Panorama internacional da arte eletrônica
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aula expositiva para a disciplina de Arte Eletrônica, do curso de Artes Visuais da Universidade de Brasília.
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Panorama internacional da arte eletrônica
- 1. Panorama internacional da artemídia Daniel Hora Universidade de Brasília | Instituto de Artes Departamento de Artes Visuais | Brasília, 2013
- 2. http://wwwwwwwww.jodi.org/, 1995 - jodi arte digital: arte e tecnologia + arte comunicação desconstrução da linguagem tecnológica (Nam June Paik) remixagem de elementos encontrados (Dada) o meio de comunicação como suporte para a arte (arte postal) internet: informacionalismo, redes distribuídas, globalização
- 3. Temas e tendências da artemídia Colaboração e participação Apropriação e código aberto Paródia corporativa Hackerismo e hacktivismo Intervenções Identidade Telepresença e vigilância Referências: TRIBE, Mark; JANA, Reena. New Media Art. Colônia, Alemanha: Taschen, 2009. + pesquisas próprias em catálogos e páginas de artistas, publicações e instituições na internet
- 4. Colaboração e participação herança da arte participativa – perfomance e happenings Umbrella.net, 2005 Jonah Brucker-Cohen and Katherine Moriwaki Uma série de guarda-chuvas brancos circulam em um espaço público, equipados computadores portáteis que formam uma rede de comunicação entre si, demonstrada pelo uso de iluminação com LEDs
- 5. Colaboração e participação herança da arte participativa – perfomance e happenings Dialtones: A Telesymphony, 2001 Golan Levin and collaborators Concerto de larga escala produzido inteiramente com os sons coreografados dos celulares da audiência
- 6. Colaboração e participação coletivos, grupos, redes, alcateias, enxames, matilhas Dobras/Folds, 1997 Corpos Informáticos
- 7. Colaboração e participação Como no cinema, projetos complexos exigem formações diversas envolvimento de programadores, artistas, ativistas, entre outros coletivos como opção crítica e tática – contra o autoritarismo autoral e o corporativismo capitalista Carnivore Personal Edition, 2001 Radical Software Group
- 8. Carnivore Personal Edition, 2001 Radical Software Group
- 9. CPE Zero Client, 2001 Radical Software Group
- 10. Amalgamatmosphere, 2001 Joshua Davis + Branden Hall + Shapeshifter
- 13. Black and White, 2003 Mark Napier
- 15. World Wall Paper, 2002 area3
- 17. JJ (Empathic Network Visualization), 2002 Golan Levin
- 20. Colaboração e participação NBP, 1993 Ricardo Basbaum http://nbp.pro.br/
- 22. Colaboração e participação Wikinarua, 2009 Suzete Venturelli e Laboratório de Pesquisa em Arte e Realidade Aumentada http://wikinarua.com/
- 23. Colaboração e participação interatividade apropriações e leituras não-lineares My Boyfriend Came Back from the War, 1996 – Olia Lialina A narrativa se desdobra em telas em preto e branco com fragmentos de texto. Ao clicar em link, a tela se divide em frames que revelam um novo texto e imagem correspondentes às múltiplas ramificações da história http://myboyfriendcamebackfromth.ewar.ru/
- 24. My Boyfriend Came Back From the War Remix, 1998, Vadim Epstein (recovered)
- 25. My Boyfriend Came Back From the War Blog mix, 2004, abe linkoln
- 26. My Boyfriend Came Back From the War Chilian version, tribute to Antuco soldiers, Ignacio Nieto, 2005
- 27. My Boyfriend Came Back From the War Flash, 2000, Auriea Harvey&Michael Samyn
- 28. My Burger Came Back from the War HTML, JavaScript, Guthrie Lonergan, 2012
- 29. Don Quixote came back from the library by santo_file group, 2006
- 30. Colaboração e participação Como no cinema, projetos complexos exigem formações diversas envolvimento de programadores, artistas, ativistas, entre outros coletivos como opção crítica e tática – contra o autoritarismo autoral e o corporativismo capitalista Carnivore Personal Edition, 2001 Radical Software Group
- 31. Carnivore Personal Edition, 2001 Radical Software Group
- 32. CPE Zero Client, 2001 Radical Software Group
- 33. Amalgamatmosphere, 2001 Joshua Davis + Branden Hall + Shapeshifter
- 36. Black and White, 2003 Mark Napier
- 38. World Wall Paper, 2002 area3
- 40. JJ (Empathic Network Visualization), 2002 Golan Levin
- 43. Apropriação e código aberto colagens e materiais do cotidiano bancos de dados digitais cultura do copia e cola After Sherrie Levin, 2001 Michael Mandiberg Publicação na internet de imagens escaneadas de um catálogo com fotografias de 1979 da artista Sherrie Levine, que por sua vez registram fotos feitas por Walker Evans na época da Grande Depressão nos EUA.
