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Urban Screens
- 2. NYC
- 3. Target subway ads | CNN
- 4. Anti-advertising agency Anti-Advertising Agency http://antiadvertisingagency.com/
- 6. Anti-advertising agency Anti-Advertising Agency, Bus Stop Project
- 7. Anti-advertising agency Anti-Advertising Agency, Light Criticism
- 8. David Rokeby, Seen
- 9. GRL Graffiti Research Lab http://graffitiresearchlab.com/
- 10. Walker art center Walker Art Center exterior
- 11. Uniqa tower Uniqa tower, Vienna
- 12. realities:unlimited SPOTS , light and media installation, Potsdamer Platz, Berlin, 2005; created by realities:unlimited
- 13. Blickenlights Blickenlights , Berlin, 2002, Chaos Computer Club
- 14. BIX BIX, Kunsthaus Graz, Austria, 2003
- 16. “ Volume,” by United Visual Artists and onepointsix
- 17. Blur + sharpen Climate on the Wall
- 18. Doug Aitken, Sleepwalkers (2007)
- 19. Aitken “ These characters provide a blueprint for the metropolis as a living, breathing organism fueled by the desires, energies and ambitions of its inhabitants” -Doug Aitken
- 20. Lowry “ A project like this creates a very different dialogue with the public, who we hope will be inspired to think about art in relation to the city itself and to the larger urban experience.” -Glenn Lowry, MoMA Director
- 21. Aitken
- 22. Aitken
- 23. Aitken
- 24. My work reveals the contradiction of the environment and the events actually taking place there. It is to do with politics of space and the ideology of architecture. City centers are political art galleries. – Krzysztof Wodiczko z
- 25. Krzysztof Wodiczko "The attack must be unexpected, frontal, and must come with the night when the building, undisturbed by it's daily function, is asleep and when it's body dreams of itself. This will be a symbol-attack, a public, psychoanalytical seance, unmasking and revealing the unconscious of the building, it's body, the medium of power."
- 26. The Border Projection, Krzysztof Wodiczko, Centro Cultural Tijuana (1988)
- 27. Body Movies, Relational Architecture 6 , Rotterdam, Holland, Rafael Lozano-Hemmer, 2001
- 28. Amodal Suspension, Rafael Lozano-Hemmer, 2003
- 29. Vectorial Elevation, Rafael Lozano-Hemmer, 2003
- 30. Pulse Front, Rafael Lozano-Hemmer, 2007
- 31. Underscan, Rafael Lozano-Hemmer, 2005
- 32. Touch, Dexia Tower, Brussels, 2006, by LAB[au]
- 33. pentagram Touch, Dexia Tower, Brussels, 2006, by LAB[au]
- 34. Holger Mader and Alexander Stublic, Reprojected (Munich 2006)
- 36. Marie Sester, Access (2003)
Hinweis der Redaktion
- http://antiadvertisingagency.com/
- Parasite, which is described by its three makers as “an independent projection-system that can be attached to subways and other trains with suction pads.” The trio crafted a series of short videos to be projected by the Parasite system from subways as they moved through tunnels. The videos included text fragments and images of animated fish swimming alongside the subway windows. One of the artist’s described the project this way: “Advertising and corporate urbanism consume more and more of our public space. We want to use technology to reconquer it.” Parasites makers include Frédéric Eyl, Gunnar Green and Richard The, students in a Digital Media Class at the University of the Arts in Berlin. Wired, 12.2005, p. 269. Along similar lines the Toyshop Collective created a series of whimsical zoetropes using bicycle wheels, offering moments of clunky animated images in the midst of the city. The whimsical images projected by the Parasite system exemplify the making of place out of space, a process that Paul Dourish describes as an integral process undertaken by people when they have tools needed for participation. “Placeness,” he writes, “is created and sustained by patterns of use,” adding that a sense of place is “a communally-held sense of appropriate behavior, and a context for engaging in and interpreting action.” While projecting images on subway walls may not be considered within the typical understanding of “appropriate behavior,” the Parasite system at once addresses the corporate voices that are so prominent in public space by being overtly antithetical to that rhetorical stance, and in suggesting possibilities for adding other images and ideas to a space. Similarly, the video documentation, with its overt “how-to” opening, advocates a participatory do-it-yourself response among viewers, making this project part of a larger movement of digital graffiti, some of which is much more overtly adversarial.
- http://antiadvertisingagency.com/
- http://antiadvertisingagency.com/
- David Rokeby, Seen
- http://graffitiresearchlab.com/
- Barco enters architectural market with first permanent LED installation on building façade Kuurne, Belgium, 12 May, 2006 - Barco, a pioneer in creative LED technology, is delighted to announce the first permanent LED installation on a building façade. The Uniqa building in Vienna, Austria stands at an impressive 20 floors and has been fitted with 45,000 LED blocks covering a staggering 7000sqm. The LED blocks, attached to profiles in between the window panes, bring the building to life and make it one of the most striking towers in Vienna. Designed by lighting designers ‘Licht Kunst Licht’, the installation is a fantastic example of how LED can be used creatively to transform buildings and identify them as distinctive landmarks. ‘Licht Kunst Licht’ understand lighting design as an integral part of architecture by emphasizing its effect on spatial quality as opposed to stressing the formal lighting fixture design. At night the tailor made content for UNIQA brings the building to life and ensures UNIQA is noticed by everyone in Vienna. The LED solution comprises of Barco’s MIPIX and has been fixed in a special housing which is IP65 certified. There are 2800 sections of MIPIX each of 1.3 meters long, placed end to end in pairs - making 1400 separate sections each totaling 2.6 meters long. Barco was chosen for this project not only for its innovative product design and product quality but also for its ability to complete the installation in just 5 weeks. The installation posed a range of unique challenges for the Barco team to overcome. No cables were allowed to run into the building from the outside except via the roof. Coupled with the extremely short time scales for the installation, this made for an unusual scenario for the team but one that was overcome to the customer’s satisfaction. Barco prides itself on meeting and exceeding customer needs as it did at UNIQA. The content for the LED is a specially designed video file written for UNIQA by ‘Licht Kunst Licht’. "The UNIQA tower is a new landmark for the city of Vienna. Its distinctive silhouette is an architectural landmark located at the start of the famous Ringstraβe, and it creates a link from Vienna´s city centre to the historically important Praterstraße. The unique LED installation supports the expressive architecture of UNIQA headquarters. The conceptive world of pictures with abstract and specific motives brings additional life to glass cladding of UNIQA tower," says Ernst Morgenbesser, project manager UNIQA Tower. Stephan Paridaen, President of Barco’s Media and Entertainment division stated: “This is truly a fantastic and unique installation. The UNIQA building marks the beginning of the latest evolution in LED technology, from video walls to creative architectural visual design.”
- “ These characters provide a blueprint for the metropolis as a living, breathing organism fueled by the desires, energies and ambitions of its inhabitants,”
- This project is rich with metaphors: the city as body, the city as screen, the city as spectacle. Subjects as sleepwalkers and viewers as pedestrians. The screen as window, the screen as broken, the city in fragments. It has also sparked several neologisms. New York Times critic Roberta Smith, for example, couldn’t’ decide between “archivideo” and “videotecture,”
- http://www.danah.org/