Oltre lo schermo
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Transcript of Oltre lo schermo
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Truman Show
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<<Il nuotatore, rompe la barriera, la scatola dei televisori…
oggi si tratta di partecipazione diretta dello spettatore nelle installazioni interattive, gli “ambienti sensibili” come li abbiamo chiamati, cioè ambienti dotati di una sensibilità a cogliere gli stimoli prodotti dagli spettatori ma che richiedono una sensibilità per essere agiti.>>
Paolo Rosa
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Ne Il Giardino delle Cose l’idea era che
<<se volevi vedere un’immagine dovevi conquistarla, trasformarla in esperienza .
Nasce cosi l’uso degli infrarossi, una macchina “cieca” che non legge la luce, ma solo le frequenze del calore, che impone la fatica di scaldare l’oggetto con il calore delle mani. Finita questa cura, cessata la manipolazione, l’immagine diventa fredda, scompare, torna nel suo non essere. >>
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Nella prima installazione interattiva, Tavoli, <<Un primo elemento caratteristico del progetto era quello di riuscire a spogliare il più possibile la scena della nostra opera, del nostro ambiente, della presenza degli elementi tecnologici che non dovevano essere platealmente esibiti; le immagini dovevano come galleggiare dentro uno spazio, andavano liberate dalla “corazza tecnologica” del televisore che da quel momento infatti non usiamo più, sostituendolo con le videoproiezioni; anche l’inquadratura, lo schermo come cornice, come spazio obbligato viene meno. >>
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In Coro <<Si tratta di camminare su un tappeto su cui sono proiettate immagini di corpi…>>
In Totale di una battaglia <<Il percorso era articolato in tredici postazioni interattive, in cui si richiedeva allo spettatore di usare la voce, non più calpestare o toccare: le immagini andavano “chiamate” con un suono forte.>>
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Jeffrey Shaw, The Legible City, 1989
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Jeffrey Shaw, The Distributed Legible City, 1991
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Jeffrey Shaw, The Web of Life, 2000
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Maurice Benayoun, Tunnel sotto l’Atlantico
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“Armati di macchina fotografica, ci facciamo strada attraverso uno spazio tridimensionale…
Ma invece di aprire l’obiettivo per catturare l’immagine, la macchina manda le coordinate al computer…
Ogni macchina fotografica è equipaggiata con un tipo di sensore magnetico che permette la trasmissione della sua posizione esatta nello spazio e del suo orientamento secondo tre assi. Così il computer può calcolare il frame corrispondente, in relazione alla scena e al tempo dello scatto.”
Maurice Benayoun, World Skin
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Edoardo Kac, Teleporting an Unknown State, 1998
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Edoardo Kac, Rara Avis, 1996
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“Nella nostra vita quotidiana diamo per scontato di vivere in un unico mondo reale, con un solo corpo e una sola coscienza –ma la nostra condizione è davvero così sicura?”“Con l’avvento di Internet, vivere virtualmente in un altra comunità (o un altro spazio) sta diventando un aspetto ordinario della vita. E’ anche possibile avere un altro ‘se’ in un altro mondo come avatar. Ma allora dove viviamo…. Apparteniamo allo stesso tempo a spazi differenti in un cerchio di realtà intermittenti?” M. Kusahara
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Edoardo Kac, Darker than Night, 1999
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“Darker Than Night è una rete di relazioni, un complesso circuito di segnali che circolano tra l’essere umano (il visitatore col caschetto), l’animale (i pipistrelli che trasmettono e ascoltano gli ultrasuoni come loro “senso della visione”), e la macchina (il batbot che simula i pipistrelli reali riproducendone il sistema di orientamento).” S.Milevska
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“Nel diciannovesimo secolo il paragone basato sulle tre lingue della Stele di Rosetta (greca, scritto popolare e geroglifica) era la chiave per comprendere il passato. Oggi il triplice sistema di Genesis (linguaggio naturale, codice del DNA, logica binaria) è la chiave per comprendere il futuro. Genesis esplora la nozione secondo cui i processi biologici sono oggi scrivibili e programmabili, così come capaci di conservare ed elaborare dati in modi non diversi dai computer digitali. […] I confini tra la vita basata sul carbonio e I dati digitali stanno diventando fragili come una membrana cellulare”Eduardo Kac
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Christa Sommerer e Laurent Mignonneau, A-Volve, 1993
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Digital Plancton
Whether this is a new dimension for people, or the birth of a new digital species, is a matter of opinion. In the Monod hypothesis, evolution proceeds in large steps. The most important steps arise with the availability of new lands, new technology and new environmental conditions. One of the biggest known steps is often held to be the movement of living beings from sea to earth. The development of language technology was another important step, forming the basis of cultural development (the possibility of collective memory). In this sense, we identify computers and the Internet both as new technology and new territory allowing a further stage in evolution.