- 44. Apropriação e código aberto software livre – cultura livre alternativa de distribuição contra a indústria cultural cultura do compartilhamento Super Mario Clouds, 2001 Cory Arcangel Hackeamento para extrair todos elementos gráficos do game Super Mario Bros, com exceção das nuvens. Código publicado para os interessados
- 45. Apropriação e código aberto OPUS (Open Platform for Unlimited Signification), 2001 Raqs Media Collective Plataforma e programa que permite a criação e exibição de produtos de mídia, que podem ser recombinados no trabalho de outros artistas.
- 46. Apropriação e código aberto referência ao remix hip hop e dance music BUST DOWN THE DOOR AGAIN! GATES 0F HELL-VICTORIA VERSION, 2004 Young-Hae Chang Heavy Industries Remix do trabalho BUST DOWN THE DOORS!, de 2000, que narra a história de uma invasão noturna a uma casa por agressores desconhecidos.
- 47. Apropriação e código aberto I Love Yr GIF, 2007 – Giselle Beiguelman (remix da net.art para web e app)
- 48. Apropriação e código aberto
- 49. Apropriação e código aberto
- 50. Apropriação e código aberto
- 51. Apropriação e código aberto
- 52. Paródia corporativa imitação da estética e retórica dos sites de empresas marcas e slogans Airworld, 1999 Jennifer & Kevin McCoy Imitação de site corporativo, com seções típicas como soluções, tecnologias, compras e associações. Os textos são produto de uma base de dados de informações captadas em sites comerciais e descontextualizadas. O projeto foi divulgado por meio de banners de publicidade na internet.
- 53. Paródia corporativa www.rtmark.com, 1996-2002 ®Tmark Arquivo de projetos do coletivo que imita a linguagem e o visual de sites corporativos.
- 54. Paródia corporativa Freakpedia, 2007 Edgar Franco e Fabio FON
- 55. Hackerismo e hacktivismo artistas que se consideram hackers ou adotam práticas e conceitos da comunidade hacker Child as Audience, 2001 Critical Art Ensemble CD-ROM inclui instruções para quebrar o código e alterar jogos do console GameBoy
- 56. Hackerismo e hacktivismo hackear o próprio sistema (operacional) da arte Female Extension, 1997 Cornela Sollfrank A artista desenvolveu em conjunto com hackers um software para gerar trabalhos de Net art a partir de amostras e remixagem de elementos de sites existentes. Para indicar o sexismo das práticas de curadoria da arte contemporânea, ela submeteu 200 projetos a um concurso de uma galeria, com autoria identificada com pseudônimos femininos.
- 57. Hackerismo e hacktivismo Blinkenlights, 1997 Chaos Computer Club http://blinkenlights.net/
- 58. Hackerismo e hacktivismo Floresta Vermelha, 2012 Direção: Flavio Soares http://florestavermelha.org/
- 59. Hackerismo e hacktivismo Engrenagem, 2007 Maíra Sala http://geral.etc.br/engranaje/
- 60. Hackerismo e hacktivismo relação com movimentos sociais e desobediência civil Zapatista Tactical Floodnet,1998 Electronic Disturbance Theatre Ataque de negação de serviço contra sites de bancos e da presidência do México.
