WORKSHOP DE CRIAÇÃO EM ARTE E MODA

WORKSHOP DE CRIAÇÃO EM ARTE E MODA

WORKSHOP DE CRIAÇÃO EM ARTE E MODA

WORKSHOP DE CRIAÇÃO EM ARTE E MODA

Cappelletti

recheios, temperos,
a massa, toalhas e panos
brancos
o fazer, dar forma, cortar, dobrar
sobre a mesa enfarinhada
organizar a uma certa distancia
para secarem

molho
tomates firmes
pimentas
vermelhos
noz moscada
manjericão alecrim
verdes
cheiros, azeite
salsinha, cebola, pouco alho, sal
água fresca, panela, colher de pau
o fogo baixo
o tempo certo
até a mesa com toalhas brancas
flores
taças de vinho tinto
água fresca
pão
chuva de parmesão

WORKSHOP DE CRIAÇÃO EM ARTE E MODA

Palavras

parmesão

noz moscada

molho

sons

fermento

festa

vinho

farinha

toalhas

taças

rosas

uvas

calor

alimento

unidade

único

imensurável

célula

corpo

totalidade

metáfora

multiplicidade

sabor

curvas

sangue

fluido

vermelho

cheiro bom

carinho

felicidade

alegria

família

adultos

crianças

fotografias

fazer

cozinhar

compartilhar

colaborar

alimento - cappelletti

WORKSHOP DE CRIAÇÃO EM ARTE E MODA profª Fanny Feigenson - na matéria Processos Investigativos na Arte(1º semestre do curso agosto a dezembro de 2005)

----Quanto ao meu trabalho, pensei em fazer uma roupa "molho" Uma túnica vermelha de tule (aquele transparente furadinho), bem volumosa e generosa
Por baixo um colant cor de creme, verde ou preto

----Também pensei em fazer uma roupa tripla, tipo penetrável, que seria aquela imagem do único verde, que parecem braços, dedos, pés.

----O capelletti foi escolhido exatamente porque tem uma relação com família e indivíduo, célula, micro e macro, etc ao infinito.

BOOKMARKS - DEL.ICIO.US - sixsette

----Delicious bookmarks de Leonora Fink - sixsette
relativos à pesquisa do mestrado sobre Locative Media Art e Computadores Vestíveis

http://del.icio.us/sixsette

River ArtAn American - Processos Investigativos na Arte Contemporânea - profª Lucia Leão (1º semestre do curso)

----Betsy Damon's

River ArtAn American Environmental Artist in China

http://cgee.hamline.edu/rivers/Inquiry/RTT/rtt_bsy1.htm

Laboratório de Criação 1 - prof Ernesto G Boccara, Anamelia B Buoro e Agda Carvalho (1º semestre do curso)

----Localize-se 1
----Posicione-se
----Localize-se 2
----Localize-se 3 - Leonora Fink

Trabalho feito a partir do estudo sobre o Barroco, Dada, Pop e o que desses movimentos acontece na arte hoje. O projeto foi dirigido ao ponto de convergência entre arte, filosofia e moda: as medidas do homem (Vitruvius, Leonardo da Vinci; perspectiva; dentro e fora; localização)

Laboratório de Criação 1 - prof Ernesto G Boccara, Anamelia B Buoro e Agda Carvalho - Exposição no Seminário de Moda

Fotografia do trabalho Localize-se X Posicione-se - Leonora Fink
Exposição durante o V Seminário de Moda, Cultura e Arte
Centro Universitário Senac - Campus Santo Amaro

