GEOPOLITICS / MAPPING / CARTOGRAPHY. PHISICAL AND NON-PHISICAL PLACES
GENEALOGY OF SPACES
1. INTRODUCING GENEALOGY OF SPACE
GEOPOLITICS / MAPPING / CARTOGRAPHY
INTRODUCING GENEALOGY OF SPACE through concepts as GEOPOLITICS / MAPPING / CARTOGRAPHY. It is a theoretical concept based in Nietzsche, Genealogy of Moral; George Perec, Species of Spaces; Gaston Bachelar, The poetics of Space; the definitions of Panoptic and Heterotopy by Foucault, and also The Auters Spaces. It takes referees from Milleaux Plateau by Gilles Deleuze. Also, Paul Virilio in Speed and information. Alarm in cyberspace! An article for aleph arts, announces concepts as Geosphere, Geopolitics and Geostrategy for a new era in real time. Since the Cold War the dominion of public social space is determining and building the Hierarchy of spaces among different distinctions as Dystopia. Utopia. Atopia. Non-site. TAAZ. Borders. Surveillance. Internet. Cyberspace. Neterotopies. Outer space, Universe. Etc. The geospatial studies imply satellite policies and mapping devices. This may refer to a society which does not have territorial borders and is also dealing with the causes and damage on human in the future. During the Cold War arms race, the nuclear policies treatment was to justify the costs of GPS, vital for nuclear policies and to determinate the Ballistic Missile launches position. It is also known that geographical data was collected by U.S. defense mapping agency during Golf War 1990/1991. Contrary to war policies, the European Environment Agency is using a new mapping tool that allows users to see land-cover information. Also ACNUR is currently working with data satellites. Among other artist working with satellites imaginary, mapping and cultural policies, Tjasa Kancler (Paradigma) collects data about the US Missile defense proposal for Europe based in an antimissiles system at the eastern European countries, obviously based in satellites uses and des-territorialized outer-space policies. Trevor Paglen shows a real-time position of classified American military and intelligence spacecraft. Laura Kurgan uses satellites location devices to map real spaces inside the museums and Peter Sforza takes use of satellites to capture images of the earth. Eduardo Kac in Satellite Art: an interview with Nam June Paik deals with militarism, technology and evolution (progress) under awareness and risk conditions with carefulness in the electronic media.
2. SATELLITES
TYPES
LEO (Low Earth Orbit, which means low orbits). Orbit the Earth at a distance of 160-2000 km and speed allows them to travel around the world in 90 minutes. Are used to provide geological data on the movement of earth’s plates and the phone industry by satellite.
Satellites MEO (Medium Earth Orbit, Medium Earth Orbit). Satellite orbits are fairly close, about 10,000 km. its use is intended to telephone and television communications and measurements of space experiments.
Satellite HEO (Highly Elliptical Orbit, highly elliptical orbits). These satellites do not follow a circular orbit, but its orbit is elliptical. This means that achieve much greater distances at the farthest point of its orbit. They are often used to map the Earth’s surface because they can detect a wide angle of Earth’s surface.
GEO satellites. They have a forward speed equal to the speed of rotation of the Earth, which means they are suspended over the same spot of the globe. Why they are called geostationary satellites. For the Earth and the satellite must match their speed latter is at a fixed distance of 35,800 km on Ecuador. They are intended for television broadcasting and telephony, data transmision over long distances, and the identifictaion and dissemination of meteorolofical data.
USES
there were needs for navigation in military that cost billions of dollars in research, development, deployment, and operation for the complex constellation of navigation satellites.
during the Cold War arms race, the nuclear threat of the United States was to justify the cost in the US Congress. This is why GPS was funded.
Also, The nuclear threat also deals with the US Navy’s submarine-launched ballistic missiles (SLBMs) along with the US Air Force’s strategic bombers and intercontinental ballistic missiles (ICBMs).
Both system need to functions the satellites in orbit
Considered vital to the nuclear policies, to determinate the Ballistic Missile launch position, and to measure the precise navigation to enable US submarines to fix their positions satellites were necessary.
