The installation hasn’t told me its name yet, you decide: The Code, Artifax, Hidden Voices, or Forgotten voices
This sound installation takes place in a green area within the grounds of the university. It consists of an immersive surround soundscape synthesised from field recordings taken in the Amazon informed by several elements. When modified the high-pitched frequencies we normally hear in the rainforest reveal hidden worlds and secret codes. As well as these sounds, electrodes in the plants read electrical signals known as “action potentials” which also affect the sounds in the soundscape. What if all this sounds we hear in the jungle, and the electrical activity in the roots of plants form part of a larger information and communication network like some kind of giant fax machine? This installation explores this idea.
facebook : Augustine r Sound Artist
by Alexandra Caetano and Eufrasio Prates
The artwork is an interactive system that proposes the construction of synesthesic landscapes via the capturing of brain waves’ variation. The dynamic and unforeseeable landscapes are composed by fractal sounds and oscillations of colors by reflecting neurological patterns externalized by the crossing of the senses.
It Had to Be With You
by Alexandra Teixeira Riggs
It Had to Be With You is an interactive poem about family, culture, language, and secrets. The poem unfolds as a series of words animated in time to music. In order to change the path of the narrative, interrupt it by clicking on one of the highlighted words. This will lead you into a new path, with more clickable words and potential paths.
Urban Railways – Intercative Installation
by André Parente and Pedro Parente
“Urban Railways” is an interactive installation made with a specific version of Corisco’ software (created by Pedro Parente) which capture the movement of the viewers in the exhibition space in order to move a window to create an anamorphic image fixed as the resulting of the window’s displacement. The installation is both formed by a still image background and a moving image, a window, the first significant level of their artwork and the second level of the visualization process of movements that leave traces on the first.
by Andrea Capssa and Giovanna Casimiro
ARt[In]Muzz is a project in discovery. Uses augmented reality to build its dynamics, proposing a new experience between artwork, public and the artist. It attempts to establish a prime medium of exposure, connected, immediate, in which the real and the virtual are ubiquitous, simultaneously, in order to deterritorialize the artwork and to demystify the exhibition space.
by Andrew Ames
Argument: Limited Edition is a small edition of thirty laser-cut, hand-assembled acrylic game sets completed between 2012 and 2013. The Argument board and its pieces set a landscape: the game’s rules create a situation for players to either collaborate or compete—the players decide. The circular design of the game board is intended to foster collaborative play; players sit around the board as equals. Players choose how to play, and the decision changes how they interact with the game and one another. In competitive play, the person who removes all of his or her pieces and collects the most pieces, wins. In collaborative play, everyone can win, but only if all pieces are removed from the table and everyone ends with the same number of pieces they started with.
200 Million Years – Durée
by Anna Barros (In Memoriam) Curated By Nara Cristina Santos
This work of Nanoart was developed from three images obtained with an electronic microscope scanner and with an atomic energy microscope (at the Physics Institute of USP São Carlos and the Laboratory of Thin Films of USPSP). The work investigates the poetics between duration and memory that is established in a relation between the images – obtained with the microscopes – of a few organic samples: a 200 million years old petrified tree, found in the paleontological reserve of Mata, in Rio Grande do Sul; a seed of Ypê and of Resedá; and a branch of Resedá and a peel of Ypê. These images are worked in digital 3D animation, and the sound adds a tactile vibration feature. Scientific images are thus transformed by the imagination of the artist in 3D programs.
GIF Free For All
by Bill Miller
As the WWW has grown and changed over time, so has the way users engage with web-safe file formats. The animated GIF is one such file format that has a range of uses from popular culture to experimental media and everywhere in between. Its is a particular moving image type that is ubiquitous and has fostered a number of exhibition formats that challenge the dominant modes for presenting digital art works. This exhibition invites 20 artists to create animated GIFs that fit within their larger body of work with the format while also engaging with the conference topic. The generated work will be presented on a large screen within the browser and looping through the moving images.
by Brian Kane
A 2-dimensional simulated photoshop selection made from metal wire and programmable LED’s is installed in the exhibition space. The animated 2D display creates the illusion of a separate architectural space which is intersecting the real space of the room. The effect simulates the “marching ants” animated outline effect of a selection being made in Photoshop, causing the viewer to feel as if the real world is a Photoshop manipulation.