PROCESSOS INVESTIGATIVOS NA ARTE CONTEMPORÂNEA

Profª Lucia Leão

LABORATÓRIO DE CRIAÇÃO 1

Prof Ernesto Boccara
Profª Anamelia Bueno Buoro
Profª Agda Regina de Carvalho

LEITURAS DO CORPO 1

Profª Eliane Robert de Moraes
Profª Ana Lucia de Castro

DESIGN DE MULTIMÍDIA E MESTRADO EM MODA, CULTURA E ARTE

Curso: MESTRADO EM MODA, CULTURA E ARTE

legendas
aluna regular
aluna ouvinte

Disciplinas e Período

A IMAGINAÇÃO ERÓTICA 1
ANÁLISE DA IMAGEM 1
CRÍTICA DE MODA 1
CULTURA AUDIOVISUAL, CONSUMO E COMUNICAÇÃO 1
CULTURA BRASILEIRA 1
HISTÓRIA E CULTURA 1
HISTÓRIA E CULTURA DAS APARÊNCIAS 1
LABORATÓRIO DE CRIAÇÃO 1
LAZER, CONSUMO E CORPO 1
LEITURAS DO CORPO 1
METODOLOGIA DE PESQUISA EM CIÊNCIAS HUMANAS E ARTE 1
MODA E SOCIEDADE 1
PROCESSOS INVESTIGATIVOS NA ARTE CONTEMPORÂNEA 1
TEORIAS E PRINCÍPIOS DO DESIGN 1
TÓPICOS ESPECIAS EM MODA, CULTURA E ARTE 1
A IMAGINAÇÃO ERÓTICA 2
ANÁLISE DA IMAGEM 2
CRÍTICA DE MODA 2
CULTURA AUDIOVISUAL, CONSUMO E COMUNICAÇÃO 2
CULTURA BRASILEIRA 2
HISTÓRIA E CULTURA 2
HISTÓRIA E CULTURA DAS APARÊNCIAS 2
LABORATÓRIO DE CRIAÇÃO 2
LAZER, CONSUMO E CORPO 2
LEITURAS DO CORPO 2
METODOLOGIA DE PESQUISA EM CIÊNCIAS HUMANAS E ARTE 2
MODA E SOCIEDADE 2
PROCESSOS INVESTIGATIVOS NA ARTE CONTEMPORÂNEA 2
TEORIAS E PRINCÍPIOS DO DESIGN 2
TÓPICOS ESPECIAS EM MODA, CULTURA E ARTE 2
A IMAGINAÇÃO ERÓTICA 3
ANÁLISE DA IMAGEM 3
ATIVIDADES PROGRAMADAS 3
CRÍTICA DE MODA 3
CULTURA AUDIOVISUAL, CONSUMO E COMUNICAÇÃO 3
CULTURA BRASILEIRA 3
DISSERTAÇÃO 3
HISTÓRIA E CULTURA 3
HISTÓRIA E CULTURA DAS APARÊNCIAS 3
LABORATÓRIO DE CRIAÇÃO 3
LAZER, CONSUMO E CORPO 3
LEITURAS DO CORPO 3
METODOLOGIA DE PESQUISA EM CIÊNCIAS HUMANAS E ARTE 3
MODA E SOCIEDADE 3
PROCESSOS INVESTIGATIVOS NA ARTE CONTEMPORÂNEA 3
TEORIAS E PRINCÍPIOS DO DESIGN 3
TÓPICOS ESPECIAS EM MODA, CULTURA E ARTE 3
ATIVIDADES PROGRAMADAS 4
DISSERTAÇÃO 4
METODOLOGIA DE PESQUISA EM CIÊNCIAS HUMANAS E ARTE 4

.........................................................................................................................................................................

Curso: SUPERIOR DE TECNOLOGIA EM DESIGN DE MULTIMÍDIA

Disciplinas e Período

ANÁLISE DA IMAGEM 1
FOTOGRAFIA DIGITAL 1
HISTÓRIA DA COMPUTAÇÃO 1
HISTÓRIA DO DESIGN 1
INTRODUÇÃO AO DESENHO DIGITAL 1
INTRODUÇÃO AO DESIGN DE MULTIMÍDIA 1
LABORATÓRIO DIGITAL I 1
NOÇÕES DE LÓGICA 1
ANÁLISE DA IMAGEM EM MOVIMENTO 2
HISTÓRIA DA COMUNICAÇÃO VISUAL 2
ILUSTRAÇÃO DIGITAL 2
LABORATÓRIO DIGITAL II 2
PROJETO DE MULTIMÍDIA I 2
TIPOGRAFIA DIGITAL 2
VÍDEO 2
ÁUDIO DIGITAL 2
ANIMAÇÃO 3
ERGONOMIA COGNITIVA 3
ESTRUTURA E NAVEGAÇÃO 3
HISTÓRIA DA ARTE I 3
LABORATÓRIO DIGITAL III 3
PROCESSO DA INFORMAÇÃO 3
PROJETO DE MULTIMÍDIA II 3
ANÁLISE DA HIPERMÍDIA 4
GERENCIAMENTO 4
HISTÓRIA DA ARTE II 4
LABORATÓRIO DIGITAL IV 4
LABORATÓRIO DIGITAL V - INTERATIVIDADE 4
METODOLOGIA DE PESQUISA 4
NOÇÕES DE MARKETING 4
PROJETO DE MULTIMÍDIA III 4
LEGISLAÇÃO, NORMAS E PRÁTICA PROFISSIONAL 5
PROJETO DE MULTIMÍDIA IV 5
TRABALHO DE CONCLUSÃO DE CURSO 5