GPS global positioning system
The Global Positioning System (GPS) is a space-based global navigation satellite system (GNSS) that provides reliable location and time information in all weather and at all times and anywhere on or near the Earth when and where there is an unobstructed line of sight to four or more GPS satellites. It is maintained by the United States government and is freely accessible by anyone with a GPS receiver. In addition to GPS other systems are in use or under development. The Russian GLObal NAvigation Satellite System (GLONASS) is for use by the Russian military. There are also the planned Chinese Compass navigation system and Galileo positioning system of the European Union (EU). GPS was created and realized by the U.S. Department of Defense (DOD) and was originally run with 24 satellites. It was established in 1973 to overcome the limitations of previous navigation systems.
usos:
captura imagen sistema solar / planetas /
weather conditions / earthquackes /
human displacements in war / crisis /
comunicaciones
misiles / armamento / belico
funcionamiento:
altura 300km
THEORICS
PAUL VIRILIO
Speed and information. Alarm in cyberspace!
http://aleph-arts.org/pens/speed.html
PAUL VIRILIO in SPEEd and information. Alarm in cyberspace! An article for aleph arts, uses concepts as Geosphere and announces a new era in real time.based also in concepts as Geopolitics, Geostrategy. Virilio is finding how Democracy is under thereatment of Real time and cyvberspace in its dealing with the contact among distance, the Telecontact. The Globalised information world will Shock the Reality with distortion, Progress and Technique. The Ciberdemocracy or the Virtualdemocracy, it also means the globalization of time (in Debord the technocracy of work organizing holidays and leisure activities around the capitalism of work). The conceptualization of uniqness system of time under capitalistic machinery does not display devices for free experimental development of what is being called the Global time, the Virtualized, Universal, Global time. It is belonging to multimedia and to the social need to display new clock tools to show time universal machine, something that satleiites are now showing (weather conditions plus time conditions in univeral and social space). Virilio is also dealing with the influences of transport technology in what we call control in information systems. The Security systems used in transport is not considered yet in digital, for example Disinformation. According, the conditions of social media in contemporanity and according to Virilio, the second bomb, these after the atomic, will be the electronic bomb. Moreover, Virilio is in the aesthetic of digitalism and awarnes against Risk, Accidents, Collapse, like Chernobyl, Crack29, and militarist policies. http://aleph-arts.org/pens/speed.html
BAUDRILLARD
The gulf war did not take place.
http://books.google.co.uk/books?id=IGswfqekMuQC&printsec=frontcover&dq=inauthor:%22Jean+Baudrillard%22&hl=en&ei=zijoTI22JIWv4Qa0wPX4Ag&sa=X&oi=book_result&ct=result&resnum=9&ved=0CFcQ6AEwCA#v=onepage&q&f=false
The gulf war did not take place. Published in press. Cnn. Influence by borges. Cartographer. Empire draw map. Geographical data collect by us defense mapping agency. Military. Golf war. 1990/1991. categories: virtual . hiperreal . simulacro . tiempo real . Displaying tools to develop social needs and knowledge. Clocks, cameras, to visualize global world complexity. Internet, digital photo , satellites, unfortunately delivered by military research contrating to modernity invention as photo or cinema, or classical caja negra. Anyway, artist working in cntmp devices to develop social needs. Abuse of power. Use of incriminating policies to develop strategies (image and sound mainly, territorial and time devices, as well) .
NASA
EEA
The European Environment Agency (EEA)
Discover Europe’s landscape through satellite and ground-level pictures The LUCAS viewer, a new mapping tool managed by the European Environment Agency, now allows users to see land-cover information based on satellite images as well as thumbnail-size photographs taken in sampled locations across Europe. LUCAS viewer Land use interactive map with ground-level photographsThemes Land use Adding such in situ observations to satellite data leads to a more accurate and detailed presentation of Europe’s landscape. This is particularly useful in understanding how Europe uses its land and helps improve environmental assessments.The photographs were collected by Eurostat as part of the LUCAS field surveys (land use/cover area frame statistical survey). LUCAS provides harmonised information on Europe’s agricultural environment and has been recording in situ observations of land use and land cover, including photographs in four directions (north, east, south and west) and of the sample spot itself. The LUCAS viewer plots these photographs against the Corine land cover 2000 data.A new GMES (Global Monitoring for Environment and Security) working group on in situ observations meets for the first time in London today (18 March 2008) to discuss how ground-based monitoring could be better integrated with earth observation data. European Environment Agency, Kongens Nytorv 6, DK – 1050 Copenhagen K, Denmark - Phone: 45 3336 7100 The European Environment Agency (EEA) is an agency of the European Union.