- 61. Intervenções mídia como espaço de intervenção Velvet Strike,1998 Anne Marie Schleiner, Joan Leandre & Brody Condon Intervenções dentro do jogo online de batalhas Counter Strike. As ações incluem a manipulação de personagens para atuações pacíficas, em lugar da agressividade esperada, irritando os jogadores habituais
- 62. Intervenções ações mediadas pela tecnologia no espaço urbano Pedestrian, 2001-2002 Paul Kaiser and Shelley Eshkar Projeção de animações em computação gráfica sobre calçadas e praças públicas
- 63. Intervenções SOD, 1999 Jodi http://sod.jodi.org/ Modificação do videgame Wolfstein 3D.
- 64. Intervenções Crepúsculo dos Ídolos, 2008 Jarbas Jácome
- 65. Intervenções walkmonster_start (), 200 Jodi Poema publicado na lista de e-mails Nettime, com texto que se comporta como código-fonte.
- 66. Identidade construção e visualização modo indireto Mouchette.org, 1996 - Mouchette Apresentado como trabalho de uma menina de 13 anos, o projeto indica a maleabilidade e indeterminação da identidade online por meio de uma personagem de ficção. O artista por trás da iniciativa é desconhecido.
- 67. Identidade construção e visualização modo direto Brandon, 1998 Shu Lea Cheang Site sobre a história real de Teena Brandon, uma jovem assassinada por ter se passado por um rapaz
- 68. Identidade Andros Hertz, 2004 Helga Stein
- 69. Identidade Artista Invasor, 2006 Yuri Firmeza Artista japonês (Souzousareta Geijutsuka) inventado, iludindo a mídia.
- 70. Identidade Marcelo do Campo, 2002 Dora Longo Bahia http://marcelodocampo.org/
- 71. Telepresença e vigilância encurtamento e diluição das distâncias Telegarden, 1995 Ken Goldberg O projeto permite que pessoas em qualquer lugar do mundo cultivem flores e plantas de um jardim por meio do controle de um braço robótico acessado em rede.
- 72. Telepresença e vigilância vigilância como – mal necessário – entretenimento Demonstrate, 2004 Ken Goldberg Câmera telerrobótica capta imagens para um site, em que é possível observar atividades em uma praça do campus de Berkeley da Universidade da Califórnia, um dos berços do movimento de Liberdade de Expressão na década de 1960
- 73. Telepresença e vigilância Surveillance Camera Players
- 74. Telepresença e vigilância Resíduos Remotos, 2011-12 Tina Velho
Hinweis der Redaktion
- Colaboração e participação Apropriação e código aberto – Piratão, Cine Falcatrua, Jarbas Paródia corporativa – Freakpedia Hackerismo e hacktivismo – Ônibus Hacker, Thacker Intervenções - GB Identidade – Marcelo do Campo Telepresença e vigilância – Corpos Informáticos, Lucas Bambozzi
- The UMBRELLA.net system works with a hardware and software component that is integrated into the design of a typical umbrella. By embedding the system into an everyday object, our intent is to lessen the point of entry for people using the system as they are already familiar with the object and how it works. The prototype includes handheld PocketPC (iPaq) computers that will interface to the umbrella and only communicate with each other when the need exists: ie. When rain is present and other nodes exist in close proximity. The current version of UMBRELLA.net includes 10 Bluetooth-equipped umbrellas each with an accompanying Personal Digital Assistant (PDA) that is running the networking software. When opened, the hardware on the umbrellas communicates to the PDAs to initiate a network connection.
