Cartographies of Now.here Digital Aesthetics

MUSEUM OF CONTEMPORARY ART. BELGRADE. conference

2011-06-30T04:56:00.001-07:00

Call for papers for the Transitory network public forum

The TRANSITORY NETWORK PUBLIC FORUM (Belgrade, 22- 24 July), is now accepting research papers. Social Scientists, Cultural Researchers, Art Managers, Curators, Artists and anyone interested in the topic is encouraged to apply. We specially welcome creative research and performative presentations.

Transitory Art is a concept that responds to the necessity to map out a specific landscape of creative and research practices that responds to the contexts and challenges proposed by Globalization. This umbrella/concept tries to define the variety of artistic productions and research that are becoming increasingly representative of our multicultural and trans local era. It is a concept that develops in the time of new media ubiquitous use as a tool to represent the reapropiation of alternative discourses found within consumption and production. The definition of Transitory Art does not rely only though in the use of new media as a subversive strategy of interaction and experimentation but also in the retooling of the useabilities of traditional media as a means to broaden the scope of art’s multiple new functionalities. Transitory Art then tries to reveal itself in the everyday, within the strategies of place and space creation, use and occupation.

The Transitory Network is proposed as an open platform that aims to link different institutions with a similar mindset, that is: the dissemination of Transitory Art through the organization of Transitory AIR Program and the research, creation, presentation and distribution of Transitory Art. In order to discuss and present the Transitory Network, the Transitory Network Public Forum (TNPF) has been organized. The TNPF will be a platform, a knowledge sharing and a networking event that will take place in Belgrade during the 22nd and the 24th July 2011. The three days Forum will be hosted by the cultural organization Treci Beograd and the Museum of Contemporary Art of Belgrade (Serbia) and will be organized by MoTa - Museum of Transitory Art (Slovenia) in collaboration with Kitchen Budapest (Hungary) and CENATUS CIC London (UK). The TNPF will be also joined by WRO Arts Center in Wroclaw (Poland) and Ciant Prague (Czech Republic) partners and founding members of the future Transitory Network. The Forum will comprehend presentations, debates, info platforms and public interventions.

OPEN CALL FOR PAPERS

Deadline for submissions: 31st May 2011

The TRANSITORY NETWORK PUBLIC FORUM is now accepting research papers reflecting upon the following topics:

a) ‘Why is art relevant today? Meaningful interactions, New Medias and the public space’.
b) ‘Transitoriness vs. permanence: creative practices in the era of hyper-mobility’.
c)‘East Europe as fictional space: Socio-political contexts, contemporary art initiatives and creative networks’.

Social Scientists, Cultural Researchers, Art Managers, Curators, Artists and anyone
interested in the topic is encouraged to apply. We specially welcome creative research and performative presentations.
Selected researchers will be invited to take part in the TRANSITORY NETWORK PUBLIC FORUM through presentations and participation in the debates and will have travel and accommodation expenses covered. Furthermore the selected research papers will be part of the TRANSITORY NETWORK PUBLIC FORUM catalogue.

To apply please download the application form attached below and send it to mota.museum@gmail.com no later than 31st May 2011.

Date: 03.03.2011 - 31.05.2011

Reviews:

The TRANSITORY NETWORK PUBLIC FORUM (Belgrade, 22- 24 July), is now accepting research papers. Social Scientists, Cultural Researchers, Art Managers, Curators, Artists and anyone interested in the topic is encouraged to apply. We specially welcome creative research and performative presentations.

Transitory Network Forum
21 July - 22 July 2011
Salon of Museum of Contemporary Art, Belgrade, Serbia

Transitory Network Forum
Exhibition/Simposium/Debates/Events

Iniciative: MoTA – Museum of Transitory Art, Ljubljana.
With support of: Treći Beograd & Salon of Museum of Contemporary Art, Beograd.
Partners: CIANT (Prague), WRO (Wroclaw), Kitchen Budapest (Budapest), Cenatus CIC (London), BIS (Istanbul), Protok (Banja Luka) i Artos (Ciper).

Transitory Network
Transitory network is an initiative to connect media-labs and artist-in-residency spaces in East Europe and the Balkans. It functions as a collaborative curatorial body with an open call that will result in a shared residency program focused on artistic research and production of new site specific works of selected artists.In most of the cities the partners managed to establish pioneering residency programs. The network encourages exchange between these places as well as production and touring of international transitory artworks. All believe in building the infrastructure for artistic research, production and representation in order to be able to construct a dynamic and open system with the purpose to revitalize the either closed or just unfamiliar artistic scenes of the so called East.

Why Transitory Network?
Transitory Network is first attempt to establish a shared residency platform by artistic intitiatives and medialabs of the so called East, that could join indenpendent organisations, host creators and researchers from the region, establish new connections as well as open to influx from other regions.

Why Belgrade?
Belgrade has always been a hotspot of the region, both historically, politically as well as being a cultural centre of the Balcan region and with rich diverse cultural scene it remains one of the most vivid cities. This is why we decided to bring the first TransitoryNetworkForum here.

Why these organizations?
All involved organizations are specific in their local context, doing first steps whether in building residency programs or establishing research-production platforms for experimental, digital and exploratory arts.

Transitory Network Forum
The Transitory Network Forum (TNF) is the first public presentation of the Transitory Network. It is designed to present and promote the Network and to initiate a public discussion and interaction with local and international public.

More information:
http://www.motamuseum.com/
http://www.motamuseum.com/RESIDENCY/network

FORUM TRANZITORNE MREŽEPROGRAM::

Četvrtak, 21 Jul 2011
Salon Muzeja Savremene Umetnosti, Beograd
PREZENTACIJA MREŽE::

15:30
Uvod u Forum
Martin Bricelj Baraga: Prezentacija Tranzitorne mreže
Neja Tomšič: Prezentacija MoTA – Muzej tranzitorne umetnosti
Selman Trtovac: Treći Beograd, Beograd
17:15
Agnieszka Kubicka-Dzieduszycka : WRO art center, Wroclaw
Pavel Sedlak: CIANT, Prague
18.30
Ekmel Ertan: BIS -Body Process Arts Association, Istanbul
Andi Studer: Cenatus CIC, London
20:00
OPEN CITIES by David Gunn (UK)
Audiovizualni performans

Petak, 22 Jul 2011
Salon Savremenih Umjetnosti, Beograd
PREZENTACIJA RAZISKOVALNIH RADOVA
Kurator i moderator: Pau Cata Marles, Španija
POZOR! Sve prezentacije će biti na engleskom.

15:30
Leandro Pisano “Istraživanje ruralne teritorije kao novi medij”
Pau Cata " Nomadizam i komodifikacija: novi izazovi i predlozi za alternativnu koncepciju mreže umetničkih rezidencija.”
17:15
Lisa Stansbie "Apropriacija i Hack. Novi oblici produkcije.”
Laura P. Gracia “Estetika prostora. Istraživanje u umetnosti i prostoru "
18.30
Agnieszka Kubicka-Dzieduszycka: Kontrolisano okolje vs slobodno izražavanje. Media Art projekati za javni prostor ukustoske prakse u WRO Art Center .
19.30
Zaključak Foruma

Party: Klub 20/44:
BILK (Hr)

Info:
http://www.motamuseum.com/
http://www.motamuseum.com/RESIDENCY/network

PAPER

PART I

SPATIAL AESTHETICS.

An investigation into the art and space.

Influenced by Virno and Benjamin, I am stating about the Politics of Space. It is also a concept concerning about the Psichogeography, defined by Guy Debord as the study of the precise laws and specific effects of the geographical environment, consciously, organised or not, on the emotions and behaviour of individuals. Ian Sinclair is one of the most recent and contemporary critical theorist in psichogeography based in London. His projects have analyzed new landscape and Olympic zone, resulting one of the most critic works for the period. In my case, as a researcher based in cartography, mapping and geopolitics, I have concluded that an aesthetics is required to represent this particular art. In that sense, is urgently to build, construct and spread a way of thinking art. I have found the Spatial Aesthetic is one of the most completed way of thinking critically the situation of our contemporary society. Supporting this, as Benjamin did in his Passages, each place could be a space which is characterized by a specific actor (citizens, tourist, walkers …) or non-actor (defined by Joana Erbel, Critical Cities, Ideas, Knowledge and Agitation, Emerging Urbanist, as the factors in public space that are not human but determine the structure of the place). Also, the Spatial Aesthetics could be defined as the sense of the place as a material, like Saskia Sassen notates when she describes the powerful capitalism as potential earth buyer. Because each place holds and actor, and furthermore a material.