V Seminário de Moda, Cultura e Arte

Notícia do site do Senac www.sp.senac.br - sobre o V Seminário de Moda, Cultura e Arte - houve exposição no corredor do Acadêmico I, com trabalhos dos alunos do Mestrado em Moda, Cultura e Arte - Laboratório de Criação.

PROCESSOS INVESTIGATIVOS NA ARTE CONTEMPORÂNEA - Locative Media 5

http://www.euronext.com/news/companypressrelease/0,4616,1700631_11894_683653160,00.html
(Euronext Paris) - Alcatel carries out Orange’s first A-GPS trial in Europe
(10/11/05 10:06 CET)

Paris, November 10, 2005 — Alcatel (Paris: CGEP.PA and NYSE: ALA) today announced that it has been chosen by Orange, one of the most important worldwide mobile operators, as the main supplier for an A-GPS (Assisted Global Positioning System) solution in the framework of the first trial of this technology handled by the operator in France and throughout its European network. Over the course of a few months, this experiment allows trial users chosen by Orange and equipped with A-GPS handsets, to try out services which are specifically adapted to this technology, such as satellite navigation for cars and pedestrians.

A-GPS allows the user to pick up the weakest satellite signals, and therefore makes finding difficult locations such as urban canyons (i.e. tunnels, business centers, and commercial centers which often consist of high rise buildings, narrow streets and light indoor environments) much easier. The immediate advantages of the Alcatel supplied A-GPS solution are the speed at which it finds a GPS signal (less than 2 seconds), and the accuracy and sensitivity of the solution, thanks notably to the efficiency of the assistance data provided by the EGNOS European satellite system.

Within the framework of this trial, Alcatel integrates for Orange an end-to-end Assisted-GPS solution including the Alcatel 8608 Enhanced Assisted-GPS server, which transmits data directly to the mobile terminal so that it can receive the GPS signals more quickly and effectively than a standard GPS, and Hewlett-Packard’s iPAQ hw6515 Mobile Messenger, which integrates wireless voice, high-speed EDGE data networking and versatile GPS navigation technologies in one device to meet global business and personal communication needs.

Both pieces of equipment use the Secure User Plane Location (SUPL) protocol which allows the A-GPS technology to be accessible from any mobile network. The SUPL platform has the advantage of being more cost-effective than the other solutions that are based upon control plane infrastructure, which demand costly upgrades to the mobile network infrastructure.

The solution also includes an A-GPS connection which directly communicates with the mobile handset via an IP link, as well as Motorola’s A1000 mobile phone combining 3G and PDA functionalities.

“We are proud to be accompanying Orange in their experimentation of our Assisted-GPS solution in Europe,” declared Marc Rouanne, Chief operating officer of Alcatel's mobile communications activities. “Our solution opens the door to an infinite range of new Location Based Services which will allow operators to help their clients in their daily lives, by offering them unrivalled accuracy and Quality of Service.”


About the Alcatel 8608 Enhanced A-GPS Server The Alcatel 8608 Enhanced A-GPS uses additional GPS precision-augmentation data to provide the best assistance data to the handsets. It ensures unrivalled accuracy, typically 3/5 meters outdoors and 10 meters indoors. It is scalable and can process location requests from ten subscribers to ten+ million subscribers. It is also the right solution for field trials or pre-operational services thanks to lower entry point pricing and lower expansion pricing.

About EGNOS and Galileo Launched in 1998 by the European Space Agency (ESA), the European Commission and the European Organisation for the Safety of Air Navigation (Eurocontrol), the EGNOS system (European Geostationary Navigation Overlay Service) is the first stage of European contribution towards GNSS, the global satellite navigation system and the precursor of the Galileo system. The EGNOS system completes the American GPS and the Russian GLONASS systems through the significant improvement of precise positioning and the guarantee of the continuity of the service. Project manager of the EGNOS system, Alcatel is also a major partner in the Galileo programme.