ACNUR
is one of the ONU agencies that is currently working with data satellites. It is know that satellites captures images that are saving considerable time in operations to rescue refugees in displacements. It also has the important advantage of obtaining visual reference of the ground with devices exposing risks as HURRICANES, DISPLACED PEOPLE, REFUGEES. UNOSAT is the Operational Program for Satellites Aplications of United Nations Institute for Research and Investigation. In 2007, fighting in libanon to flee a majority of the 27.000 palestinian refugees living in the overcrowded camp of nahar al-bared, leaving behing 3.000 to 5.000 refugees, including children, sick and elderly. Humanitarian organization were not allowed access to the fields, but UNOSAT provided detailed assessments of the damage. The information was used to observe the humanitarian situation and provide evidence on the Lebanese government that would basis for requesting international assistance and funding for the affected population.
Images satellites allows to localize displacements people on the territory thanks to, among others, radar satellites for example, that are capturing vision night images. Acnur informs about the situation of excess in territorial spaces. Cities and territories in growth threatrened by gentrification, mass urbanism, etc.. in that order, conquer the outerspace and built up the web with satellites policies in order to prevent risk in earth borders and ancestral zones underthretment or physical territory dealing with humanitarian, or humanitarism policies. Politics of preservation of human species.
UNOSAT
http://unosat.web.cern.ch/unosat/
IAC
instituto astrofisica de canarias re the dSph satellite galaxies tidal-dwarfs? Prof. Pavel Kroupa, Argelander Institute for Astronomy (AIfA) Sternwarte, University of Bonn. The Milky Way has about 15 low-mass dwarf-spheroidal (dSph) satellites. These have luminosities and internal velocity dispersions similar to globular clusters but are about 100 times larger. The usual interpretation is that these objects are dark-matter dominated: the stars are located in the innermost regions of 10-100 times more massive dark-matter sub-halos. However, many of the dSph satellites are sub-structured and appear to be distorted. Such distortions are most readily explained if the satellites are significantly affected by the Milky Way tide such that dark matter does not significantly shield them. Furthermore, the satellites are distributed in a relatively thin plane extending to 250 kpc which is highly inclined to the disk of the Milky Way. This is most readily explained if the dSph satellites are causally related, i.e. if they share a common orbital angular momentum vector. All of this can be understood within a conservative framework, in which early galaxy-galaxy encounters produce tidal-dwarf galaxies. Applied to the Milky Way this suggests an early (about 10 Gyr ago) encounter which left a population of related TDGs in orbit.
fuerzas armadas / ministerio de defensa
SATELITE SPAINSAT Y XTAR-EUR: El SPAINSAT incorpora una antena anti-interferencias desarrollada por INTA / CASA-EADS y que supone un gran avance tecnológico en el campo de las antenas planas activas multihaz. En el desarrollo de la antena IRMA, asociado a este programa de satélites, la participación nacional (Dirección Técnica � INTA y Dirección de proyecto � EADS-CASA) fue la siguiente: EADS-CASA Espacio (Diseño, desarrollo, fabricación, integración y ensayos a nivel antena; Diseño y fabricación placa base y elementos estructurales, de elementos térmicos, de cableado eléctrico, de cableado RF y de elementos radiantes; Medida RF de las tarjetas de control; Diseño y medidas RF del circuito híbrido; Diseño, fabricación, montaje, ensayos y medidas RF de las redes combinadoras y de útiles de integración y ensayos a nivel antena; Ensayo RF en laboratorio y cámara anecoica a nivel antena), ELATESA (Fabricación de circuitos impresos de elementos radiantes y de las redes combinadoras), INTA (Medidas RF de elementos radiantes y Ensayos ambientales a nivel de antena como