Sunday, June 13, 2004
Pockets Full of Memories
Pockets Full of Memories
http://www.pocketsfullofmemories.com
Pockets Full of Memories
Museum of Contemporary Art Kiasma, Helsinki
May 7 to August 1, 2004
Pockets Full of Memories (PFOM) will be on view at the Museum of Contemporary Art Kiasma, Helsinki from May 7 to August 1, 2004. Curated by Perttu Rastas for Kiasma, PFOM was inaugurated at the Centre Pompidou, Paris in the summer of 2001 and has been exhibited at the Dutch Electronic Arts Festival, 2003, Ars Electronica Festival, 2003, and the �Aura� exhibition, Budapest, 2003.
The installation invites audience participation by requesting the public to digitize and describe an object in their possession into a database which is visually projected in the gallery space and also featured on the internet. The collection of objects is continuously being organized by a vector quantization, self-organizing map algorithm that positions objects of similar descriptions near each other based on their semantic properties. The goal of the project is to visually map out the range of descriptions by which the public at each venue considers the objects they have at hand. The Kohonen algorithm used in this project has been described as an artificial neural-net based algorithm as it exhibits emergent behavior in its unsupervised learning processing, where local actions result in a global order over time.
The collection of contributions can be viewed online at http://www.pocketsfullofmemories.com where comments and messages can be added to any of the objects.
Additional information can be accessed at http://www.mat.ucsb.edu/~g.legrady/glWeb/Projects/pfom2/pfom2.html and a detailed description of the project at http://www.mat.ucsb.edu/~g.legrady/glWeb/publications/publ_art/textpfom.html
http://www.pocketsfullofmemories.com
Pockets Full of Memories
Museum of Contemporary Art Kiasma, Helsinki
May 7 to August 1, 2004
Pockets Full of Memories (PFOM) will be on view at the Museum of Contemporary Art Kiasma, Helsinki from May 7 to August 1, 2004. Curated by Perttu Rastas for Kiasma, PFOM was inaugurated at the Centre Pompidou, Paris in the summer of 2001 and has been exhibited at the Dutch Electronic Arts Festival, 2003, Ars Electronica Festival, 2003, and the �Aura� exhibition, Budapest, 2003.
The installation invites audience participation by requesting the public to digitize and describe an object in their possession into a database which is visually projected in the gallery space and also featured on the internet. The collection of objects is continuously being organized by a vector quantization, self-organizing map algorithm that positions objects of similar descriptions near each other based on their semantic properties. The goal of the project is to visually map out the range of descriptions by which the public at each venue considers the objects they have at hand. The Kohonen algorithm used in this project has been described as an artificial neural-net based algorithm as it exhibits emergent behavior in its unsupervised learning processing, where local actions result in a global order over time.
The collection of contributions can be viewed online at http://www.pocketsfullofmemories.com where comments and messages can be added to any of the objects.
Additional information can be accessed at http://www.mat.ucsb.edu/~g.legrady/glWeb/Projects/pfom2/pfom2.html and a detailed description of the project at http://www.mat.ucsb.edu/~g.legrady/glWeb/publications/publ_art/textpfom.html
Saturday, June 12, 2004
Shirley Shor
Shirley Shor tem realizado instalações interativas, onde as imagens são geradas por computador, utilizando algoritmos de complexidade. O resultado é muito bonito visualmente, e a artista utiliza o termo "arquitetura líquida" para definir o seu objetivo com alguns de seus trabalhos: desafiar a idéia de que a arquitetura seja estável.
http://www.shirleyshor.net/
http://www.shirleyshor.net/
Thursday, June 10, 2004
Prototype #44, Net Pirate Number Station by Yoshi Sodeoka
Prototype #44, Net Pirate Number Station
by Yoshi Sodeoka
http://turbulence.org/Works/sodeoka/
Este é um trabalho bem interessante (e que não deixa de ter um certo senso de humor), que também lida com a idéia de que "tudo pode ser convertido para números". Aí vai um trecho da apresentação do trabalho no site:
Q: Where do the numbers come from?
Good question. We get our numbers from websites—any and all websites—big ones like cnn.com and little ones like that one you made in your room. Porno too! And gambling and sports. We go to all the websites to get our numbers. It's a very simple process. We have some software that takes us to these websites, grabs some text, converts it into numbers, filters the numbers and then transmits them to you using a prerecorded video host personality.
by Yoshi Sodeoka
http://turbulence.org/Works/sodeoka/
Este é um trabalho bem interessante (e que não deixa de ter um certo senso de humor), que também lida com a idéia de que "tudo pode ser convertido para números". Aí vai um trecho da apresentação do trabalho no site:
Q: Where do the numbers come from?
Good question. We get our numbers from websites—any and all websites—big ones like cnn.com and little ones like that one you made in your room. Porno too! And gambling and sports. We go to all the websites to get our numbers. It's a very simple process. We have some software that takes us to these websites, grabs some text, converts it into numbers, filters the numbers and then transmits them to you using a prerecorded video host personality.
Wednesday, June 09, 2004
bannerart
"The Banner Art Collective (http://www.bannerart.org/) creates, collects, and distributes net.art and poetry within the limitations and context of web advertisements.
Most view net advertising as a necessary evil. But creating an effective ad requires a strict adherence to voluntary standards that strictly control both the pixel and file size and limit the interactive behaviors of the ad. Designers must produce work that will be viewed in a variety of contexts on a variety of pages, and they must create an ad that uses its position within the marginalia of a webpage to its advantage. In addition, ad designers must be hyperaware of accessibility issues--an unviewable ad is a dead ad.
By creating and distributing art within the limitations of WWW advertising, net.artists are forced to work under stringent rules. In that regard, banner art follows in a historical tradition of working against and within the limitations of a strict, sometimes arbitrary, form. In exploring this form, they also explore the marginalization of net.art; in banner art, this marginalization is quite literal.
Banner art also forces viewers into a position of empowerment; as they discover banner art, they will become aware of the both the pervasion and possibilities of advertising space on the web, experience new art in new contexts, and be granted a sort of patron status, as they can host on their own websites work they find compelling."
http://www.bannerart.org/
Most view net advertising as a necessary evil. But creating an effective ad requires a strict adherence to voluntary standards that strictly control both the pixel and file size and limit the interactive behaviors of the ad. Designers must produce work that will be viewed in a variety of contexts on a variety of pages, and they must create an ad that uses its position within the marginalia of a webpage to its advantage. In addition, ad designers must be hyperaware of accessibility issues--an unviewable ad is a dead ad.
By creating and distributing art within the limitations of WWW advertising, net.artists are forced to work under stringent rules. In that regard, banner art follows in a historical tradition of working against and within the limitations of a strict, sometimes arbitrary, form. In exploring this form, they also explore the marginalization of net.art; in banner art, this marginalization is quite literal.
Banner art also forces viewers into a position of empowerment; as they discover banner art, they will become aware of the both the pervasion and possibilities of advertising space on the web, experience new art in new contexts, and be granted a sort of patron status, as they can host on their own websites work they find compelling."
http://www.bannerart.org/