by Brian Kane
Four modified Roomba floor cleaners are modified with ink cans and paintbrushes so they leave marks on the floor beneath them, and have also been modified so that they can be controlled via wifi by user’s smartphones. Left alone, the Roombas will make linear patterns as they go about their existing programming, but when a user takes control they can make curves and abstract shapes. Once a user or someone from the event thinks the drawing is done, they can remove the paper sheets and hang them on the wall, and place new sheets of blank paper on the ground.
by Bruno Vianna
This series of motion graphic works subverts the usage of computational video algorithms. This is a field in computer science dedicated to the analysis of video, with the goal of extracting useful information from it, from camera movement evaluation to recognizing faces. However, these videos do not take advantage of the data extraction possibilities in the software. Instead, it will use that information aesthetically, generating visual patterns and glitches that refer to images of surveillance. It rebuilds their meaning, denying their potential for control.
by Danilo Andrade de Meneses, Eufrasio Prates, José Otávio Pompeu e Silva and Maira Monteiro Frois
COGNOISE is a performance that intends to bring participants into a complex synesthetic experience which we expect will drive a re-evaluation of the noise-pattern tension, leading us to consider elusive and unpredictable orders as intrinsic to our creative expressions, from fine arts to computational technologies.
Amoreiras (Red Mulberry)
by Gilbertto Prado and Grupo Poéticas Digitais
Agnus Valente, Andrei Thomaz, Claudio Bueno, Daniel Ferreira, Dario Vargas, Luciana Ohira, Lucila Meirelles, Mauricio Taveira, Nardo Germano, Sérgio Bonilha
Amoreiras is a project on autonomy, artificial learning, nature and the environment. The main actors are five young red mulberry trees at Paulista Avenue, cultural and economic center of São Paulo. A microphone measures ambient noises, used as a representation of the pollution level in the city, and “motor-driven prosthesis” move the branches in order to help the trees get rid of the soot in their leaves. An artificial learning algorithm allows the trees to observe and learn from each others behavior, in a dance of trees, prosthesis and algorithms, making apparent and poetic the swaying of the branches, sometimes (in)voluntary-mechanical , sometimes caused by the wind itself running against the leaves. The intention of this presentation is show the video of the projet and one prototype and acrylic box that was coupled to the trees.
by Guto Nóbrega
Telebiosfera is an art project focused on building a hybrid environment (composed of natural and artificial elements) in which it is possible bio-communicative immersive experience, telematics, distinctly located between ecosystems. The project aims to build two small domes that allow the visitor to connect, view and interact within each environment (telebiosfera), with its remote peer. Each telebiosfera will be able to receive and transmit data and images of the ecosystem in which it is inserted in real time. The visitor will be able to experience such data as images and interactive sounds, as well as through reproduction by simulation of the remote environment (temperature, light, humidity, etc.). The main interface of interaction between micro environments recreated in telebiosfera will be a hybrid system consisting of a plant and artificial body for reading vegetables galvanic responses.
by Jack Sternner
The work addresses the grammatization of omniscience. In content, form and method, the work considers the transformation of culture from one responsive to an omniscient spiritual presence, to one equally beholden to an omnipotent electronic apparatus. News broadcast footage archived for the past decade is combined with contemporary cinematic imagery using a computer program to procedurally edit and display the work. Natural language processing, speech analytics, and humanities computing techniques are used for content analysis.
by Katherine Guillen and Antenor Ferreira Correa
Monument is a visual music work resulting from a multimedia approach accomplished through a collaboration between a Brazilian musician and an American visual artist. The work was inspired by the poem “The Monument” by Elizabeth Bishop (1911-1979) an American poet who lived in and wrote in Brazil. The artists used the imagery and sentiment of Bishop’s text as a starting point for their partnership. Working initially separated, each artist conceived their particular way to “read” the poem through music and images. Later, they worked together in order to mix their primary ideas. Both artists share an interest in hybrid uses of technology. Isomorphic procedures were applied to set up the musical environment, rhythmic structure, and the general form of the work. Hand drawn, painted and digitally manipulated imagery were combined for the visual animation.
Black Like Me
by Lindsay Grace
In a world full of racism and stereotype, this game is about the all-too-common effort to match by color. Black Like Me, employs critical design to encourage players toward situational analysis instead of mere attribute matching. Players are presented with a color matching game at the surface, but the game cannot be one if players look only at color. Players are encouraged to subvert the suggested game rules. The game is designed to train players toward perceiving ambiguity and employing alternative play strategies. Games train players toward specific understanding of the world, this game aims to undo that training.