vibración, ciclos en vacío térmico y EMC); ASTRIUM-CRISA (Diseño, fabricación, integración y ensayos de las unidades eléctricas y placa base); INDRA (Montaje de los componentes y ensayos ambientales del circuito híbrido) y la Universidad de Santiago de Compostela (Análisis de sensibilidad y síntesis de haz). Así mismo, se ha desarrollado una como herramienta software de Control y Operación desde tierra de la antena anti-interferencias IRMA (SCOI). La organización nacional en su desarrollo fue el siguiente: Oficina Jefatura de Programa SATCOM de la DGAM/SDG PLAPRO y Dirección Técnica INTA: EADS-CASA Espacio (Dirección de Proyecto, Gestión, Garantía Calidad, Ingeniería de sistemas, definición de planes de ensayos, desarrollo módulos de software y validación sistema), INSA (diseño y desarrollo arquitectura software de la aplicación, desarrollo de interfaces, gestión de bases de datos, e integración de módulos de software), Universidad de Cataluña (desarrollo de los algoritmos de mitigación de interferencias y definición de interfaces) y Universidad de Santiago (definición y desarrollo algoritmos matemáticos de síntesis nominal de haces). SATELITE OBSERVACIÓN HELIOS:Los satélites Helios I y II van dotados de sensores ópticos que efectuarán tomas de imágenes en el espectro visible y también en el infrarrojo en el caso de Helios II. Los satélites de observación Helios II de nueva generación asegurarán la continuidad del servicio del Helios I, primer sistema militar europeo de vigilancia, y ofrecerán al mismo tiempo una serie de características que incluyen: una resolución mejorada, capacidad de infrarrojos para observación nocturna, capacidad de formación de imágenes incrementada simultáneamente de diversos modos, tiempos de transmisión de imágenes más cortos. La capacidad de inteligencia día/noche (con funciones de visibilidad y de infrarrojos), del sistema Helios II también se podrá emplear para la selección de objetivos, planificación de misión y verificación de daños de combate. SATELITE OBSERVACIÓN PLEIADES: El Ministro de Defensa junto con el Ministro de Industria, Turismo y Comercio, firmaron el 26 de julio de 2007 un Acuerdo Marco para el desarrollo, financiación, puesta en órbita y explotación del Programa Nacional de Observación de la Tierra por Satélite, que supondrá una inversión global de 328 millones de euros (135 millones correspondientes a MINISDEF y 193 millones a MITYC). Los planes iniciales prevén que dos satélites estén operativos en el año 2012. El �Programa Nacional de Observación de la Tierra por Satélite� estará constituido por dos satélites: * Un satélite (denominado Ingenio) con sensores ópticos, que será gestionado por el Centro para el Desarrollo Tecnológico e Industrial (CDTI, dependiente del Ministerio de Industria), orientado principalmente a usuarios civiles. * Un satélite (denominado Paz), objeto de este Programa, dotado de sensor radárico SAR, que será gestionado por el Ministerio de Defensa. Este satélite responde en mayor medida a requisitos de Seguridad y Defensa aunque cuenta con una capacidad de utilización dual, civil y militar. Con este satélite es posible obtener imágenes de la Tierra de alta resolución en condiciones climáticas adversas y durante la noche, es decir, todo tiempo. La firma de este convenio da respuesta a uno de sus principales objetivos de la Administración Española: garantizar la adecuada coordinación de las inversiones públicas en espacio entre los diversos actores, obteniendo resultados muy superiores a los que proporcionaría el desarrollo de ambos satélites por separado.
MIT
http://www.ll.mit.edu/news/testsatellitepotential.html
MIT undergraduate students are building this satellite as part of a three-semester Space Systems Product Development course designed to give students real-world experience building and testing hardware. The curriculum involves a CDIO approach: conceive, design, implement, and operate. This phased approach to the project takes students through the all the stages of the development process, giving them the experience of managing a full life-cycle project on an aerospace product.