After this consideration of a common sense of how to think critically our contemporary society, according the Spatial Aesthetics, I provide a reference from where this art theory departs from. It is the notion of public space and concerns the evolution of the definition of classic sculpture or monuments, actually very far from the idea of the renascent artist as a builder of the city. Contemporary mapping, cartography, geopolitics and psichogeography have built an urgently need to think art after vanguard, abstraction and performance art, and also cinema. The urgent need to build society under the influence of machinery, electronics and the evolution of communication tools and devices. Psichogeography was a movement of critical urbanism, but also it represented the beginnings of political culture.

PART I

SPATIAL AESTHETICS.

The ideology inside the city. Landscape vs public space.

Cityscape, anti-monument, public and social sphere are concepts that define contemporary artistic practices concerned with the development of the public image of the city. The sculpture and public software are influencing the ideology and the education on the citizens. That necessity on transmitting knowledge and communication generates practices of appropriation of public space. At this point, public art programmes let social and artistic practices to recover the historical and local memory working with buildings and monuments that have a value. Those practices are based in praxis and also in strategies of communication through a direct experience.

Other branches of this historical and social aspects of the current artistic discourse is one that develops from the psychogeography, cartography or antimonument. Strategic actions, models or utopian construction of public space, and also atypical figures in the museum space, make the ancient artistic practice of landscape being a model of knowledge for the development and improvement of the society. This practice of art will be deciding how to preserve the heritage and memory. There is a fact that the social landscape is built as a fictitious imitation of nature through architecture and more actually screens and electronic surfaces.

http://selectparks.net/~julian/theartvertiser/

JULIAN OLIVER

In the way they are built, they face us to a daily confusion. The support and surface where they are inserted are an expression of daily life existence but when the subject, inside the landscape, decontextualizes the images in media and the advertisements acquires the signification of the ideology, as Adorno estates. They are building the ideology of masses, expressing the significance of contemporary life. In that way, the participation in the construction of the collective imagination as a landscape is a metaphor and symbolism of the real society, the tasks of artists among other social agents. All must agree that the representation of the collective imagination is influenced by the consumer society, through the strategy of seduction. This simulacrum of reality consists on an appropriation of techniques of advertising and tourism. What Adorno described as the process of constructing the psychology of masses by the identification of the product (the symbol or image of power through propaganda and reproduction technique) is currently defined by Baudrillard as simulacrum. Here, the proposal is to treat art as a document of reality, not a simulacrum, a palliative method for certain social practices. The concept of art as a document of reality focuses on the memory and information of the site, to create environments where the documentary falsification and speculation are excluded. The public space has been invaded in the last century by security systems (mainly cameras) that are used as devices that act as coercive effect of power (Foucault, monitor and punish), and representing the monumental forms and hegemonic discourse of power in history. Along with advertising panels, security cameras and devices of control build an urban landscape dominated by surveillance, where the subject is denied to question and define a nature of society (War machines, Deleuze and Guattari). In that order, Critical Urbanism challenges the traditional monuments of history and public policy in defining monuments. The triumphal arch, the public sculpture or the media installation in open zones are ideological illustration for the social participation for the construction of the city.

http://www.stanza.co.uk/facade/index.html

STANZA

Following Saaskia Sassen, the place as a material become the paradigm to read the inside of the city. The most valuable material is what Negri describes as immaterial work (data and information producing a new digital order). Outside post-cities, outside borders of capitalism, material research and mines are re-discovered by financial giants. So in that way, when you deal with Spatial Aesthetics you consider a work of art that belongs to the city, post-city or any other place, but moreover you are dealing with a cultural policy, defending the communal interest of art inside the public voices of society. The agora publica, where the res-cogitas of the common citizens (the senso commune of citizens) is expressed thorough newspaper and fences that years ago where conquered by the publicity and brands. Contrary, artist are pushing against this simplification of commodity benefits and consumerism habits. It is thought the res-cogitans as matteric thought, a neuronal network. According Roy Ascott and Peter Weibel, citizens, artists and public institution have to build this social network, the noosphera, based in neuroscience as the energy of thought. Using big screen, data projection and public networks, the public space will be soon invaded by de-constructed electronic surfaces expressing the global embodiment.

The image of the future city. LPDT (Le Plasir du Text). Second Life installation.

http://www.asquare.org/networkresearch/2010/lpdt2
http://lpdt2.wordpress.com/

ROY ASCOTT

PART II

TRANSITORY PRACTICES IN EUROPE.

Translocal Europa. Borders in the community.

The rapid urban transformation in Square Mile London is an example of how it is turning into the Silicon Valley II. The new centre of the city is turning into a digital city, characterized by the digital generation. For Zizek, this belongs to the idea of the end of capitalism, the Post-city, that is establishing a new order centred at the financial district. But the trouble remains, as Adorno and Horkheimer criticised. The homogenised landscape of capitalism doesn’t let other voices be heard. Now the digital post-city, is finishing with capitalism but the same features still remain. One of them, the homogenization under ideological code. The digital city, the post-city is finishing with the capitalism and starting the new digital economic order. There have been critics to the new architecture as it is not enough sustainable. Massive building have been detected as precarious for the basic needs they require.

Example of 3d environment. Able to visualized, updated and share data in the net. A large capacity real-time virtual model of the New York Stock Exchange trading environment. The 3DTF allows multiple users to view, monitor and analyze information pertaining to the Stock Exchanges daily trading activity.

http://www.asymptote.net/interiors-and-furniture/nyse-3dt-virtual-reality-environment/

ASYMPTOTE

Later in the sixties and until the beginning of 21^st century, capitalism represented the homogenization of liberalism and neo-liberalism. The counter-resistance had alternatives as Marcuse and Saaskia Sassen to Bourdieu, the whom with the theory of the politics of the sign, emancipated the linguistics to the order of capitalism as a system of production of goods. As Marx states it is needed a critical practice that will not be included in the mass production to be critical and improve the massive movements. The post-city is the actual moment and one of the main goals is the use of New Media Electronics. As capitalism encounters a resistance, actually there is a common movement based in the ideology of the D.I.Y. (do it yourself). An amount of artist are adapting its social practices from engineering, design, architecture or media communications. Also they are turning into creative workers. They use to work with workshop facilities at centres as V2 in Rotterdam, Medialab Madrid, FACT Liverpool, Constant in Bruxelles, etc… where they are able to distribute and produce tools and devices for the development of social requirements in order to improve communications, environment, data collection, urbanism, climate change. All of them mainly against the massive production and Microsoft capitalism. Lots of them are involved in mapping and cartography, but also databases, e-phone applications, robotics, internet, etc.

Telenoika Audiovisual Mapping @ Macau Arts Festival - (China)

http://www.telenoika.net/

TELENOIKA

What Zizek declares the end of capitalism, could be started 20 years ago with the disintegration of communism in 1989. Then the eastern bloc has a financial boom, and also UK. There were the times of the Digital technologies implosion. French sociologist Lefevre connects in that period the expansion of urbanism with capitalism. Also the psichogeographers, Debord, declared that the shape of the state come over life, building their form. The Eastern European post-communist countries suffered an spatial and social reconfiguration. The liberalism started the privatization of public space at 90s and the neo-liberal economy of 21^st century found against him a new heterogeneous urban actors, artists and public art projects. Old communist landscape made of large scale buildings representing intellectuals politicians were considered interesting by private companies and local authorities. Others were destructed avoiding concepts as memory and amnesia. In that sense, the notion of border, nation or country is also being re-signified. For example Greece and the Balkans are ethno-territories, minorities, with no borders because their community spread the place. Sometimes they used to be marginalised and delegitimized by purity and religious nationalism. After communism, the end of capitalism and with the post-city, concepts as Transnationalism, Internationalism, Globalism, Nation-states, Localism, Post-socialism, Post-nationalism, Localism are arising. Each of them is a different notion to be categorised, but all are movements after communism and formers of Spatial Aesthetics. Actually, Europe finds in itself a large definitions and members: the Eurozone, the Eurocentrism, Eurasia, Mediterranean Europe. All of them involved in the construction of European policies for a true internationalism. From Nietzsche to Orwell, Europa has been the main theme for discussions for Intellectuals and writers, artists and also citizens. In conclusion, it could be said that translocalism comes altogether with post-city characterised by new media electronics that gives us the sense of immaterial, ubiquity, de-territorialism of communication allowing to work abroad and non-place. According this, it achievement have to be more freedom and better communications and economic facilities. Dealing also with sustainability and the ecological and climate change matters that machines and technology are promoting.