About Alcatel Alcatel provides communications solutions to telecommunication carriers, Internet service providers and enterprises for delivery of voice, data and video applications to their customers or employees. Alcatel brings its leading position in fixed and mobile broadband networks; applications and services, to help its partners and customers build a user-centric broadband world. With sales of EURO 12.3 billion and 56,000 employees in 2004, Alcatel operates in more than 130 countries.

For more information, visit Alcatel on the Internet: http://www.alcatel.com Alcatel press contacts Aurélie Boutin Tel :+ 33 (0)1 40 76 11 79 aurelie.boutin@alcatel.com Régine Coqueran Tel.:+ 33 (0)1 40 76 49 24 regine.coqueran@alcatel.com Alcatel Investor Relations Pascal Bantegnie Tel : +33 (0)1 40 76 52 20 pascal.bantegnie@alcatel.com Nicolas Leyssieux Tel : +33 (0)1 40 76 37 32 nicolas.leyssieux@alcatel.com Maria Alcon Tel : +33 (0)1 40 76 15 17 maria.alcon@alcatel.com Charlotte Laurent-Ottomane Tel : +1 703 668 3571 charlotte.laurent-ottomane@alcatel.com

WORKSHOP: PROCESSOS DE CRIAÇÃO NA ARTE E NA MODA - Alimento

Fotografia - Leonora Fink

Centro Universitário Senac – Campus Santo Amaro
Work Shop profª Fanny Feigenson

1. Lembrar de algum alimento: doce, salgado, fruta, amargo, etc. Alimento marcado por uma experiência boa ou ruim.

Texto escrito em aula.

exercício 1:

Venho de família italiana misturada com alemã. A parte italiana, tanto de pai quanto de mãe, foi sempre mais presente, mais determinante. Há uma série de alimentos que me fazem lembrar e reviver emoções até hoje. Desde as grandes viagens que fazia quando criança a Curitiba, quando ficava hospedada na casa de minha avó, no bairro chamado Portão e das idas à casa dos bisavós, que reuniam a família toda durante o mês de dezembro na cidade, reuniões e encontros que tinham seu ponto máximo com a ceia e o almoço de Natal, no salão de festas da casa na rua Dr Pedrosa.

Durante as festas, as mulheres se ocupavam de almoços e jantares, lanches, numa espécie de cooperativa muito interessante, pelo menos para mim, que estava de fora e só aproveitava e me deliciava na hora da mesa. Eram refeições variadas, desde o arroz com feijão, à macarronada dos dias normais, às ambrosias, empadões de palmito, frango, camarão, bolos de nozes, avelãs, frutas, ao bolo de leite de todas as tardes, macarrão fresco, pães. Havia os proibidos: vinhos, licores, cervejas, champagnes, uísques, escolhidos pelos homens para brindar às refeições.
Esta é a parte boa, de comunhão mesmo, no sentido maior da palavra. Hoje sei que para que aquilo acontecesse, muitas outras coisas tinham que ser feitas, muitos problemas surgiam e eram resolvidos, outros talvez ficassem para o ano seguinte. De todo jeito, para os adultos envolvidos naquelas festas, a vida era de trabalho, compras, 13º salário, filhos, pais, sogros, irmãos, tudo embrulhado num belo pacotão com fitas e cartão, a família ia e se encontrava, comemorava, ponto. Quem não pudesse ir em um ano, iria no próximo.
Lembro de muita coisa dos Natais, adorava aquelas festas de família.
Posso representar estas lembranças por um só alimento: mesmo único, é sempre múltiplo, impossível de contar por unidades. Mergulhados em denso e perfumado molho vermelho, se postos mais próximo, no prato, por exemplo, aparecem muitos elementos coloridos: verdes, marrons, amarelos vermelhos escuros, laranjas, brancos.
Perfumes, vapores, cores, calores.
Sabores... muito bons.
Desde o capeleti, tudo era feito em casa: massa, recheios, molho.
Entre as brincadeiras entravamos para olhar.
Sobre a mesa aquele pó branco todo salpicado de macarrõezinhos recheados dobradinhos todos quase iguais. Perfumados. Dobrados cheios de recheios.
_ Por que têm que ficar aqui?
Perguntávamos quando ainda não sabíamos, tinham que secar.
Depois iriam, à maneira dos Bartolomei, para a vasta panela cheia do molho fumegante e cheiroso, manjericão...e outros segredos de família, que não poderia revelar aqui, senão já não seria um macarrão tão especial. Cozinhavam devagar, sem quase mexer, para manter todos intactos. Começavam a cozinhar para o almoço, lá pelas 6h da manhã. Isso depois de passar a noite da ceia em claro, entre brincadeiras, Papai Noel, conversas, risos, cansaço e sono.
O cheiro do café fresco se misturava ao do molho denso.
A melhor hora era a de ir para a mesa. Comer, ouvir as conversas, falar com os irmãos e primos, pensar nos brinquedos e na alegria da noite anterior.A felicidade era estar ali com as pessoas a quem amávamos tanto e que tínhamos certeza que também nos amavam.
Saboreávamos tudo.