LEONARDO AND THE ARTS
http://www.olats.org/space/space.php
2nd Leonardo satellite symposium at NetSci2011
http://artshumanities.netsci2011.net/
JOANA GRIFFIN
ISEA2010 RUHR
Mapping Virtual Skies
Conference Programme 24/08• Max Neupert (de): Satellite Zodiac • Alejandro Duque, Luis Bustamente (co): Unsigned• Laura Plana Gracia (es): Database Visualizations, Mapping and Cartography: Genealogy of Space. http://www.isea2010ruhr.org/conference/tuesday-24-august-2010-dortmund/p27-mapping-virtual-skies
MAX NEUPERT Satellite Zodiac http://revolwear.com/ Since the majority of the world’s population now lives in cities, starry nights have become increasingly rare. However, our life is dominated by artificial heavenly bodies. In my installation I make satellite positions visible – the room becomes a planetarium, with satellites replacing stars. Laser pointers display the positions of satellites. Additionally, illustrative interpretation of the emerging (satellite-) constellations explain their meaning and reflect our technological contemporary mythology. The C64, iPod, Gameboy and Walkman are among zodiac symbols of satellite constellations. also with lisa parks http://www.hmkv.de/satelliteborderfootprint/
ALEJANDRO DUQUE
THE BOGOTA DECLARATION. A tropicalattempt to reclaim geostationary slots for the countries located below the clark belt (36km above us) http://bogotadeclaration.wordpress.com Chaotic space traffic needs rules, less secrecy: US general .by Staff Writers Washington (AFP) May 13, 2010 A top US general on Thursday called for international rules to control chaotic space traffic, warning satellites are increasingly at risk of collision. General James Cartwright, vice chairman of the Joint Chiefs of Staff, said it was no longer possible for the United States and other countries to keep vast numbers of orbiting satellites a secret. BIRDS WITHIN http://wiki.medialab-prado.es/index.php/Birds_within El proyecto usa una arquitectura de 3D Audio en la que diferentes tonos o loops de sonido son asignados a representaciones digitales de satélites reales cuyas órbitas y velocidad son escaladas hasta el espacio personal de quien escucha. Éste tipo de paisaje sonoro busca subrayar la inmediatez de la actividad sideral y su influencia en espacios personales y comunes. El mayor reto del del proyecto es encontrar una vía para acentuar la experiencia de ésta actividad a través de una superposición de medios análogos y digitales con procesos sociales de observación y exploración urbana. M.S.S.T.Satelliteless http://devolts.org/msst/?page_id=124 Senza satellite Artisans of bits and volts, humanist poets, nomadic scientists – where are we going? I trust in the pulse of your steps, our revolution is the next second, and the constant challenge is not to surrender to the conformity of being entertained or entertaining: distracting the fact that we want to live beyond history, walls, banks, genetic similarity. We want an ecosystem that is worth of all this Prometheic pyrotechinic – this being, which is supposed to be Sapiens. Some intelligent symbiosis to keep this flame heating an harmonic environment. MOVIMIENTO DE LOS SIN SATELLITE https://n-1.cc/pg/groups/36140/msst/ Comunidades de artesanos de bits y voltios, poetas humanistas, cientificos nómadas hacia donde vamos?? Confio en el pulso de tus pasos, nuestra revolución es el proximo segundo, el desafio constante de no rendirse al conformismo de entretenerse o entretener, distrayendonos del hecho de que vivimos mas alla de la história, de los muros, de los bancos, de la semejanza de los cuerpos y sus consanguinidades. http://www.flickr.com/photos/alejoduque
TJASA KANCLER MISILE DEFENSE PROPOSAL FOR EUROPE, U.S. Department of State
http://www.p-a-r-a-d-i-g-m-a.net/
Some of the world’s most dangerous and unpredictable regimes either have already acquired, or are attempting to acquire, weapons of mass destruction. These regimes are also developing and/or acquiring ballistic missiles of increasing ranges, payloads, lethality, and sophistication as a means of delivery. In the future, these regimes could use these asymmetric weapons to pursue their objectives through force, coercion, and/or intimidation as they have done in the past.Because of the expanding ballistic missile threat, it is essential that we develop and deploy missile defenses capable of protecting not only the United States and our deployed forces, but also our friends and allies. Trans-atlantic security is indivisible. We have learned from experience that decoupling our defenses from Europe is very much against the interests of the United States and our European allies. If Europe is not secure, the United States is not secure. To ensure our common security, we need defenses stationed and operational in Europe before a threat fully emerges. For this reason, negotiations are currently underway to locate up to ten silo-based long-range missile defense interceptors in Poland and a midcourse tracking and discrimination radar in the Czech Republic.Why the sudden concern? Defenses take years to deploy. Work on missile defense in Europe must begin now in order to meet the growing threat from Iran.Iran has demonstrated the capability to develop, and intent to use, ballistic missiles of increasingly longer range (they currently have short-range ballistic missiles (SRBM) and medium-range ballistic missile (MRBM) technology) In 1998, intelligence experts indicated North Korea was years away from testing multi-stage rockets; the next month, they tested this capability. We cannot afford to be surprised by waking up one morning and discovering that Iran has an ICBM capability.