MEDIA FACADES http://www.mediafacades.eu/

PART III

ARTIST

Ballettikka Internettikka by Igor Stromajer & Brane Zorman

An example of Transitory Art in Europe

Website http://www.intima.org/bi
Videos http://www.intima.org/bi http://vimeo.com/channels/tvbi
Photos http://www.flickr.com/photos/intima-photo/sets/72157603861119940

A series of tactical art projects which began in 2001 with the exploration of Internet ballet. It explores wireless Internet ballet performances combined with guerrilla tactics and mobile live Internet broadcasting strategies. The 10-years project ends in 2011. It's a serial of interventions in public spaces: right now it is intensively being prepared for the final Ballettikka Internettikka action in Antarctica, November 2011. The relation between the project itself and the public space is multilateral. This actions are invasions, mostly illegal guerrilla actions (but not all of them), where artist enter the specific public space and do the artistic action there, a ballet (at the beginning with our own bodies, later with robots). So it has illegally invaded various public institutions and public places/structures, like the Bolshoi in Moscow (BI Ballet Net), La Scala in Milan (BI Illegallikka Robottikka), Ljubljana Beltway - Motorway Ring (BI Autto Mobillikka), National Theatre in Belgrade (BI BEO Guerrillikka), Volksbühne toilet in Berlin (BI VolksNetBallet), City Hall toilet for disabled people (BI RenminNetBallet) plus the Lippo Centre twin-towers (BI Stattikka) in Hong Kong, a factory in Slovenia (and broadcasted live to Plaza del Rey in Madrid: BI Hydraullikka), and construction site of the new shopping mall in Seoul, where a robot was buried (BI Intermenttikka). Lately, the robots had been abandoned as far north as they could go (Svalbard, Arctic ocean; BI Norddikka), as far east (Japanese island Minami Torishima in Pacific Ocean; BI Nipponnikka). This year it is going to end the 10-years project by abandoning the last robot as far south as possible: this time on Antarctica (BI Antarcttikka). It was also done one BI action in a relation to the ceremony of igniting the olympic torch in Greece (BI Olymppikka), and in the Port of Hamburg (with two insect robots; BI Insecttikka). Beside that, it was also done some smaller BI actions which are not so public-space related. So, the basic starting point was: if they don't let us go somewhere in a legal way, we go illegally, guerrilla style. Later, this guerrilla style changed into more intimate form (abandoning the robots, leaving them in several extreme places forever).

Ballettikka Internettikka, Igor Stromajer & Brane Zorman

KEY WORDS: Architecture. urban design interventions. heterotopy. No-place. border. Memory. power. Common spaces. Political spaces. Heritage. Museum. Public space. Public sphere. Monument. Landscape. Extraterritoriality. Dec-territorialization. Decentralization. Mapping and cartography. Dystopia. Scene. Mise - en - escene. Theatre. Trip. Derive. Walk. Drift. Global. local. Glocal. Churches and palaces. Terrain vague. Geopolitics. Homogenization of urban space. The cavern.

SOURCES CONSULTED:

Archivo universal : la condición del documento y la utopía fotográfica moderna ; [texto: Jorge Ribalta

Mal d'archive : une impression freudienne / Jacques Derrida

Bunker archéologie / texte et photos Paul Virilio

L'Écran du désert : chroniques de guerre / Paul Virilio

BAUDRILLARD, J. et al. 1991. Citoyenneté et urbanité. París, Editions Esprit.

The Arcades project / Walter Benjamin

Paris, capitale du XIXe siècle : le livre des passages ; Walter Benjamin ;

traduit de l'allemand par Jean Lacoste d'après l'édition original établie par Rolf Tiedemann

Temporary discomfort ; chapter I-V : Davos, Genoa, New York, Evian, Geneva

Cartografía : Gerardo Suter : XXIII Bienal Internacional de São Paulo, Brasil : octubre-diciembre, 1996

Cartografías esquizoanalíticas / Félix Guattari

Esercizi di esodo : linguaggio e azione politica / Paolo Virno

Zexe.net : une cartographie numérique du monde

Feliz Guattari : throught, friendship, and visionary cartography

/ Franco Berardy ; translated and edited by Giuseppina Mecchia and Charles J. Stivale

City of refuge : a 9/11 memorial : Krzystof Wodiczco

If you lived here : the city in art, theory, and social activism : a project by Martha Rosler ; edited by Brian Wallis

The City amplified : Justin Bennett : BMB Con #11

The City Project : Matt Mullican

Ciudades : del globo al satélite : febrero-mayo, 1994 ;

una idea de Albert Garcia Espuche ; [textos: Josep Ramoneda, Albert Garcia espuche,

André Corboz, Bogdan Bogdanovich, Ignasi de Solà-Morales]

La Ciudad radiante / Achille Bonito Oliva

Constant, konstrukitionen und modelle : 9. Januar bis 9. Februar 1960 ; [text: G. E. Debord]

Occupying space, wasting time ; [by Alice Creischer, Andreas Siekmann]

Leyenda / [Alice Creischer]

Correspondence : the foundation of the Situationist International (June 1957-August 1960)

/ Guy Debord ; introduction by McKenzie Wark ; translated by Stuart Kendall and John McHale

Potlatch : Internacional Letrista (1954-1959) : más, Introducción a una crítica de la geografía urbana ;

Modo de uso del desvío. Informe sobre la construcción de situaciones y sobre las condiciones de

la organización y la acción de la tendencia situacionista internacional

Préface à la quatrième édition italienne de "La Société du Spectacle" / Guy Debord

Parages / Jacques Derrida

Jan Dibbets : llum interior : obres sobre arquitectura, 1969-1990 ; Rudi Fuchs, Glòria Moure

Jan Dibbets : Stedelijk Museum Amsterdam

Martha Rosler : Sur/ sous le pavé

Krzysztof Wodiczko : Art public, art critique : Textes, propos et documents /

textes et documents réunis par Marie-Anne Sichère ; traduit de l'anglais par Michelle Herpe-Voslinky et du polonais par W. Kolecki

[Northern Visions : The Solomon R. Guggenheim Museum, New York

Fahlstrom

Öyvind Fahlström : another space for painting ; [Texts: Immanuel Wallerstein, Octavi Rofes, Suely Rolnik]

Öyvind Fahlström : the complete graphics, multiples and sound works :

BAWAG Foundation, 7.12.2001 - 3.3.2002 ; [Texten: Sharon Avery-Fahlström, Wolfgang Astelbauer]

Öyvind Fahlström : IVAM Centre Julio González : 10 junio / 23 agosto 1992

Öyvind Fahlström : The Solomon R. Guggenheim Museum, New York, 1982

Imprint : writings / Harun Farocki ; edited by Susanne Gaensheimer, Nicolaus Schafhausen ;

english translation by Laurent Faasch-Ibrahim ; assistant editor Volker Pantenburg = Nachdruck :

Texte / Harun Farocki ; herausgeggeben von Susanne Gaensheimer, Nicolaus Schafhausen ;

übersetz ins Americanische von Laurent Faasch-Ibrahim ; bearbeitet von Volker Pantenburg

Speaking about Godard ; Kaja Silverman and Harun Farocki ; with a foreword by Constance Penley

Harun Farocki : working on the sightlines ; edited by Thomas Elsaesser

Harun Farocki : against what?, against whom? ; edited by Antje Ehmann and Kodwo Eshun ; Nora Alter... [et al.]

