The purpose of this communication is to present some recent projects developed by the Poéticas Digitais group related to the theme of environment and flow, visible and invisible forces, and how to dialog with the construction of the context, in which the public is part of a large collaborative system related to the envi- ronment. The discussed projects are: “Desluz” (2010) and “ZN:PRDM – Zona Neutra: Passa um Rio Dentro de Mim (Neutral Zone: A River Passes Through Me)” from 2013.
The Sagamine Satoyama Plan is an initiative underway in the Sagamine district of Nagakute City in Aichi Prefecture, Japan. This is a comprehensive undertaking, aiming at the preservation of the agriculture rooted in the natural environment of the area, the creation of a distinctive local culture and enhanced human interaction between local residents. The initiative is carried out on the understanding that the locality’s natural environment and agriculture form a single ecosystem, along with such elements as local festivals, the internet, and renewable energies.
Traditional fishermen of Old Providence, Taganga and La Boquilla, Colombia rely on mental maps as a tool to identify the best locations to fish. Fishermen read natural signs and use geometry, arithmetic and images in the mind to create mental navigation maps for fishing in the Caribbean Sea. Life experiences provide the empirical knowledge to create oral stories and life histories in the development of mental paths in the minds ideological patrimony of the fishermen. These mental paths, revealed by the researcher-artist through drawings visualized, form a metalanguage that has its own visual codes, a visual alphabet and a glossary of images.
The growing number of visualization devices in the online journalism world draws attention to the mechanisms both technical and symbolic that build the relation between the producer and the user in the interaction with the device. This relation has been studied in different approaches and empirical research; some of them related to the visual studies field. This paper aims to contribute to the study of the visual aspects of this relation through the analysis of the implicit representation of the user that the producer depicts into the device.
TURBA is a hybrid environment of artistic speculation that combines an electromechanical robotic device and its sonification with the network structure of 64 neural oscillators and the social context of the collective behaviors. None of the actions generated by TURBA is previously arranged: no sound, no movement, no pattern is deliberately produced. Quite the opposite, these elements come alive because of its own processes in its own network structure.
A Journey into Time Immemorial is an interactive website that historically represents the everyday way of life of Stó:lō-Coast Salish peoples in a computer-generated naturalistic setting. This paper closely examines aspects of its seven exhibition spaces to investigate the relationship between the poetics of new media and contemporary curatorial practices in Indigenous culture. By doing so, it seeks to showcase an award-winning example of how an Indigenous community made use of digital technologies and online platforms to reclaim the right to curate, design, and display its own living history, to extend placemaking into cyberspace, and to establish a direct relationship with the general public.
Prolegomena for a Transdisciplinary Investigation Into the Materialities and Aesthetics of Soft Systems
Jonas Jørgensen / Denmark
IT University of Copenhagen
This paper presents exploratory research on the materiality, aesthetics and ecological potential of soft robots. Within the still emergent paradigm of soft robotics research, bio-inspiration is often hailed as being of central importance. The paper argues that soft robotics should equally be seen as giving prominence to materiality and the enactive and processual potential of soft matter. The paper excavates different notions of materiality within media art that uses soft robots and in technical soft robotics re- search practices and discourses. Against this background, the author’s own practice-based experiments with soft robots are presented.
Prediction theory emerged during the WWII in order to improve anti-aircraft artillery and resulted in algorithms devised to statistically predict airplanes and missile paths. Although today predic- tion is the backbone of the video compression, the historical and technical connection between this mathematical theory and contemporary imaging technologies has not been sufficiently determined. Using a media archaeological approach this paper discusses how the implementation during the 1990s of prediction algorithms to video compression has generated an entirely new type of moving images.