TREVOR PAGLEN
Active Military and Reconnaissance Satellites of the United States of America
http://artvoice.com/issues/v9n27/art_of_war
A multimedia installation in which real-time positions of classified American military and intelligence spacecraft are projected as points of light onto a large rotating three-dimensional globe. A soundtrack composed from intercepted transmissions from these spacecraft plays in the background. The installation is run by proprietary software developed specifically for the piece. Orbital data for the spacecraft comes from a loose network of amateur “satellite observers” who maintain an accurate “catalog” of classified objects in Earth orbit. Principle development for the installation was done by Chris Sugruewith supporting work by Jeff Crouse, Evan Harper, and Geraldine Juarez. The installation was produced with a commissions from the Eyebeam Art + Technology Center and the Berke. Trevor Paglen has a series of large-scale time-lapse photos o f the night sky with contrail-like traverse lines of otherwise invisible surveillance satellites against near infinitely distant starry background, documenting a covert American espionage program consisting of a network of nearly 200 classified information satellites. These are stunningly beautiful photos that are also impressive in terms of the amount of sheer information they contain. The time-lapse photographs are like movies distilled and condensed to a single frame. The explanatory material notes that the photographic technique essentially reiterates Galileo’s technique to discover heavenly bodies, namely, the moons of Jupiter, that also weren’t supposed to exist but were revealed through time-lapse observations and recording.
EDUARDO KAC
SATELLITE ART: AN INTERVEW WITH NAM JUNE PAIK
Originally published in Portuguese in the newspaper O Globo, Rio de Janeiro, Brazil, in July 10, 1988. Republished in: DIVA — Digital & Video Art Fair, 2005 Cologne (A Tribute to Nam June Paik), pp. 8-9. http://www.ekac.org/paik.interview.html
will be aired September 10, 1988, at 10:30 AM (Eastern Time), one week before the Olympic Games take place in Seoul, Korea. Its structure could be summarized as follows: several satellites around the planet will transmit images and sounds from several countries and Paik will be editing them in real time in New York and re-transmitting them back to the participating countries, where spectators will be able to watch on a local TV channel. With support from the Globo Television Network, Brazil will be the only country from South America to take part in the project. In charge of the Brazilian end is Hans Donner, an Austrian designer and computer (…)Since today we have satellites, we want to use them, discover what we, artists, can do with them. These same instruments (satellites) are used in the applied arts, which are essential to humankind because they are useful in everyday life. But there is also the military use of satellites. We want to use satellites for pacifist purposes, such as the performance arts, rock’n roll, dance, etc.; and we can make simultaneous transmissions between Rio de Janeiro, New York, Seoul, Bonn, Tokyo, Moscow and many other cities. It is clear that the applied arts are directly related to people’s activities, but the fine arts are more meaningful than the applied arts. We are using these new materials to work with the temporal element of the popular arts, the rhythm, which is so important in video art. This is my last satellite show, but it is also the beginning of a larger satellite movement of the future. Initially dubbed “Space Rainbow”, the project’s title was later changed to “Olympic Rainbow”, and again to “Wrap Around the World.” Whether the reference is to science or mythology,
http://www.medienkunstnetz.de/works/wrap-around-the-world/
http://www.eai.org/title.htm?id=2677
DEALS AS WELL WITH MILITARISM, TECHNOLOGY AND EVOLUTION (PROGRES)
ALSO AWARNESS AND RISK AND CAREFULNESS WITH THE ELECTRONIC MEDIA
LAURA KURGAN
You Are Here: Museu, MACBA, Barcelona (1995)
http://www.l00k.org/youarehere/you-are-here-museu
http://www.l00k.org/?c=maps
Research Lab at Columbia University
http://www.spatialinformationdesignlab.org
Taking advantage of a then newly operational network of 24 Global Positioning Satellites, this installation recorded the traces, and presented in real time, an attempt to inhabit the unruly and disorienting spaces of satellite mapping system. Exhibited as the inaugural installation, Department of Architecture and Design, Museu d’Art Contemporani de Barcelona, November 1995 – February 1996. Solo exhibition. Catalogue Catalogue: Laura Kurgan and Xavier Costa, eds.You are Here: Architecture and Information Flows, MACBA, 1995 Museu D’Art Contemporani, Barcelona.