WORKSHOP: PROCESSOS DE CRIAÇÃO NA ARTE E NA MODA

Centro Universitário Senac - Campus Santo Amaro

MESTRADO EM MODA, CULTURA E ARTE


WORKSHOP: PROCESSOS DE CRIAÇÃO NA ARTE E NA MODA

28/10
4/11
11/11
18/11
25/11

Prof Dr Fanny Feigenson



“ A questão primordial em uma obra de arte é de que profundidade de vida ela tenha brotado.”

... aquilo que eu fui é aquilo que eu sou e aquilo que dentro da possibilidade eu posso vir a ser. Assim no futuro, a irmã do passado, eu posso me ver enquanto sentado aqui agora mas como reflexo daquilo que então serei.”

Ulisses/ James Joyce, tradução de Bernardina da Silveira Pinheiro.- Rio de janeiro: Ojetiva, 2005

Processos de criação na arte e na moda é um workshop baseado na experimentação a respeito do processo de criação de cada um; do potencial sensível e criativo através do resgate do “ontem” concomitante com o contínuo entrelaçamento do agora; corpos em processo.
A arte e a moda funcionarão como veículos de identificação destes processos.
Serão cinco encontros de 3 horas de duração cada um.
Temas abordados :

A percepção do mundo através dos sentidos: o olhar de lagartixa
A memória da comida e dos objetos
A palavra, imagem, cor e som
O cenário
Os temas serão desenvolvidos através de:
desenhos, textos, pinturas, colagens bi e tridimensionais, fotografias, reproduções, vídeos, PowerPoint.

Algumas referências iconográficas:
Edvard Munch, Arshile Gorky, Louise Bourgeois, Joseph Beuys, Mona Hatoum, Orlan, Greg Friedler, Arthur Bispo do Rosário, Leonilson, Nazaré Pacheco, Lino Villaventura e outros.

Algumas referências bibliográficas:
Louise Bourgeois- Destruição do Pai Reconstrução do Pai (Cosac & Naify)
Cristiane Mesquita- Moda Contemporânea( Editora Anhembi Morumbi)
Peter Pál Pelbart-Vida Capital( Iluminuras)
Rosemary Betterton- Intimate Distance( Routledge)
Gilles Deleuze, Claire Parnet- Diálogos( Escuta)
Stanley Keleman- Anatomia Emocional( Summus Editorial)

Para a primeira aula do workshop, no dia 28 de outubro de 2005, pede-se para o aluno trazer algo para comer e um objeto: os dois elementos remetidos a experiências singulares.
papel A4, lápis de cor aquarelado, lápis integral 6 B

Cronograma do workshop

28/10
Os alunos irão experimentar o alimento trazido; descreverão através de palavras, desenhos, as sensações que tiveram ao comer: cheiro, tato, cor, som. Poderão descrever qual o link com alguma lembrança, situação, que o corpo habitava na época.
O mesmo processo irá se repetir com o objeto trazido.

4/11
Tirar fotografias de algum ambiente relacionado com as experiências vividas na semana anterior. O ambiente pode ser interno, externo, urbano, campestre, virtual.
Fazer xerox A3 de fragmentos de algumas fotografias.

11/11
Análise das fotografias e das reproduções.
Criar uma composição relacionada com as reproduções.
Fazer em um painel A1, a composição selecionada, utilizando materiais bi e tridimensionais. Poderá ser usado materiais diversos como tecidos, plásticos, papéis, fios de diferentes origens, imagens, objetos tridimensionais.