Border theory : the limits of cultural politics ; Scott Michaelsen and David E. Johnson, editors

La Estetica geopolítica : cine y espacio en el sistema mundial / Fredric Jameson

Dan Graham's Kammerspiel / Jeff Wall

Dan Graham interviews ; editor Hans Dieter Huber

Land, art : a cultural ecology handbook ; edited by Max Andrews

The Third exile : explorations in the borderland of architecture, visual art and philosophy of science

= Verkenningen in het grensgebied van architectur, beeldende kunst en wetenschapsfilosofie ;

redactie J.A.G.M. Rutten, Joseph Semah

A Spot on the wall ; [texts: Rosalind Krauss, Claudia Jolles, Helmut Draxler]

La Imagen de la ciudad / Kevin Lynch

Mapa : airmail paintings = pinturas aeropostales / Eugenio Dittborn

Mapping / Robert Storr

Mapping cyberspace / Martin Dodge and Rob Kitchin

Dennis Oppenheim ; texts by Germano Celant, Dennis Oppenheim

Dennis Oppenheim : Explorations / Germano Celant

Dennis Oppenheim : 1989

Dennis Oppenheim : Stedelijk Museum, Amsterdam, 18 januari t/m 2 maart 1974

Paysages lieux et non-lieux : le paysage dans la photographie européenne contemporain

about landscape and other places : landscape in contemporary european photography ;

[textes: Paul Difelice, Gabriel Bauret, Christian Gattinoni, Cristina Zelich, Frits Gierstberg ... et al.]

Micropolítica : cartografías del deseo ; Félix Guattari, Suely Rolnik

Cities in a world economy / Saskia Sassen

The Global city : New York, London, Tokyo / Saskia Sassen

Globalization and its discontents / Saskia Sassen

The Most radical gesture : the Situationist International in a postmodern age / Sadie Plant

Enragés and Situationists in the occupation movement, France, May'68 / René Viénet

The Situationist city / Simon Sadler

Potlatch

Situationist International anthology ; edited and translated by Ken Knabb

Archives situationnistes

The Revolution of everyday life / Raoul Vaneigem ; translated by Donald Nicholson-Smith

Earth art : Jan Dibbets, Hans Haacke, Neil Jenney, Richard Long, David Medalla, Robert Morris,

Fennis Oppenheim, Robert Smithson, Günther Uecker

Minimal Art : Andre... [et al.] : 17. Januar bis 23. Februar 1969, Städische Kunsthalle und

Kunstverein für die Rheinlande und Westfalen

Robert Smithson : selección de escritos

Utopia post Utopia : configurations of nature and culture in recent sculpture and photography :

January 29-March 27, 1988 ; [texts by Fredric Jameson, Eric Michaud, Elisabeth Sussman ... et al.]

Spaces of hope / David Harvey

Atlas mnemosyne / Amy Warbung

Buckminster Fuller / Martin Pawley ; with photographs from de Buckminster Fuller Institute

Utopia or oblivion : the prospects for humanity / R. Buckminster Fuller

Buckminster Fuller : starting with the universe ; edited by K. Michael Hays, Dana Miller ;

with essays by Antoine Picon, Elizabeth A.T. Smith, Calvin Tomkins

LABORAL . ORBITANDO SATELLITES. workshop

2011-06-30T04:52:00.001-07:00

Orbitando Satélites shows some of the results of a processof
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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Recuento del Taller & exhibición Orbitando Satelites [OS]. Realizado

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./art

ORBITANDO 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

MACBA . SPATIAL AESTHETHICS . research

2011-06-30T04:50:00.000-07:00

SPATIAL AESTHETICS

Centre d'Estudis i Documentació

Investigació

Programa de residències per investigadors

Centre d’Estudis i Documentació

Plaça dels Àngels, 8

08001 Barcelona

Tel: 93 481 79 05

mail: centredestudis@macba.cat

http://www.macba.cat/

PROJECTE A DESENVOLUPAR. Investigacio.

Assaig per TESIS Doctoral Historia de l’Art UB

Els Llocs de L’Art. Una investigacio entorn a l’Art i l’espai.

Paisatge urbà, anti-monument, espai públic i esfera social són conceptes que defineixen i engloben pràctiques artístiques preocupades per la historia i el desenvolupament de la imatge pública de la societat en general. L’escultura pública com programari i influencia en la creació del discurs històric i l’educació, i també com transimissió i herència del coneixement, genera pràctiques d’apropiació de l’espai públic.

En aquest punt, la democràcia social i les pràctiques artístiques recuperen la memòria històrica per construir anti-monuments com reclam al valor de la praxis social i la pràctica democràtica i en aquesta mateixa línia, apareix el paper de l’artista-constructor, l’urbanista o l’artista-arquitecte, per establir aquí un dels models mès importants en la clara execució del teixit i estructura social. Altres branques d’aquesta vessant històrica i social del discurs artístic actual és aquella que es desenvolupa a partir de la psicogeografia, la cartografia o l’antimonument. Estratègies d’acció, models utòpics o construcció de figures atípiques en l'espai del museu, inscriuen l’antiga pràctica artística del paisatge com un model de coneixement i representació en l’art contemporani.

En aquest punt, es tracta de proposar la representació del paisatge natural a travès de la trama d’espais contemporanis conformats entre altres per imatges de la ciutat, no-llocs, heterotopies i fronteres. D’aquesta manera s’estableix la praxi artística com una minoria ètica decidia a la conservació del patrimoni i la memòria i tambe basada en la construccio de l’opinio publica donant respostes als problemes de la societat. El fet de presentar aquests paisatges com una imitació fictícia de la natura, resulta de l'habitual confusió a la que diàriament ens afrontem. Plantejar la descontextualització d’aquestes imatges per medi de formats que ens remeten al món de la publicitat i l’atmosfera urbana com metàfora de la nostra enganyosa realitat "implicant-se d’aquesta manera en la construcció de l’imaginari col·lectiu i el paisatge como metàfora i simbologia d’allò social”. Així, molts artistes coincideixen en representar l’imaginari col·lectiu influït per la societat de consum, construint una estratègia de seducció com simulacre d’allò real, apropiant-se de tècniques pròpies de la publicitat o el turisme. Allò que Adorno descrivia com procès de construcció de la psicologia de masses en la identificació del producte, del símbol o la imatge de poder gràcies a la propaganda i la reproducció tècnica, actualment definit com simulacre per Baudrillard.

Així la proposta artística ès la de tractar la realitat com a Document, un mètode pal·liatiu per certes pràctiques socials. El concepte de treballar la realitat com a document es centra en la Memòria del lloc com Informació, per crear entorn del lloc un procès documental que defuig la falsació i la mentida i tambe l’especulacio. En l’espai públic en l’últim segle s’estan disposant sistemes de seguretat (càmeres principalment) que són usades com dispositiu de coacció que actuen com efecte de poder, (Foucault, Vigilar i Castigar), i que representen les formes monumentals i hegemòniques del discurs de poder en la historia. Juntament amb els panells publicitaris, càmeres de seguretat i dispositius de dominació construeixen un paisatge urbà dominat per la vigilància, on el subjecte troba resistència a crear lliurement una definició de societat (Màquines de guerra, Deleuze i Guattari). Com a proposta ètica i humanista l’anti-monument representa la fragmentació del discurs, la impossible comunicació, la poètica del material, un discurs alternatiu.

Critical urbanism, paisatge i anti-monuments qüestionen el discurs tradicional de la historia i defineixen el monument públic com política. L’arc de triomf i l’escultura pública com part d’un programari ideològic quan desde la I-lustració, l’art té una intencionalitat popular, de construcció relacional i no dominant, essent la participació social una funció per la construcció de la realitat. Així, el monument i l’escultura construeixen part

del paisatge de la ciutat.

CALENDARI DEL PROJECTE

- Gener 2011 - Juny 2011

- Periode Investigacio CED

PRECEDENTS

Hi ha 3 projectes precedents. Son:

- Cartografies del no-lloc. Article. Publicacio online a GEIFCO. 2007. http://www.geifco.org/actionart/actionart03/01-marca/articulistas/laura/index.htm

- Cartografies del no-lloc. Exposicio. Fabrica de les Arts Roca Umbert. Espai D’Arts. Ajuntament de Granollers. 2009. http://www.rocaumbert.cat/espaidarts/cat/exposicions_actual.php?idn=10467

- Cartografies del no-lloc. Blog. Arxiu online net-art. Art digital. Mapping i Cartografies. 2009. http://cartographies-of-non-place.blogspot.com/

- Spatial Aesthetics . Database . Mapping . Cartography. ISEA2010. Conference MApping Skies. with Alejo Duque and Max Neupert. Dortmund. Berlin. Germany. http://www.isea2010ruhr.org/conference/tuesday-24-august-2010-dortmund/p27-mapping-virtual-skies

PROJECTE A DESENVOLUPAR. Investigacio. Assaig

- Els Llocs de L’Art. Una investigacio entorn a l’Art i l’espai. Temes: intervencions de l’Arquitectura i l’Urbanisme en Art. Analisi de Conceptes: Heterotopia. No-lloc. Frontera. Espacis Transfronterers. Espais de Memoria. Espais de poder. Espais comuns. Espais politics. Patrimoni. Espai museistic (colonialisme i nacionalisme). Espai public. Esfera publica. Monument. Paisatge. Extraterritorialitat. Des-territorialitzacio. Descentralitzacio. Fires i biennals. Mapejat i cartografia. Distopia. Escena. Mise – en – escene. Teatre. El viatge como alternativa. Global y local. El factor glocal. Esglesies i Palaus. Terrain vague. Geopolitica. Homogenitzacio de l’espai urba. La caverna (el mite, l’origen, Habermas).