http://www.l00k.org/youarehere/you-are-here-museu
2004 one of first shows was at MACBA http://www.l00k.org/?c=maps
And nowadays she directs a research lab at Columbia University:
http://www.spatialinformationdesignlab.org
Million Dollar Blocks and Terre Natale the two projects I’m proudest of
ALEKSANDRA MIR
Declaration for space
http://www.aleksandramir.info/projects/declaration/declaration.html
MARCELI ANTUNEZ
http://www.artscatalyst.org/projects/detail/transpermia_marcel.li_antunez_roca/
http://www.marceliantunez.com/tikiwiki/tiki-read_article.php?articleId=5
WALID RAAD
HARUM FARUCKI
PETER SFORZA
IKONOS satellite with GeoEye
Director and Research Scientist, Center for Geospatial Information Technology Virginia Tech
http://www.vt.edu/thank_the_world/
http://16blocksmagazine.com/media/pdf/200711_16blocksmagazine_web.pdf (see cover story, also see p14 for a related story)
http://www.cnr.vt.edu/cnr_pdf/cnr%20newsletter%20winter%202008.pdf
http://www.cgit.vt.edu/
Peter Sforza has studied the forms and functions of nature his entire life. As a biologist and plant pathologist, Peter studied the complex structures and strategies of microscopic organisms that incite disease in plants. Scientific visualization was essential to better communicate the mysterious ways of the microbes, and the forms were modeled in 3-dimensional and 4-dimensional environments. Viruses, bacteria, fungi, The Pathogenesis of Agrobacterium tumefaciens and genetic engineering,The Virtual Nematode, The Virtual Dandelion, and more. Rendering techniques included: static images, 3-d models, animated movies, semi-immersive and fully-immersive virtual environments. Display technologies used ranged from old school flip-book, wall projection and computer monitors to virtual reality theaters (VT CAVE). Some aspects are discussed in this article written by John Rougeux. … Perspectives on epidemiology, informatics and multi-scale systems emerged from the molecule to the organism, up to the landscape and global scales. Again, the patterns of nature presented an array of rich and complex, chaorganized interactions through these scales. Remote sensing and geography provide many excellent ways to see the world. As a scientist and visual artist working in remote sensing, the theoretical and technical aspects of satellite art are bolstered by a diverse scientific community in academia, government and industry, particularly the USGS science programs. The amazing optics and space systems of NASA, commercial satellite companies, and other space agencies around the world ensure quality data generation through satellite imagery. These optics and ‘products’ do not ensure quality rendering and processing. There is currently a surge of both companies and individual artists / studios who are working with satellite imagery as an artform. As the commercial space flight industry grows, artists will be afforded the opportunity to capture the essence of being in space, looking back at the earth, but the uniqueness of satellite imagery will remain intact…. In the case of several of the commercialized companies or resellers offering satellite image prints on the internet, it difficult to escape poor rendering of such nice imagery, largely because these prints are generated through automated computer processing of satellite imagery that can be assembly-lined into a poster series. This sterile approach misses what Peter considers as one of the great challenges in satellite art : how do we connect satellite imagery to the human condition, and appeal to a deeper aesthic sensibility and emotion, while retaining the quality and accuracy of orginal satellite data. People are connected to places, and satellite art can abstract that sense of place and memory in a very meaningful way. In the case of some images, such as Hurricane Katrina Dragon, the connection to the human condition and symbolism present in the image evokes a spectrum of emotions and responses. The majority of the satellite art produced by Peter Sforza has been commissioned work, which has grown into a collection of hundreds of pieces, many with incredible stories behind the requests.
Peter Sforza is a Research Associate in the Department of Geography and Associate Director of the Center for Environmental Applications of Remote Sensing atVirginia Tech. He currently serves as the Coordinator of VirginiaView, a statewide consortium for remote sensing education, research, and geospatial applications. Peter holds a B.S. in Biology (1997) and a M.S. in Life Science (2004) with a concentration in Plant Pathology, Physiology, and Weed Science at Virginia Tech. Peter’s academic work has focused on developing integrative and systems approaches to real world problems in epidemiology, biotic and abiotic interactions, and landscape ecology using scientific visualization, informatics, geospatial technologies, and remote sensing. September 28, 2007 In collaboration with non-profit organizations, Peter Sforza will be releasing a new series of Limited Edition prints through Satellite-Art.com to help raise awareness and resources for issues in the Gulf Coast, Latin America, and in Virginia. The target date for the official announcement is set for December 1, 2007! Stay tuned, or sign-up for the mailing list to receive an occaisonal newsletter from Satellite-Art.com. October 2, 2007 The Virginia Wine Map project is under way at www.VirginiaWineMap.net! Panoramic photography coming in October! Look for ‘Huckfest on the New’ a 360-degree twilight exposure on the New River!