18/11
Criar um audiovisual, a partir da vivência e do resultado do painel. Este último projeto poderá ser feito com cromos, PowerPoint, vídeo. Duração de 6 minutos aproximadamente. Poderá ser feito individualmente ou em parceria.
Apresentação dos audiovisuais

25/11.
Debate sobre os resultados do workshop

PROCESSOS INVESTIGATIVOS NA ARTE CONTEMPORÂNEA - Endereços Web

http://www.netzwissenschaft.de/mob.htm

http://www.locative.net/drupal/

http://www.smartmobs.com/archive/2005/01/10/mobile_art_and_.html

http://onthespot.info/cellmailgraph/

PROCESSOS INVESTIGATIVOS NA ARTE CONTEMPORÂNEA - Locative Media 4

Style Story

October 13, 2005 - Volume XIII, Issue 41
IT documentary

IN one of the largest mass arrests in New York's history, 264 people were taken into custody at a monthly bicycle demonstrations on August 27, 2004. Although the participants on the Critical Mass ride did not, they say, commit an illegal act, clashes between police and the participants were featured on news broadcasts of the mainstream media.

Still We Ride, an action-packed documentary about the August 27 ride, is being shown at the Central European University as part of a two-day conference on how universal access to digital technology and global communications networks changes the spread of information. The potential of "hypertagging" is another project shown in the framework of the conference. Hypertagging means that, with the help of a mobile phone, people can retrieve information about objects which emit built-in infrared signals. A commercial use of the technology is already in place in 20 London cinemas, with billboards telling moviegoers where to download music, trailers or stills from the movie, find the nearest cinema or call up the online box office. The third exhibited project raises questions about self-imposed peer-topeer surveillance called Locative Media (Loca).

Loca observes people's movements by tracking the position of the Bluetooth enabled devices they carry. How people respond to being observed by others, and how they observe others are some of the issues raised by Drew Hemment, the man responsible for the project. In addition to the exhibitions, the conference, which is open to all, will examine how easy access to information will affect society: will it make society more open and democratic, or will it lead to commercialization, digital surveillance and a growing degree of state regulation? The English language conference discusses these issues in eight intriguing topics, including: how cultural protest groups can deliver their message through global networks and what is the critical mass they need to reach; how the physical structure of cities will be shaped by invisible mobile and WiFi networks; how a democratic political system can make use of new media; how peer-to-peer networks will effect the economy, with special regards to free downloading; and, finally, the state's say in regulation.



INFORMATION

RE: Activism

October 14-15

CEU

Pest, District V, Nádor u. 9.

www.re-activism.net

PROCESSOS INVESTIGATIVOS NA ARTE CONTEMPORÂNEA - Locative Media 3

HP pioneers digital storytelling
IPaq Pocket PC to be used for neighborhood history project
Benjamin Pimentel, Chronicle Staff Writer
Tuesday, October 11, 2005


Hewlett-Packard and KQED teamed up over the weekend to test new technology that allows anyone with an HP iPaq Pocket PC to listen to the history of a neighborhood while taking a walk around that community.
Dubbed "Scape the Hood," the project was part of the Digital Storytelling Festival at KQED in San Francisco, which ended Monday.
The HP technology, which is being developed by the company's research lab in Bristol, England, combines mobile technology and Global Positioning System to enable iPaq users to get access to information based on where they are.
"The system knows where you are, and it plays the media based on the location," said Abbe Don, senior experience designer for HP Labs in Palo Alto.
HP tried out the system in the Potrero Hill-Mission area of San Francisco, where participants used an iPaq to listen to stories about specific streets or buildings.
For example, on the corner of Mariposa and Florida streets, a participant could learn that a train that delivered supplies to and from a mayonnaise factory used to pass that intersection.
Participants walking by the theater at Project Artaud on Alabama Street would also hear painter Pico Sanchez tell the story of how he and other residents of the live-work building were able to raise funds to renovate the facility. One of the residents came forward with the cash.
"It turned out the guy was saving the money for a sex-change operation," Sanchez recalled.
David Lawrence, another Project Artaud artist who helped create "Scape the Hood," said participants walking past a mural on 17th and Florida streets were treated to what he called a "magical moment."
"As you walk the corner and you see the mural, one of the artists starts talking about the story of his mural, which is dedicated to his mother," he said. "It becomes a magical moment. ... You'll be out there and hearing something, and immediately, it appears in your visual field. ... It's very powerful for them."
In an article on the project published on HP Labs' Web site, Don called the technology narrative archaeology -- "because we're peeling back the layers of the neighborhood."
The project is part of a broader technology field, called locative media or situated storytelling, being developed by HP and other organizations, including the University of Bristol and the Appliance Studio, an intellectual property company.
"We envision this being a new kind of publishing medium, and we envision ultimately for people to add their own stories and annotations in a particular location," Don said in an interview.
"You can come along and hear a story, and you can add your own story and add your own comment."
Don said the technology, which is still in the experimental stage, could eventually be used for commercial purposes, particularly in tourism and travel.
"The vision is that it would be a broad platform," she said.