ISEA2010 RUHR Conference P27 Mapping Virtual Skies

2010-09-03T13:35:00.000-07:00

ISEA2010 RUHR Conference
P27 Mapping Virtual Skies
next
past
Tue 24 August 2010
15:00–16:30h
Volkshochschule Dortmund, L 110

Moderated by Giselle Beiguelman (br)

1. 15:00h | Max Neupert (de): Satellite Zodiac
2. 15:20h | Alejandro Duque (co): Unsigned
3. 15:40h | Laura Plana Gracia (es): Database Visualizations, Mapping and Cartography: Genealogy of Space. Visual Representation for Knowledge in Art
4. 16:00h | Jihyun Kim (kr), Andrés Colubri (ar): ITCH. Individual Technology Community Hacking

Max Neupert (de)
Satellite Zodiac

Since the majority of the world 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.

Max Neupert is an artist and faculty member at the Bauhaus-Universität Weimar where he teaches Media Art. His recent audiovisual environment Breakup was presented in São Paulo, Melbourne and Weimar. Besides real-time A/V works satellites have been a research focus of his in the last years.

^^^

Alejandro Duque (co)
Unsigned

We are developing a new manifesto based on the Bogota Declaration of 1976 in which eight equatorial countries claimed sovereignty over the geostationary orbit. The declaration is a somewhat forgotten document about inequalities in technological power, the physics of orbit and its contested spaces. We will try to discover what the geostationary orbit can mean to us and define our own protests, rituals and love songs in relation to it.

Passion drives Alejandro Duque towards the attempt to interface place across all types of vectors and network protocols. While becoming the test ground. (colombian artist based in Switzerland - Ph.D. candidate at EGS.
Further Information: egs researcher at locusonus

^^^

Jihyun Kim (kr), Andrés Colubri (ar)
ITCH. Individual Technology Community Hacking

This project is a broad artistic exploration of new phenomena originated by mobile communication/computing technologies. It consists of a series of experimental works, research activities, and workshops to investigate the media devices most closely connected to human bodies and its surroundings, and ultimately find new forms of individual expression with them. The goal of ITCH is to provide users (individuals) with mobile devices with tools that would allow them to by-pass the commercially-approved functions of their phones in order to manifest and perform their subjectivity in everyday life.

Jihyun Kim, born in Seoul, is a media artist and researcher whose projects address data visualizations and interactive media installations that make new sense and foster novel perspectives in passive urban life.
Further Information: threeecologies)

Andrés Colubri is a programmer, researcher and artist. His interests range from the algorithmic modelling of complex systems to the creative use of computer code for subjective expression and experimentation. He is currently involved in the development of the Android version of Processing.

....

Laura Plana Gracia (es)
Database Visualizations, Mapping and Cartography: Genealogy of Space. Visual Representation for Knowledge in Art

Visualization strategies of knowledge in art are affected by progress, history and evolution. The displacement from uniqueness vision to complex models are analysed by Jameson in Cognitive Mapping and Buckminster Fuller with the Dymaxion map. There are 3 main fields of research: DATABASE VISUALIZATION: displaying information and knowledge with 600 existing models. MAPPING: visualization of cyberspace flows, density flux of communication networks and mapping the net. CARTOGRAPHY: based in social mapping, locative media, tactical media and media activism

Bachelor in History of Art Barcelona. Master in Curating Media Art MECAD. Curated Cartographies of non-site Exhibition on Digital Art, Landscape and Open Social Media. Leonardo Scholarship at Media Art Histories. Editor at Database Virtual Art. Ph.D. Research on Visual Cultures and Digital Aesthetic

Art and technology awareness is used in new media as strategy since 1989 the Cold War end. It symbolise the Analogue to Digital system conversion and the end of industrial mode of production. It also implies the dominion of public social space under surveillance and the impact in landscapes, among others. Cartography is a system of visual representation of knowledge to display in exhibitions of contemporary art solving problems to society under value of ethics. Also it belongs to Genealogy of Space, a categorization initiated by Foucault with Panoptic and Heterotopia, which continues with non-site, Atopia, Distopia, Utopia, the permanent site of power, TAAZ Temporal Autonomous Zone and Borders. All physical or non-physical spaces are conceptualized in an embodied/disembodied effect on the subject. Psycogeography is another system of representation giving solutions as Heterocronos or Real Time, an approach to performance. The deconstruction in dada Objecthood and the meaning of surrealist images make contemporary Cinematic Visual Era understand what Tarkovsky in film Stalker synthesizes under the meaning of the cave, a manner of production Art in relation to society. Then, art turns into a visual representation of Knowledge and its strategies of visualization, representation and displaying are affected by progress, history and evolution. This implies the displacement from uniqueness vision (the plane earth in modern age) to complex models of visualizing (affected by NASA and aerospace) producing systems as video.art to net.art, that are representing, communicating and informing. The more significant contribution in that field of research is Frederich Jameson dealing with the Cognitive Map and how about visualizing information under matters of subjectivity and translation of meaning and also the codification and hermetism of the point of view that Buckminster Fuller tries to solve in the Dymaxion map representation. Databases, mapping and cartographies encounter in conceptual art an immediate precedent. Using documents and Art&Language aesthetic based in lists, alphabetical order or archives, the 70s conceptual art is based in the relations of art and memory. Nowadays database visualizations are the site of documentation and materialisation of knowledge, based in software and interfaces. In that sense, maps and diagrams are the resulting site depicting data but recognising the incomplete representation on computational machine. As Roy Ascott appoints, in future the connectivity of whole computers will set up the total intelligence of humanity. Contrary, Media Art Databases are considered by Alan Turing an impossible ideal representation because of random access to information and the searching determinism in browsers. Webstalker by I/O/D is one of the art alternatives to google. From Nam June Paik Random Acces (1960) to Josh On They Rule (2005) databases, nomadic politics and decentralised poetics encounter in post-capitalism a deterritorialized space surviving from system hazard, building the common global village of Lev Manovich. In that Database Visualization displaying of data, information and knowledge, are about more than 600 existing models of Database visualizations of information, basically diagrams based in softwares like thesaurus or processing. Gerhard Dirmoser and Ben Fry are working on them. Many types of software (basically based in artistic opensource tools) are being used as a mapping strategy to display an interactive visualization of the cyberspace flows. Based in Cybergeography, are trying to depict the density flux of communication networks, databases and many other networks. Also named and recognized under categorization of Mapping the net, they are using clusters, processing and pure data. Some common examples are Antidatamining, Antoni Muntadas, Ethan Miller or Warren Sacks. Mapping the city is based in counter-map ideology of Frederic Jameson. One of the main points in which to act is the surveillance displaying. Many actions using locative media are recognised as well as tactical media, although there are some differences between them. Soundscapes are included in that field of research trying to deconstruct the relation within space, time and sound. Artist as Jodi, Stanza, Manu Luksch and medialabs around the world display and research with opensource, mainly, to improve data conditions in public space. These co-existing different strategies to map the city are working with surveillance, traffic, weather and pollution, security and healthy, among others more abstract as feelings, identity or memory. Also, data displayed in streams is dealing and confronting publicity vs information. From situationism to psycogeography, the contemporary art devices display into the city strategies not to perceive the city as a decorative stage for massive corporation, but such a place of memory, refusing the commodification of non-place and the unifying landscape. Since surveillance has turn into merchandise, other tools to socialise public space (implies strategies in communication, location, weather or transport) are being used for artist to build this called DataCities. The George Orwell Big Brother control and securitizing system is now reality. Landscape implies an understanding of Melancholic Aesthetics where the ethos of subject turns into a participatory agent in History who reading the memory of landscape turns it into the Poetics of the Space, field of artists.