- a large-scale concert performance whose sounds are wholly produced through the carefully choreographed ringing of the audience’s own mobile phones. Before the concert, participants register their mobile phone numbers at a series of web terminals; in exchange, new ringtone melodies are automatically transmitted to their phones, and their seating assignment tickets are generated. During the concert, the audience’s phones are dialed up by live performers, using custom software which permits as many as 60 phones to ring simultaneously. Because the exact location and tone of each participant’s mobile phone is known in advance, the Dialtones concert is able to present a diverse range of unprecedented sonic phenomena and musically interesting structures, such as waves of polyphony which cascade across the audience. Dialtones was presented at the Ars Electronica Festival in September 2001, and at the Swiss National Exposition in May and June of 2002.
- a large-scale concert performance whose sounds are wholly produced through the carefully choreographed ringing of the audience’s own mobile phones. Before the concert, participants register their mobile phone numbers at a series of web terminals; in exchange, new ringtone melodies are automatically transmitted to their phones, and their seating assignment tickets are generated. During the concert, the audience’s phones are dialed up by live performers, using custom software which permits as many as 60 phones to ring simultaneously. Because the exact location and tone of each participant’s mobile phone is known in advance, the Dialtones concert is able to present a diverse range of unprecedented sonic phenomena and musically interesting structures, such as waves of polyphony which cascade across the audience. Dialtones was presented at the Ars Electronica Festival in September 2001, and at the Swiss National Exposition in May and June of 2002.
- Carnivore é uma ferramenta de espionagem de redes de transmissão de dados do FBI. O coletivo Radical Software Group propõe então uma versão pessoal CarnivorePE, capaz de rastrear o tráfego de internet (web, e-mail, ftp, etc.) em uma rede específica. Os dados captados são então utilizados para interfaces gráficas chamadas clientes, que apresentam animações e gráficos com os diagnósticos obtidos. O código aberto, escrito em Processing, pode ser baixado pela internet.
- O primeiro cliente foi chamado de Carnivore Personal Edition Zero Client (número de série RSG-CPE0C-1). Foi desenvolvido em linguagem Perl pelo RSG e rodou em um terminal a partir de um servidor Linux. A trilha sonora utilizada foi apropriada do videogame Half-Life.
- Outros artistas desenvolveram clientes: Joshua Davis/BrandenHall/Shapeshifter
- Read every bit of cnn.com. 0 moves black horizontally. 1 moves white vertically. Black and white attract to one another.
- Read every bit of cnn.com. 0 moves black horizontally. 1 moves white vertically. Black and white attract to one another.
- World Wall Painters (Pintores de Muros Mundiais) é um cliente que explora a informações geográficas dos Ips rastreados pelo Carnivore. O interface marca a bandeira dos países envolvidos no tráfego de informação, resultando em uma colagem de texturas que sugerem a heterogeneidade da internet.
- World Wall Painters (Pintores de Muros Mundiais) é um cliente que explora a informações geográficas dos Ips rastreados pelo Carnivore. O interface marca a bandeira dos países envolvidos no tráfego de informação, resultando em uma colagem de texturas que sugerem a heterogeneidade da internet.
- Synopsis: JJ is a software agent which uses facial expressions to visualize the emotional content of network traffic. Serving as both a network surveillance tool and an empathic information visualization, JJ is implemented as a Carnivore Client, an open-source format for network surveillance applications. JJ is an autonomous software agent who displays facial expressions appropriate to the emotional content of the words that are presented to him. Implemented as a Carnivore Client, JJ literally "puts a face" on the information transmitted through his host network, in order to provide a data visualization of the network's "emotional content." JJ operates according to a mapping established between two well-known psychological databases: (A) Ekman and Friesen's set of "universal facial expressions" — the set of face photographs which have been shown to embody basic cross-cultural human emotions (namely: anger, fear, surprise, disgust, sadness and pleasure) — and (B) the Linguistic Inquiry and Word Count (LIWC) dictionary by Pennebaker, Francis, & Booth, which categorizes the "emotional associations" of several thousand common English words, and provides an efficient and effective method for evaluating the various affective components present in verbal and written speech samples.
