When life puts you in difficulty you can either run away from it, or embrace that obstacle and figure out how to take advantage by developing a creative method to benefit from it. Being born with a heart condition, I have always been exposed to biofeedback devices and it always intrigued me the sound and visuals that were created through these devices using my body as source for their input. As part of my academic research, I started to incorporate my own physical condition into the creative process of art making. In that process I discovered techniques that allow us to control our vital signs, particularly meditation. Meditation is the practice of self-awareness and has effects in how we engage with our daily situations. Its practice can help people build strongest connections with their mind and body which can be used to create generative sound and visuals that is fed back into the person creating a feedback loop. This is particularly helpful for people with physical disabilities because they can use their vital signs to generate and control audio-visual content. This tutorial will teach attendees the technique of meditation, while wearing biofeedback devices to control an interactive audio-visual piece.
The ESP8266 is an Arduino-compatible microcontroller that integrates WiFi capabilities in a miniature footprint, making it an appealing tool for artists and designers who need to deploy projects requiring remote or networked interactions between different components in an installation. The workshop introduces participants to the ESP8266 showcasing three fully-fledged projects that expose different sensors and actuators that capture input from the environment and control physical objects. We’ll cover a design process for prototyping and developing custom devices based on the ESP8266 showing how to sketch a circuit in a protoboard, making bakelite boards by DIY methods, and finally using Open Source CAD software to model boards for industrial manufacturing. The process emphasizes on good documentation as pivotal in collaborative projects where members contribute work on different schedules and locations. Participants will go thru the experience of building one of the exposed projects and integrate its components from kits provided. The three projects consist on: the “Biostation”, with sensors for measuring humidity and temperature on air and soil, as well as gases and dust density; the “Automaton showing how to control an electrical or mechanical object; and the “eMotion”, a wearable that uses an accelerometer/gyroscope sensor to detect motion accurately.
Parametric Form Finding, Interaction and Sentience
Aaron Brakke / USA
University of Illinois Urbana Champaign
We are interested in providing participants an introductory course in parametric and interactive design within an architectural environment. Computation has become ubiquitous, is embedded in virtually every facet of our lives and is currently showing real promise to augment of lives in the way that Engelbart, Sutherland, Beer, Ashby and Pask were dreaming of when they introduced us to cybernetics. Within the field of architecture, the contemporary digital discourse has gained a significant level of maturity over the past 30 years. Computers have been absorbed, adapted, modified and evolved into a robust infrastructure that is changing the landscape of design conception, development, simulation, engineering, management, communication, construction and of planning the life-cycle of a building. It is within this context that this workshop has been developed. The scope includes an introduction to; modeling with Grasshopper in Rhino, digital fabrication processes, and interaction with Arduino. The course is oriented for participants who are new to these technologies. This day long workshop should help each student obtain fundamentals in parametric modeling and interactivity.
The aim of our research is to develop artworks that are informationally ‘grown’ for the art-market to become part of an ecological economics. In our performance/installation 'Hare’s Blood +' we designed a gene to allow the audience to speculate on artworks that incorporate animal relics in the light of a counter-economy as envisioned by Joseph Beuys. We opened one of the multiples in which Beuys had shrink- wrapped hare’s blood. We then isolated the catalase gene from the blood which protects against aging and spliced it into living yeast cells. We then programmed an interface able to activate the synthetic gene. The transgenic Beuysian creature was then put up for auction to act as an ‘eco-political agent,’ whose life would now be governed by the commercial interests of the auction attendees. We currently assign economic systems to cellular processes with expanded xDNA alphabet. We use systems biology to program logic operations interfacing between the living artwork and the art consumers. Artworks thus become inalienable objects between artists and consumers who both are in a state of reciprocal dependence that establishes a qualitative relationship between the three transactors.
The Guerrilla Grafters graft fruit bearing branches onto non-fruit bearing, ornamental fruit trees. Over time, delicious, nutritious fruit is made available to urban residents through these grafts. We aim to prove that a culture of care can be cultivated from the ground up. We aim to turn city streets into food forests, and unravel civilization one branch at a time. For ISEA 2017, we demonstrate how to graft urban fruit trees in the Recinto district of Manizales. The Guerrilla Grafters teach participants how to use their internet tools and different kinds of tagging — from graffiti to electronics to attach to branches (disseminating information about the graft to humans and bees), and offer take-home grafting kits. We provoke a discussion on how specific cultivation practices can resist capitalist and colonial regimes of power. Here, conflicts between a variety of fruit eaters might be recast as something to be embraced, and not positioned as the opposite to peace. We invite messy, rebellious solutions to the ways information can be shared for the purposes of expanding the urban commons in ways that simultaneously collapse binaries between public and private, nature and culture.
Shoptalk: Field Tools for Critical Making engages participants to practice methods of thinking and making to promote social resiliency, art for social change, and participatory action for peace. This half-day workshop will give participants the opportunity to collaborate and build their own submissions for the Field Tools for Peace ISEA exhibition and online gallery, and explore new approaches to making. Workshop leaders will start with short presentations about their own community arts practices and case study overviews. Workshop participants will then have the opportunity to introduce themselves and brainstorm topics and mediums to create projects with. Methods for collaboration through rapid prototyping and problem solving will include creative acts of listening, and shared narratives and visions of possible futures in both digital and public art installation.
Although transdisciplinary collaboration is associated with efficiency and efficacy to solve professional and academic challenges, untrained teams may underperform because of collective cognitive limitations such as less ideation power, planning fallacies, or overvalue of shared beliefs. Successful transdisciplinary collaborations require appropriate practices and didactics. In this workshop the organizers will present a draft of best practices and didactics for teamwork and will ask participants to contribute to critique, extend and recommend from this draft. The expected outcome is a refined draft document of best practices and didactics for teamwork. The organizers will develop further and publish this document along with an annotated bibliography in the topic. We will use co-design methods to design the workshop with the participants. Activities include teamwork in a challenge, socialization, and debate of best practices. This workshop is associated with the panel proposal submitted on the same problem; many interested colleagues could not be included in the panel and this workshop will include the panelists and other ISEA attendees.
Developing biomimicry from movement rather than structure, this workshop looks at using video to create morphology. We will be using basic video capturing tools to create motion studies of animals and people moving and engaging in basic actions like eating and drinking. We will then analyze that video in slow motion and create 3D models using digital and analog tools. These 3D models will take us close to a landscape view of structure. Landscapes are structures in motion through time and space. We will be using morphologies derived from movement to understand the landscape around us.