Antidatamining http://rybn.free.fr/ANTI/INDEXFRAME.html
Ascott, Roy. Telematic Embrace. Visionary Theories of Art, Technology, and Consciousness. University of California Press Berkeley, California 2003
Dreher, Thomas. Art & Language & Hypertext: Blurting, Mapping and Browsing. IASLonline NetArt: theorie http://www.iasl.uni-muenchen.de/links/NAAL.html

ANTONI MUNTADAS

BEN FRY

DIRMOSER

ISEA 2010 RUHR 16th Internaional Symposium on Electronic Art
20-29 August 2010 Ruhr/Germany
Editors: Judith Funke, Stefan Riekeless, Andreas Broeckmann, Hartware MedienKunstVerein
Design: labor b designburo www.labord.de
print and production: druckverlag kettler gmbh dortmund
printed in germany
Copyright 2010 individual authors hartware medienkunstverein
all right reserved
revolver publishing
d-10405 berlin
ISBN 978-3-86895-103-5

net.art archive database

2010-05-04T02:41:00.000-07:00

Title: [InterMaps]
Author: ISMAEL CELIS
Date: 2003
Media:internet map net.art
Exhibitions: Media Art Net/ZKM/MECAD/
Bibliography: Rudolf Frieling, The Archive, the Media, the Map and the Text

Title: Adu(vis)Beta
Author: DANIEL JACOBY
Date:2008
Media:software art video database
Exhibitions:Guasch Coranty Collection/Espai d'Arts Granollers/
Bibliography:

Title:
Author:BESTIARIO
Date:
Media:
Exhibition:
Bibliography:

Title:Casas Tristes
Author: DERIVART
Date:
Media:
Exhibition:
Bibliography:

Title:Creative Actions
Author:Karoline H. Larsen
Date:2000 - 2006
Media: net.art perfrmance public space
Exhibitions:
Bibliography:

Title: Domini Public (control remot)
Author: ROGER BERNAT
Date: 2010
Media: locative art performance
Exhibition:
Bibliography:

Title: e-paisajes
Author:DANIEL G. ANDÚJAR
Date:
Media: net art map landscape narrative
Exhibitions:
Bibliography:

Title: el camp de la bota
Author:FRANCESC ABAD
Date:
Media:
Exhibitions:
Bibliography:

Title:Evru
Author: EVRU
Date:2007
Media:website net.art archive database
Exhibitions:galeria joan prats
Bibliography:

Title:Fahr in Blau
Author:CHEMA ALVARGONZALEZ
Date:2005
Media:net.art psychogeographie photographie map
Exhibitions:arco /
Bibliography:http://www.chemaalvargonzalez.com/

Title:google earth places that does not exist
Author: ISAKI LACUESTA
Date:2009
Media:net.art / video/ mapping
Exhibition:Fundacio Sunyol/ can xalant
Bibliography:http://www.fundaciosunol.org/nivell_zero/nivell_zero.php?sub=1&id=44

Title:Cartomadiaq Cartografia Tactica del Estrecho
Author:HACKITECTURA
Date:2006
Media:cartography / tactical media /
Exhibitions: online
Bibliography: http://mcs.hackitectura.net/tiki-index.php?page=CARTOMADIAQ

Title: Megafone.net
Author: ABAD, Antoni
Date: 2003
Media: mobile phone webcasting gps
Exhibitions: CASM/Centro Cultural España México/Centro Multimedia Nacional Artes México/Centre d’Art La Panera/Museo de Arte Contemporáneo de Castilla y León/La Casa Encendida/Fundación Teorética/Centro Cultural Espanha São Paulo/Centro Cultural São Paulo/Centre d'Art Contemporaine Ville de Genève/
Bibliography: Mery Cuesta/Màrius Serra/Roberta Bosco/Eugenio Tisselli/Martí Peran/David G. Torres/Imma Merino/Miguel von Hafe Pérez/

Title: On Translation Social Network
Author: MUNTADAS, Antoni
Date:2006
Media: net.art databse linguistics network visualization digital projection map
Exhibitions:CADRE Laboratory New Media/Zero One Festival/Inter-Society of Electronic Arts/ISEA 2006/Montalvo Arts Society/Laboral FeedBack/Art Futura Machine&Souls/
Bibliography: Rodrigo Alonso. This is not an advertisement. An Essay on Muntadas' work in video and internet.

Title:BCNoids
Author:
Date:2008
Media:database / software.art /
Exhibitons: medialab / laboral
Bibliography: http://wiki.medialab-prado.es/index.php/BCNoids

Title: Red Libre Red Visible
Author: BOJ & DIAZ
Date:2006
Media:net.art / software art
Exhibitions:Laboral
Bibliography:http://lalalab.org/

Title:In here, out there
Author: MATT GREEN
Date:2008
Media:interactive / urbanspace / wikimap / gps
Exhibitions: medialab prado / 2nd Inclusiva-net Meeting
Bibliography:http://195.53.62.237/inhearoutthere/

Title:madrid Mouisac
Author: INFLUENZA
Date:2007
Media: net.art / mapping / photo
Exhibitions:medialab / laboral
Bibliography:http://www.influenza.etc.br/

Title: In deaths's Kingdoms
Author:IVAN MARINO
Date:2003
Media:net.art / video
Exhibitions:arco /
Bibliography:http://www.ivan-marino.net/web/opener_netscp.htm

Title:La fabrica
Author:MARISA GONZALEZ
Date:2000
Media:net.art
Exhibitions: fundacion telefonica
Bibliography:http://www.fundacion.telefonica.com/at/lafabrica/lafabrica/index1.html

Title:Mobility of a Landmark
Author:Sandra Nakamura,Luis Ayuso,Juan Fabián,Coco Moya y Mónica Sánchez
Date:2008
Media:net.art / linguistics / psychogeography /
Exhibitions: medialab prado
Bibliography:http://195.53.62.237/centrociudad/mobility/index.html

Title:LOCAL FEED
Author:VVAA
Date:2009
Media:net.art / mapping / alternatives to google
Exhibitions: online
Bibliography:http://www.localfeed.info/

Title:Comprehensive Massive Machine
Author: LOT AMOROS
Date:2008
Media: net.art / software art
Exhibitions: laboral / hangar / summercamp
Bibliography:http://mcm.feenelcaos.org/index_en.html

Title: MAP0MATIX
Author:lluis gomez / yves degoyon /
Date:2005
Media:tactical media / cartography / floss /
Exhibition:
Bibliography:http://mapomatix.sourceforge.net/

Title: MEIPI
Author:VVAA
Date:2009
Media:mapping / software /tools / floss
Exhibitions: online
Bibliography:http://www.meipi.org/suultimavoluntad

Title:Hidden Natures
Author:ROOTS
Date:2004
Media:net.art / sound.art / software.art / floss / pure data
Exhibitions:hangar / laboral /
Bibliography:http://root.ps/ http://root.ps/heretico/index.html

Title:mundo legazpolis
Autjor:TAMARA ARROYO
Date:2009
Media:landscape / mapping / net.art / liguistics /
Exhibitions:Intermedia Matadero Madrid
Bibliography:http://www.mundolegazpi.intermediae.es/ http://www.intermediae.es/project/intermediae_en/blog/legazpolis_a_proposal_by_tamara_arroyo_will_launch_mundo_legazpi

Title: Mappa Di Roma
Author: ROGELIO LOPEZ CUENCA
Date: 2007
Media:net.art / mapping
Exhibitions:can xalant mataro / caixaforum / arco madrid
Bibliography:http://www.mapademataro.net/mapademataro.html

Title:Poble Now
Author:ROTOR
Date:2002
Media:mapping / cartography / psychogeography / video
Exhibitions:Canadian Centre for Architecture, Montreal, Canada
Bibliography:http://rotorrr.org/

Title: Passenger
Author:SOLU
Date:2001
Media: software art / video / mapping
Exhibitions:
Bibliography:http://www.solu.org/passenger/

Title:p-a-r-a-d-i-g-m-a.net
Author:TJASA KANCLER
Date:2008
Media:net.art software art mapping database
Exhibitions:espai d'arts / sala d'art jove / caixaforum barcelona
Bibliography:http://www.p-a-r-a-d-i-g-m-a.net/