ESTHER POLAK
For More information on Nomadic MILK:
http://geotales.wordpress.com/
The Go-Down Arts Centre Nairobi Arts Trust | Centre for Contemporary Art of East Africa (CCAEA)
NomadicMILK is a GPS (global positioning system) art project conducted in Nigeria by Dutch artist Esther Polak where, using satellite technology she tracked the distribution of “Peak” brand powder milk from the harbor in Lagos to the capital City, Abuja, and a nomadic Fulani family in Abuja and its greater vicinity. For this project, she carried with her GPS receivers and custom built robots which draw recorded routes using sand, when fed the GPS data, allowing audiences to witness the creation of a digital data-guided image that is generated from the movements of the Fulani herders, and for which they could gather around and reflect communally. In the context of the Geo-tales workshop, the two artists are working with a group of Contemporary artists from Nairobi who are interested on Mobility and mapping – including spatial arrangement & distribution, and how these play various roles in diverse human habitats, and ultimately, to develop viable, pragmatic strategies of how this can be artistically explored and presented. Together, they shall use their individual & collective experiences with the city as a starting point for a small-scale project that makes use of GPS technology to reveal new and inspiring aspects of re-looking and experiencing the city: its patterns, its flows, is distances, its differences, its similarities – and the means through which the city acts as a fundamental part of our daily existence and as such continues to impact our lives and our landscapes. With an assortment of GPS equipment you can go out in the streets and the devices record movements. These are visualized directly after returning to the CCAEA space, where the collected data is downloaded. Participants are working in small groups (2-4 person) to develop and articulate their own plans. After the two-week workshop the results will be presented to the public at the CCAEA Space and the Go down arts centre gallery. Esther Polak (b. 1962) is an Amsterdam based Artist working in the field of New Media. Polak studied at the Royal Academy for Visual Arts in The Hague from 1981 till 1986, and at the Rijksakademie van Beeldende Kunsten in Amsterdam from 1986 till 1989. With a consistent interest in landscape and in contemporary ways of visualizing space and geography, Polak turned to visualization and mapping as artistic tools, and an integral part of the basic concept of her work. In several of her long-term projects such as Amsterdam RealTime, the MILK project and NomadicMILK, Polak makes mobility, routes and trajectories visible from the perspective of participants, in an intuitive and personal manner. With the MILK project, Esther Polak won the Gada Balva Prix (Riga, Latvia) in 2004. In 2005, she was awarded the Golden Nica for Interactive Art at Ars Electronica, Linz, Austria. Ivar van Bekkum is an Amsterdam based Visual Artist, graphic designer, illustrator, photographer, producer, publisher. From 1985 to 1989, he studied journalism at the school of journalism in Zwolle, The Netherlands. He worked as a news designer for newspapers and magazines in which role illustration and photography became part of his profession. He designed books and more and was awarded a honorable mention with the redesign of the newspaper Automatisering Gids. He got aquainted with Esther Polak in the 90’s. They started working together in 2004. This Project is facilitated by Nairobi Arts Trust, Kenya & Stichting beelddiktee, Netherlands. This project is supported by the arts collaboratory. www.artscollaboratory.org For images & more information please contact:
Jimmy Ogonga J.ogonga@nairobi-arts.org
Tel: +254 733 762 556
www.nairobi-arts.org
DARKSTAR
THE symbolic connection beetwen the moon, the earths’s satellites, a star and people living the present moment, moves back froma systematic celebration of the past. being a monument devoted to space time. it reflects the everyday and reminds people of the here and now.
http://www.darkstar2012.com/index.html
http://www.darkstar2012.com/3-2.html
* All artist had been advised and notified about image use during the conference
trevor paglen
nam june paik
alejo duque / declaration of bogota
peter sforza sat./artORBITANDO SATELLITES
Contenido / Payload
Creditos y agradecimientos:
Plataformacero - LABoral
Movimiento de los Sin Satelite - MSST
Asociación de Astronautas Autonomos - AAA
Union of Concerned Scientists - UCS
http://booki.cc