- PoliceState is a Carnivore client that attempts to reverse the surveillance role of law enforcement into a subservient one for the data being gathered. The client consists of a fleet of 20 radio controlled police vehicles that are all simultaneously controlled by data coming into the main client. The client looks for packet information relating to domestic US terrorism. Once found, the text is then assigned to an active police radio code, translated to its binary equivalent, and sent to the array of police cars as a movement sequence. In effect, the data being “snooped” by the authorities is the same data used to control the police vehicles. Thus the police become puppets of their own surveillance. This signifies a reversal of the control of information appropriated by police by using the same information to control them.
- Cory Arcangel :Boo-yaa Counter Home Edition Jonah Brucker-Cohen : Police State Mark Daggett : Carnivore is Sorry Lisa Jevbratt : Out of the Ordinary Paul Johnson : RSG — CSCPU - 5 MTAA — Mark River et Tim Whidden : The Gordon Matta-Clark Encryption Method
- One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
- One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
- One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
- One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
- One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
- One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
- One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
- One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
- One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
- Carnivore é uma ferramenta de espionagem de redes de transmissão de dados do FBI. O coletivo Radical Software Group propõe então uma versão pessoal CarnivorePE, capaz de rastrear o tráfego de internet (web, e-mail, ftp, etc.) em uma rede específica. Os dados captados são então utilizados para interfaces gráficas chamadas clientes, que apresentam animações e gráficos com os diagnósticos obtidos. O código aberto, escrito em Processing, pode ser baixado pela internet.
- O primeiro cliente foi chamado de Carnivore Personal Edition Zero Client (número de série RSG-CPE0C-1). Foi desenvolvido em linguagem Perl pelo RSG e rodou em um terminal a partir de um servidor Linux. A trilha sonora utilizada foi apropriada do videogame Half-Life.
- Outros artistas desenvolveram clientes: Joshua Davis/BrandenHall/Shapeshifter
- Read every bit of cnn.com. 0 moves black horizontally. 1 moves white vertically. Black and white attract to one another.
- Read every bit of cnn.com. 0 moves black horizontally. 1 moves white vertically. Black and white attract to one another.
- World Wall Painters (Pintores de Muros Mundiais) é um cliente que explora a informações geográficas dos Ips rastreados pelo Carnivore. O interface marca a bandeira dos países envolvidos no tráfego de informação, resultando em uma colagem de texturas que sugerem a heterogeneidade da internet.
- World Wall Painters (Pintores de Muros Mundiais) é um cliente que explora a informações geográficas dos Ips rastreados pelo Carnivore. O interface marca a bandeira dos países envolvidos no tráfego de informação, resultando em uma colagem de texturas que sugerem a heterogeneidade da internet.
- Synopsis: JJ is a software agent which uses facial expressions to visualize the emotional content of network traffic. Serving as both a network surveillance tool and an empathic information visualization, JJ is implemented as a Carnivore Client, an open-source format for network surveillance applications. JJ is an autonomous software agent who displays facial expressions appropriate to the emotional content of the words that are presented to him. Implemented as a Carnivore Client, JJ literally "puts a face" on the information transmitted through his host network, in order to provide a data visualization of the network's "emotional content." JJ operates according to a mapping established between two well-known psychological databases: (A) Ekman and Friesen's set of "universal facial expressions" — the set of face photographs which have been shown to embody basic cross-cultural human emotions (namely: anger, fear, surprise, disgust, sadness and pleasure) — and (B) the Linguistic Inquiry and Word Count (LIWC) dictionary by Pennebaker, Francis, & Booth, which categorizes the "emotional associations" of several thousand common English words, and provides an efficient and effective method for evaluating the various affective components present in verbal and written speech samples.
- PoliceState is a Carnivore client that attempts to reverse the surveillance role of law enforcement into a subservient one for the data being gathered. The client consists of a fleet of 20 radio controlled police vehicles that are all simultaneously controlled by data coming into the main client. The client looks for packet information relating to domestic US terrorism. Once found, the text is then assigned to an active police radio code, translated to its binary equivalent, and sent to the array of police cars as a movement sequence. In effect, the data being “snooped” by the authorities is the same data used to control the police vehicles. Thus the police become puppets of their own surveillance. This signifies a reversal of the control of information appropriated by police by using the same information to control them.