Title: Topografias Desmesuradas
Author: MARIELA YEREGUI
Date:2006
Media:database / software art / mapping
Exhibitions:MECAD media art and design barcelona
Bibliography:http://www.mecad.org/playingfield/mariela/index2.swf

Title: (1:1) Juego de escalas

Author: ANTONIO MONTESINOS
Date: 2011
Media: internet map net.art
Exhibitions: La Casa Encendida
Bibliography: http://armontesinos.blogspot.com/2011/06/11-juego-de-escala.html

ESSAY. cartographies now.here

2010-05-04T02:20:00.000-07:00

Cartography is a mode of representation. Map is the principal support and the diagram is abstract one. Paul Klee artworks are defined as diagrams. He represents images as a Visual code that cannot be considered simple representation, because it focuses non–visible factors for human eye. Vision comprises not only objectual perception, but a relation of forces between objects. It could be perceived as an abstract mode of vision. Paul Klee defined painting as a relation of forces and diagrammatic representation. The image in Paul Klee is decoded into Abstract Drawing Language depicting dynamic relations of forces between object in a topographic plane. It results a space/time diagram depiction. Diagrams are defined as the graphic representation of the relation between 2 or more objects. The result is a harmonic structure that is organised in geometric parameters. Formal elements (point, line, space) conforms the geometrical code in a dynamic relation including time.

[3].
In that sense, creates a visual cosmos where objects are in relation through vectors forces in time/space relations and also movement/counter-movement conceptualization. These dynamic forces relations are creating maps of forces, cartographies or circuits. Space turns into time in Paul Klee diagrams. Diagrams are then representation of time. Like in cinematography, diagram represents the dynamic relation between 2 objects, the movement through light. It is real-time based image in painting and implies the loosing of formalism. Paul Klee Diagrams rebuild a topos, a utopian and imaginary embodied place.

The abstract language diagram implies lecture and interpretation. Actually artworks are based in interaction. Hermeneutic turns into Interaction. There is no longer interpretation, but users, experiences. The aesthetic of reception is moving to the experience of senses. In technological version, it is the sense what are sublimated, avoiding systematically rationalist logic. The technological extension of human conscious implies the organic specialization and the comprehension of electronic technology as extension of our central nervous system. We introduce our physical bodies into our expanded nervous system. Media technology communications allows synergy, real-time communication, instantly and ephemeral. Sense becomes thinkable mechanism. Objective reality opposes subjective experience of conscious to lecture, interpretation and rationalism of sign and code. Instead Sensorial process is based in imaginary and memory (future and past mode of thought). To relation all senses in a complete way to approach a conscious state, which includes text, code and signifiers and lectors and users trying to surpass borders between objectivity and subjectivity. Digital media allow integrating sensorial modes into technology. Users get into them as in Tron, foundational Sci-Fi film, through an interiorised software journey. Digital system extends our sensation out of mind, out of body. Creating artificial reality, objective and allowing the experience of subjectivity as objectivity. Found ontology of being based in empirism, conscience, sensation and also dream as a real communicative estate of mind.

EXHIBITION. cartographies of non.site

2009-08-09T08:24:00.000-07:00

Exhibition CARTOGRAPHIES OF NON-SITE
Espai D’Arts Roca Umbert Fàbrica de les Arts Granollers
Curated by Laura Plana Gracia
16th October 2009 – 28th November 2009
Miquel Garcia; Daniel Jacoby; Tjasa Kancler; Perla Montelongo; Katarina Matiasek; Robin Rimbaud; Rotorrr; Alba G. Corral; Field; Raul Arroyo; Karen Russo; Txuspo Poyo; Locus Solus .

Miquel Garcia
In [This World III: Richness and Happiness Maps (2009)] the code of representation turns into a language that communicates, through poetic cienticism, a world era characterized by derive and mobility, by hybridization between media and disciplines. Here, displacement shows an incomplete attempt to reconstruction, an experience to redefine improbable scales and irreconcilable realities*. The work operates from irony and contrast two maps, richness and happiness. Trying to illuminate why people from happy countries immigrate to rich countries? In normal map, you can find a situation normally geographic. In these, a disseminated form that is detached from reality. *Estrella de Diego, Contra el mapa, Siruela, 2008

Daniel Jacoby . ADUVIS BETA .
The tree structure, thanks to its simplicity, is commonly used to arrange all type of information even when it's not the most accurate form. ADU (acronym for the Spanish of Universe Data Tree) is an attempt to concentrate all the data in the universe in one single tree with The Universe as a root. The tree can be navigated using a Java application called [ADUVis (beta) (2008)] and it's open to collaborations. For more information on the project, visit its homepage.

Tjasa Kancler (Maribor, Slovenia 1978) raises a specific model of communication and visualization of information to facilitate transversal lectures, counteract predominant sources of information, to alter the habitual experience of news consumption and generate debate. P-a-r-a-d-i-g-m-a emphasizes in the planning of antimissiles shield at East Europe, the North American system designed for the protection against international ballistic missile, launched by the called rogue states, as Iran or North Korea.

[Space translations (2006-2009)] it is a process of transformation from a space to a photographic image, it will be translated into information, which finally reconstructs the reality of the place through the images printed in ASCII code. Reconstruct the place and rebuilt the reality. The work is a site specific and it has been realised in three occasions, appropriating in each one, one determined form Venice 2006 -Centro Mediale Zitelle CZ95-, Prague 2007 -Galería ETC- and Berlin 2008-Super Bien! Perla R. Montelongo (Mexico 1980).

[Island Playback (2005)] it is a video installation of Katarina Matiasek with Audio of Robin Rimbaud. Island Playback takes us into the line coast of anonym island of Mediterranean Sea through the photographies from sky. A desire of harmony is perceived as an answer of the narrative will from man in relation to nature. What might wait from this combinatory digital art consisting in the transformation of images into sounds through the movement? Sound seems to emerge naturally from landscape. While the coast oscillations move in the screen, the islands seems reproduce constantly.

Rotor has developed a series of projects and actions based in cartography, game and action referring to knowledge and way to act in the actual social and geographic space. In[Manuals Rotorrr per Terrae, Aqua i Aire (2009)] translates, organizes and visualizes the information and acquired material into the place to be after experimented, organized and modified by the users.

Video Screenings
12th November 2009
Alba Corral Lines DVD 4.20 min 2006 Alba G. Corral, Gold Thinkings, DVD, 5.16min, 2009 Gold Thinkings represents the accumulation of thousands points on a digital canvas. One day, basically, I might feel a particular sense and do something weightless or heaviest, more little or bigger than the normal way. When I work in my drawings, i project into it all my being. All my pieces are like layers taken out from a « continuum » which duration is the whole of my life (from Robert Motherwell text). The technique used is processing. Registered in real time and afterly rendering with Camtasia Studio. Music by Nikka. http://www.albagcorral.com

Field, Interim Camp, Curtmetratge experimental 13min, Alemanya 2008-09 The constant transformation of the landscape is based on generated motion sequences of transforming surface structures. To be able to create these dynamic topographies, we developed a custom animation tool – an agent-based software simulation written in Scala and Processing. It is a common way in science and for computer games to represent terrain as a volumetric model with digital elevation maps, created from images taken from an airplane or by a satellite. Composer Arran Poole created the soundtrack. www.field.io

Karen Russo The Place Where Remote Futures Meet Remote Pasts DVD 3.45min 2008 Filmed in the tunnel under the Western Wall in Jerusalem, the work features the artist crawling along in a narrow tunnel system, running underneath the full length of the Western Wall, situated in one of the holiest places in all of Judaism. The opening of the tunnel to the public in 1996 inflamed one of the most violent riots in Israel in years, with Palestinians claiming the tunnel ran beneath the Temple Mount, which is one of the holiest sites in Islam. The bloody events ended up with the death of 70Courtesy Karen Russo | Crisp London Los Angeles

Txuspo Poyo Cruzando Vías DVD 3 min 2003
In Crossing Tracks, Poyo presents New York underground at 2003, two years after the city attack. Advertisement that announces in English “ if you see something, say something”, sings that advert population of an imminent danger, contributing at the same time to the creation of a psychologic estate of collective paranoia. In the video, wagons opens, cross faster in a fix shot, where columns are converted into structural elements diveding the image in fragments and distort the vision of the station, turning into images giving sense of irreality to underground station.