S.H.A.S.T – Housing System for Homeless Bees
by Maria Luiza (Malu) Fragoso
S.H.A.S.T. ( Sistema Habitacional para Abelhas sem Teto/ Housing System for Homeless Bees) is a telematic art piece which implies the construction of a hybrid home, or a sensitive shelter, provided as beehive for actual bees in a farm in Rio de Janeiro. The art piece is composed of three modules: an active beehive monitored and sensitive; an empty beehive installed at specific sites for attracting bees, also monitored and sensitive; and a series of objects and immersive installations capable of expressing to the public the context and content of these beehives. The artwork has different approaches to social needs and intervention. Also brings about the necessity of an enhanced perception and consciousness over human/nature interaction through technology. Our inter is to explore and investigate possibilities on transcultural levels to develop this work with the help of T₂EIA team. For CAC4 exhibit a prototype of an interactive installation was created. A module in acrylic receives data as synthetic images projected inside the module from the beehive.
by Maria Manuela Lopes
Trace was developed as a re-enactment of neuropsychological assessment archival data of Alzheimer’s disease patients under a clinical trial in Hospital de Santa Maria, Lisbon.The sentences were freely written by the patients and had no specific rules. Their approximate translation to English, including the grammatical errors, is presented in a printed transcript. The drawings also belong to the archive of traces left by the patients when responding to assessment guidelines. The work is created in the form of montage and has been developed to work across a panoramic installation intended to invoke the experience of juxtapo- sition and duration in the discourse surrounding neuroscientific studies of memory loss. Trace plays with the liminal state of autobiographical memory in Alzheimer’s disease by metaphorically alluding to the process of memo- ry: encoding the initial absorption of sensual events imprinted as traces in the nervous system preserving the effects of experience across time.
by Martin Reiche
Stealth is an auditive racing game that shows how the “easy” task of listening can be hard and complex if you as a player are not used to trust your ears but your eyes. The player slips into the role of the blind driver of a high speed car in a two-dimensional world. He has no other choice as to find his way based on what he hears. Leaving the track and crashing with objects will result in acoustic punishment and the player will eventually realize that the whole game is not really about driving a car through an acoustic labyrinth, but about how we perceive our very world.
by Paola Barreto
Inspired by the philosophical fiction “Vampyroteuthis infernalis”, published by Vilém Flusser and Louis Bec in 1987, the work consists in an audiovisual projection on a dark room. Inside this “black box” images are projected continuously, in loop. Nevertheless, they can only be seen when someone enters the room and keep on moving inside the space, revealing, through the captured shape of his own body, scenes hidden behind the darkness. The projection results then in a mix of the visitor’s image (captured by a infrared camera) and the undercover video loop, producing a hybrid and phantasmagoric screen, haunted by a furious figure which eventually shows up entirely. Thus, in this vampyroteuthic cinema, the projection is conceived as a communicational process, in which the I and the other merge to produce the images to be seen.
by Rolando Sanches and Andrea Sosa
MASA is an interactive installation, where all humanity’s solidarity and love make the impossible happen. There is a corpse lying in the center of a room, and six participants, can make this human being come to life again. An overhead projection displays the body of a dead man on the floor. Each participant has a heartbeat sensor attached to their index finger which captures their cardiac pulse. The installation proposes the increase of heart rate. So, participants may jump. When the heart rate of all users is above 160 heartbeats per minute, the corpse come to life again.
by Thomas Russell Storey
Netgyre is a networked installation that visualizes the physical effects of ethereal “virtual” activity in the networked world. Referencing the oceanic “garbage patches” formed by man-made debris caught in the confluence of ocean currents, netgyre is a website that records traffic as 3D debris caught in a simulated vortex. Over time, the virtual trash accumulates, allocating more “waste” memory and generating more entropic heat as the server perpetually runs the simulation. The intention is to betray the lie behind the notion of the internet as a disembodied activity and foreground the physical traces of this activity. The simulation is persistently accessible as well. People observing netgyre through their browsers are embodied in the space as spheres, texture mapped with an image captured from an available webcam. The simulation thus occupies a public volume, a “landmark” in network space.