- Cory Arcangel :Boo-yaa Counter Home Edition Jonah Brucker-Cohen : Police State Mark Daggett : Carnivore is Sorry Lisa Jevbratt : Out of the Ordinary Paul Johnson : RSG — CSCPU - 5 MTAA — Mark River et Tim Whidden : The Gordon Matta-Clark Encryption Method
- Here on AfterSherrieLevine.com you will find a browsable selection of these images. Links to the high-resolution exhibition-quality images to download and print out. Along with a certificate of authenticity for each image, which you print out and sign yourself, as well as directions on how to frame the image so that it will fulfill the requirements of the certificate.
- Super Mario Clouds is an old Mario Brothers cartridge which I modified to erase everything but the clouds. Check below for the ROM, a link to the source code, a gif, and instructions on how 2 make it yourself. So, first the gif,......when I originally posted this on the Internet in 02, the web wasn’t actually able to contain video (it sounds funny now, but remember youtube didn’t start making waves till like 05ish??), therefore I made a gif of the video.
- Opus seeks to build a creative commons with a community of media practitioners, artists, authors and the public from all over the world. Here people can present their own work and make it open for transformation, besides intervening and transforming the work of others by bringing in new materials, practices and insights. The Discussion forums are there to open out the works to comments and reflections. Opus follows the same rules as those that operate in all free software communities - i.e. the freedom to view, to download, to modify and to redistribute. The source(code), in this case the video, image, sound or text, is free to use, to edit and to redistribute.
- osso projeto é baseado nas câmeras Elphel, que são licenciadas como open hardware. São as mesmas câmeras usadas nas imagens do Google Street View. Embora não tenham sido pensadas para se fazer cinema, uma discussão iniciada no fórum do site DV Info por volta de 2006 atentou para esta possibilidade. Iniciou-se uma longa pesquisa de como seria possível fazer filmes a partir de um de seus modelos – na época, o 333 -, o que deu origem a vários protótipos de como montá-la para gravar. Assim surgiu a comunidade Apertus, voltada especificamente para este fim, e dona de um site e comunidades próprios a partir de 2010. Ao final daquele ano começaríamos o nosso envolvimento, buscando um caminho para editar os vídeos gravados em linux.
- osso projeto é baseado nas câmeras Elphel, que são licenciadas como open hardware. São as mesmas câmeras usadas nas imagens do Google Street View. Embora não tenham sido pensadas para se fazer cinema, uma discussão iniciada no fórum do site DV Info por volta de 2006 atentou para esta possibilidade. Iniciou-se uma longa pesquisa de como seria possível fazer filmes a partir de um de seus modelos – na época, o 333 -, o que deu origem a vários protótipos de como montá-la para gravar. Assim surgiu a comunidade Apertus, voltada especificamente para este fim, e dona de um site e comunidades próprios a partir de 2010. Ao final daquele ano começaríamos o nosso envolvimento, buscando um caminho para editar os vídeos gravados em linux.
- A instalação Crepúsculo dos Ídolos é um ambiente com cinco TVs ligadas em um canal de TV aberta, uma câmera e um microfone à frente delas. Quando o visitante produz algum som próximo ao microfone a imagem das TVs distorce de acordo com a intensidade e o tempo de duração do som produzido pelo visitante. As distorções evoluem seguindo algumas cores do crepúsculo: amarelo, laranja, vermelho, azul. Após passar pela cor azul, a imagem do canal desaparece e em seu lugar aparece a imagem do visitante com um efeito de brilho que também varia de acordo com a intensidade de sua voz. Enquanto o visitante produzir som, sua imagem permanece na TV. Quando houver silêncio as TVs voltam, aos poucos, a exibir a imagem do canal, como antes.