Raul Arroyo As the title suggests, this video describes the urban environment which the author walks through ever day - the neighbourhood of El Raval, part of Barcelona’s old town -. He covers this space in a singular manner, guided by a specific and dynamic organisation of signs: a lot of graffities, street signs, plaques, posters, stickers, rubbish and other residues, the texture of the walls and the roads, the geometric designs of the tiles on the pavement... This is thus an imaginary tour, which is nonetheless as faithful to reality as any documentary film can be. Its mode of expression is a rhythm of forms, colours, signifiers... complicit with the music created by Ramón González.

Streaming
Locus Sonus Audio Streaming Project Map
Locus Sonus Audio Streaming Project Map
At one point it seemed necessary to provide the "streamers" (as we have come to call the musicians and artists who've responded to our call) with the possibility to access the streams themselves, not only to hear their own stream but also those provided by other people. So we made this animated map which shows the location of all the streams and indicates those which are currently active with a blinking light. By clicking on a chosen location one can directly listen to the OGG Vorbis stream in a browser. Community of streamers. Another interesting development arising from the fact that we are involving other people to set up the microphones is that we have found ourselves with a network of people - artists, musicians and researchers, who are inherently interested by networked audio. This has led to use of the streams for art forms, outside of the lab itself (SARC in Belfast, Cedric Maridet in Hong-Kong, etc.). Much of our research concerns the emergence of listening practices which are based on the permanence, the non spectacular or non event based quality of the streams. We have found ourselves creating a sort of variation on Cageian (as in John Cage) listening, importing a remote acoustic environment in a way which can be chosen by the user, creates a renewed concentration on the local environment itself. This has led us to reflect on a form which adopts a permanent or semi permanent situation to present the streams publicly, and which involves a relationship between the local and the remote environment. (We're currently working on the version 2.0 of the SoundMap) ................. Collaboration Hangar

Curatorial Text
Cartographies of non site
is an exhibition showing Spanish and international artist. It pursues to be an exhibition about art and technology and its willing is to represent the critical role of new media in the cultural society. The exhibition analyzes the contemporary landscapes as a discipline in digital art. All the works belongs to mediascapes trying to develop the knowledge of the space in the most beauty manner. The exhibition is based on the lecture of Rhizome, Gilles Deleuze and Felix Guattari, it interprets actual society under the principles of connectivity, flux, not significant rupture and cartography. It is a heterogenic society and it is built through underground ramifications, drain lines, trajectories and vectors. Internet is an information interchange tool. But it is not valid only for communication. We must learn what to transmit and to whom. The net it must not be finality, but a medium. Internet is a non-place. A virtual non-place. It is a space thought for communicate, consume and inform, as well as airports, highways, hipermonuments not symbolized and without signification, places that do not contribute to the historic memory, designed spaces for transit without stop. Spaces for anonymity portraying human condition in actual society. De Francesc Abad, http://www.blockwb.net/ Apunts 2001 -02 [diari digital] art and technology cannot elude net-art works. As well, it can be seen an installations, drawings,illustration and video-art. Non-place is nowadays the result of machinic production system. It has a decisive power on society. Petrol stations and supermarket are brands, signs of the systems, which abolish the place identity and are being localized all around the world with the same interpretation code, neutralizing the environment, homogenizing society. Heterotopy and non-place are developed under the meaning, hierarchy and typology of Foucault understanding spaces. The concept of space and the modern construction of Europe end at Berlin Wall 1958. The modern crisis of fifties is determined by the experience of repression, exodus and exile. Actual directly derived conditions are displacements, transfers and flux. To overcome the modern space conceptions (perspective and colonialism) mean and refer how to adopt new technologies to redefine our behaviour in the space surrounding us. Radar and localization technologies synthesize the experience of the whole reality perception, developed in Jameson through cartography. The basic tools in technologies of representation, data visualization and sociology are, in a kind of way, mapping. It could be said is one of the new media specifics. His form and structures, TREE – rhizome – diagram – mapping are used to show the knowledge through digital tools and Internet. This is the structure that contributes to universal archive of knowledge, and under its shape, form and content are resolve. Expose New Media Art. New exhibition spaces, the contemporaries, have developed new form, cubic space, and ascendant, black colour. Black Box (from cinema onwards) are being antithesis for White Cube, characterized for horizontality, embrionary and territorialised, moderns in itself and implied with idea of transparency-labyrinth- they precede digital ubiquity, Black Box idea that suggest threaten and spirituality-cavern-. Expose net.art on the wall, it could seem incoherent, but at the same time it creates a blow up of the perceptual field. They participate, as well, with the idea about the regeneration of the architectural surface, as in science – fiction or futurism, using more soft and transparent materials. Net.arts works exhibited in his horizontal form enhance its visual and tactile accessibility. It is the disposition to conflict mediation. Antoni Muntadas display media monuments as Negotiation Table. Art is a model of action and social criticism, as a political agent it stimulates and generates reality. New Media exhibitions (video, net. art web platforms, performance, installations) are a strategy of action, a point in the complex artistic relations to connect and create. To visualize knowledge. The exhibition functions as a media to visualise the artwork in relation between research and memory, place and heterotopy. Economically it has the strength to operate between micro-politics and estate capitalism. It might be an artistic practice that represents the poetic of historian, researcher or curator. As an activist an artist and from History, produces works, installation, exhibitions, knowledge with strong political convictions in front of society, present, past and future. Cibermuseology is the concept that Steve Dietz, artist, curator and ISEA 2000director, uses to define this practices. John Ippolito, curator New Media, Museum Guggenheim Bilbao, produces new media museographic practices based completely in the web as a support and media to communicate and catalogue information and artworks. Social mediation and/or history. To project and advertise is one of the aims of new media. The risk of strong technological capabilities creates a new symbology and new method of reality analysis, as well as new thought structures. Walter Benjamin represents as well the strong risk in reproduction media and its effects on the mass, in global population. Adorno and Horkeimer follow him. Actually, Anika Larson and Harun Farucki are the references. Criticise and denounce the impact and shock of new media in society is one of the electronic art, net. art, digital art or new media art characteristics. The discourse is critic against the use and function of new technologies. As a Trojan horse in our system. And advertise as well about appearance, mirages, and untruths. Net.art is created in network, in the ubiquity, through the sensation of the immaterial. It is an expression of our senses and in cybernetics everything turns into communication. Think, feel and express. Flux, network and electronic continuum, weight-less, represent the reality of new media art. Digital art is information and the spectator turns into a player in digital game. It represents the post-history discourse, after modernity. New Media Art is real-time experience. Then, narrative is ended. It implies the idea about the end of the historic discourse as Lyotard appoints. Because of the leadership of new technologies in actual society, we should engage directly and effectively with ecology and environment, Media Art Ecologies, helps to contribute a critical theory and praxis, establishing patterns of behaviour and dialogue. New technologies develop as well an evolution in the process of work that implies a displacement of urban structures. Industry is replaced by computer, and the urbanism is affected by this. Net.art is being displayed in old industrial generational buildings, faculties, universities, fabrics, as LABoral or ZKM. Is this the neoliberal’s historicist pulsing of history? Where are placed this old building in our society? Mapping Feminism. Sometimes you are creating an installation, an art work. Then, the exhibition medium is developed in the spatial plane through the discourse of spacialization, the theory of the space. Considering the influence of sculpture as expanded field, some exhibitions work and show how the curator is endowed of specific doctrine based on localizes and emplace. Not only to create discourse from an essay about references and artist. But defining and deciding about the spaces. As in public-space or anti-monument, its social praxis distributes in the system without fashions and dogmatism. It also acts in the creation of public and politic space, acting through art and citizenship. Mapping Feminism is the title of the conference of Diana McCarty at ISEA 2009, where she rethinks what is the role of the women in the evolution and development in art and new media. Contrasting the biology/ethic with the military as the colonialist capitalism paternalism, the curation as a feminine property, carrying life, the original place, the place, the space. Colonialism and euro-centrism are actually opposed to terra incognita, the post-colonial freedom and social revolution. Mater naturans as the origin and definition of creativity, memory and sign on the space, enhancing the place through the identity construction, what is defined as the anthropological of the community. Art has developed practices capable of be back the heterotopy to life, the death to life.