Mauro Annunziato
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Mauro Annunziato e Piero Pierucci (Plancton Art Studio), Relazioni Emergenti
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Mauro Annunziato e Piero Pierucci (Plancton Art Studio), E-Sparks
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David Rokeby, Very Nervous System, 1982
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Rania Ho, Free Range Appliances
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Daniel Rozin, Wooden Mirror, 1999
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Decoi, Aegis
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Decoi, Aegis
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Decoi, Aegis
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Decoi, Aegis
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Ken Rinaldo, Autopoiesi, 2000
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<<My interdisciplinary media art installations look to the intersection between natural and technological systems. Integration of the organic and electro-mechanical elements asserts a confluence and co-evolution between living and evolving technological material.
Technology Recapitulates Phylogeny is both an observation I've made and a play on Ernst Haeckel's notion that "ontogeny recapitulates phylogeny," in which the ontogeny, or growth of the fetus in the womb recaps certain phylogenetic stages through which life has evolved. During gestation, humans progress from a single cell to a time when the fetus has rudiments of gills and a tail.>>
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<<In our time, with human cultural development so inextricably intertwined and dependent on technology, our existence surrounded in a strangely comfortable embryonic sack of chips and wire, it is no wonder that a relationship between technology and phylogeny seems evident. Strangely, there are now hybrid forms which one cannot readily identify as being either technological or biological. (…) Neural nets, micromachines and cybernetics are a few more contemporary examples of researchers looking to natural systems for modelling.
While genetics have permitted the passing of biological heredity from parent to child, what has truly distinguished humans from our past kin is not our 100,000 year old biological selves (as indeed we reveal little biological difference to our ancient forebears), but instead the cultural memory which has followed humans in the form of cultural memory augmentation devices.>>
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<<Structurally, computers continue to develop, and seem to mimic the successive stages of development that less evolved forms have gone through, progressing from single transistors (cell) to very large scale integrated circuits (neuron) to massively parallel neural networks (brain). Many would say, that what is still lacking in computers, are the body and sensory elements that would allow computes to develop a form of consciousness. I believe we represent that body as a remote sense extension, which rejoins with the computer as information processor and integrator. We further act as that body by continually researching, manufacturing and modelling ever-faster hardware and software.>> Ken Rinaldo
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Naoko Tosa, Unconscious Flow, 1999
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Mariko Mori, Birth of a Star, 1995
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Mariko Mori, Tea CerimonY III, 1995
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Mariko Mori, Nirvana, 1996
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Mariko Mori, Wave Ufo, 2005
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Golan Levin, Messa di Voce, 2003
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<<Messa di Voce (Ital., "placing the voice") is an audiovisual performance in which the speech, shouts and songs produced by two abstract vocalists are radically augmented in real-time by custom interactive visualization software.
While the voice-generated graphics thus become an instrument which the singers can perform, body-based manipulations of these graphics additionally replay the sounds of the singers' voices — thus creating a cycle of interaction that fully integrates the performers into an ambience consisting of sound, virtual objects and real-time processing.>>
Golan Levin
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Golan Levin, The Manual Imput session, 2004
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Golan Levin, Dialtones, 2001
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<<Dialtones is a large-scale concert performance whose sounds are wholly produced through the carefully choreographed dialing and ringing of the audience's own mobile phones.
Dialtones inverts our understandings of private sound, public space, electromagnetic etiquette, and the fabric of the communications network which connects us.
It is hoped that the experience of Dialtones can permanently alter the way in which its participants think about the cellular space we inhabit.
If our global communications network can be thought of as a single communal organism, then the goal of Dialtones is to indelibly transform the way we hear and understand the twittering of this monumental, multicellular being.>>
Golan Levin
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Christian Moeller, Light Blaster: Immaterial Membrane , Interactive light and sound installation, 1993
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Christian Moeller, Fuge for Piano, op. 154Touch-sensitive music installation, Vienna. 1995
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Christian Moeller, Audio Grove , 1997
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Christian Moeller, Backbone, 1996
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Usman Haque, Sky Ear, 2004
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Ma0/emmeazero, Touch Screen, 2003
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ma0/emmeazero, Touch Screen, Losanna, 2004
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Ma0/emmeazero, Touch Screen, 2005
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Interaction Design Institute/ma0, La memoria degli oggetti, Milano, 2005
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