Two mobile phones exhibit videos filmed during a trip up the Amazon River composed of flows of water in two distinct tints: On the one side we have a predominance of black-colored water, on the other, brown-colored.
idMirror is an interactive installation which was previously demonstrated at Ars Electronica 2015 and at the ACM CHI 2016. In this paper we describe the idMirror installation from four viewpoints: Conceptual (introduction), development (section 2), technical (section 3) and the collected data analysis (section 4). The paper also presents our study of the idMirror installation participants’ emotional reactions on the idMirror installation. Artists can certainly play a role in educating the public in the sense of encourage critical thinking about the access and use of their data. Big data that includes visual social media, is a new artistic form that has recently become popular. The idMirror project can serve as an example of how we can use social media data to create aesthetic representations and experiences. This paper elaborates upon our earlier work, published as an extended abstract as part of the ACM CHI 2016 proceedings .
Soundscape as a pedagogical and reflective tool for the preservation, re-signification, and creation of narratives about the Colombian Coffee Cul-tural Landscape: visual arts laboratories of the Ministry of Culture
Joaquin Llorca, Mauricio Guerrero, Ana Garay and John Ordoñez / Colombia
Proclaimed by UNESCO in 2010 as Cultural Heritage of Hu-manity, The Coffee Cultural Landscape is a reference framework that defines a region of Colombia from an economic activity that has shaped it culturally. This spatial reference unit suggests new strategies and tools for the knowledge and appropriation of this heritage. Therefore, the sound dimension as a fundamental ex-pression of the identity of the regions is an essential element in the conformation of a territory. This article presents the theoreti-cal framework, methodology, and results of a four-year laboratory with the communities of the Coffee Cultural Landscape, which had as the main objective to positively influence the quality of life of the communities through artistic and cultural practices from its sound dimension.
This paper proposes ways of designing processor like devices operating with nothing else than natural flow of water to execute basic physical computing. Such types of fluid processors carry the potential to form the fundament of future fluid computing devices allowing for complex forms of ecological computing integrated directly into our environment. The proposed design works on natural principles of physics, uses no electricity at all, lasts almost forever and can literally be thrown around. That might sound like a radical, game- as well as life changing form of computing. And it will be. If we up-engineer the many and proven designs of old mechanical, analogue and physical ways of doing computing. So, what is the solution? Future and emerging computers will be carved out of and into stone. Their ornamental design will be more than environmental aesthetics, it will enable physical principles known from fluid and liquid dynamics to interface and interact with our world in multiple and –for now- speculative ways.
The use of DIY methods in the guidance of students in their own formation process are just as important as any research process now days, the access to open information and technology are growing at a fast rate and with a bit of a tinkering mind the periods of time it may take to build your own embedded acoustic instrument(Berdahl, 2014) is widely lessened with the technology available such as 3D printers or raspberry pi’s. Contemporary practices like network music become also more accessible thanks to the advance of the possible communication protocols and device robustness; in less than 40 years if we count from those experiments with low level assembler for hacking a chip and serial protocol for its communication(Gresham-Lancaster, 1998) to interfacing a couple of raspberry pi’s through OSC protocol.
We report on an ongoing collaboration that uses puppetry as a shared cultural expression in STEAM workshop designs that inform intercultural exchange. Collaborators in Atlanta, USA and Medellín, Colombia work in tandem on the design and implementation of a puppet-building workshops. These workshops use narrative framing, craft-based prototyping, and performancebased validation to teach students basic prototyping skills. They specifically encourage them to relate to their local culture and to inform an ongoing dialogue between the two cultural spheres.
Information systems are continually recontextualizing data, migration patterns, biological components and processes, between life and code. As Geographer Eugene Thacker states, these systems can be scientific, or many things, with lasting effects that are cultural, social, and political. As these systems evolve and grow, so to do the artworks created in the afterglow, becoming vital reflections of our contemporary algorithmically soaked culture. This paper examines these ideas alongside the Salmon People, a video and sound installation thematically concerned with the shared dark ecologies of nonhuman and human animals. The large format projections present a triptych of migrating sockeye salmon across urban landscapes. The prolific artwork purposefully utilizes scale, and multi layered visual fields, to push audiences to consider our shared ecologies. Like information flowing through high tech super highways, sockeye salmon deftly negotiate seen and unseen geographies, technologies, politics, and cultures. In order to understand the artworks content, sequences and layout, as well as the logic of the shot selections, we conducted a close reading analysis of the installation. We suggest that the work is generative and claim that the projections are made up of 9 videos playing concurrently in 3 large vertical panels. This paper examines these ideas, asking the questions: What role does the screen play in the design of this artwork? What are the types of audience immersion and interaction? Finally, we address the work on three levels: the structural, the narrative, and the immersive. The structural level identifies the key frames, and any overlapping frames. The narrative level investigates the 3 vertical panels in relation to story parameters such as plot and storyworld. The immersive level considers how the audience oscillates between a heightened state of immediacy and hypermediation.
Coral Reefs are filled with infinite and unique forms, variations of shape, and complex phenomena and processes. These forms and processes have inspired both scientists to document, archive and collate, and designers to reimagine these intricate ecosystems in their creative design work. In this paper, we explore how designers integrate scientific data from coral reefs, by examining two projects. Firstly, we discuss Reefs on the Edge, an interactive installation using scientific data from a marine biologist to visualize the effects of ocean warming on corals reef ecosystems. Secondly, we discuss Coral Colonies, an installation that adapts mathematical codes of coral geometries to create biomimetic coral prototypes. We conclude how design and science use visual data taken from biological processes to help raise awareness and promote biodiversity, sustainability and the survival of the Great Barrier Reef (GBR).