HP Labs site
For more information on HP's "situated storytelling" technology, check out the HP Labs site at www.hpl.hp.com or the Digital Storytelling Festival site at www.dstory.com.
E-mail Benjamin Pimentel at bpimentel@sfchronicle.com.
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/10/11/BUGU2F6AJ71.DTL

PROCESSOS INVESTIGATIVOS NA ARTE CONTEMPORÂNEA - Locative Media 2

<> May You Live In Interesting Times, Festival Preview (2/2)

Karen Price

24 October 05

The first part of this preview was published last week.
The festival has been developed by Bloc (Creative Technology Wales) and Chapter Arts Centre, Cardiff. They have managed to accommodate a large number of complex yet accessible projects. This collaboration is all the more impressive in its scale when you realise that both organisations have their own projects running concurrently (Bloc are developing Northern and Southern pilot projects in Wales with accompanying seminars; Chapter are hosting the first UK showing o the artists Olaf Breuning).
The festival will be based at Chapter but will spill out into the streets of Cardiff and various venues and unique spaces. Contemporary artists are increasingly engaged with, or inspired by, digital technology and such public spaces.
The public and communication technologies are attractive to artists because of their user friendliness and their massive global reach.
Artists tend to situate such work somewhere between public art and street culture. Digital technology is often claimed to go beyond physical limitations such as cyberspace, but it is always embedded in real spaces and places such as the home, the workplace and the street whether this is an individual user, or as part of a larger ever extending network.
These spaces in Cardiff include the Millennium Stadium, where Tim Davies' Drumming will be shown on the giant digital billboards above the pitch. This shows the frenetic beating of a snare drum as a call to arms. The drumming echoes out throughout the stadium and beyond, echoing the roar of 70,000 Welsh fans.
If you see a number of futuristic-looking people being pursued down Cardiff's Queen Street, don't worry, that will be Blast Theory.
Renowned internationally as one of the most adventurous artists' groups using interactive media, Blast Theory come to Cardiff to present the award-winning chase game Can You See Me Now?
Online players are dropped into a virtual Cardiff while Blast Theory runners, tracked by satellites in the real city, pursue you.
To join in you can access a number of computer terminals at the National Museum and Gallery or at one of the festival hubs at Chapter or g39 (cor). If you are unable to visit you can play from your own computer.
A number of residencies have already taken place across Wales, such as Jen Southern and Jen Hamilton who have been working at Creative Mwldan in Cardigan.
They have been setting tasks for locals and tourists while tracking their movements through GPS systems.
The evidence they collect will then be relocated to Cardiff, where they will be taking visitors on a boat trip in Cardiff Bay.
Grennan and Sperandio will be based in Cardiff, where they are keen to meet anyone interested in any aspect of gaming, from bridge clubs to computer game enthusiasts. They will be creating an online and actual card game based on interactions with historians, language experts, game enthusiasts as well as people from all walks of life in Cardiff.
Artists from Wales were encouraged to develop new work. Stefhan Caddick will be placing a portable digital road sign near Cardiff's Old Library.
Usually used to display traffic information, viewers are asked to text their own messages which will be then displayed on screen.
Andy Fung's work will be displayed on an advertising billboard on Leckwith Road near Cardiff's Football ground.
The artist group Second Site will be displaying new video works in the windows of a empty bank on Bute Street, while Chris Evans will project his interactive game onto St John's Church in the centre of Cardiff.
Canton Labour Club becomes the ideal venue to host a series of discussions based around ideas of community and broadcasting.
The two-day conference will explore the themes of the festival, including the use of locative media, such as GPS systems and mobile phones. There will also be a look at the use and influence of video gaming.
With so many creative technologies on offer, it seems that we do indeed live in interesting times.

Karen Price is Arts Correspondent for the Western Mail.


http://digital-lifestyles.info/display_page.asp?section=cm&id=2706

PROCESSOS INVESTIGATIVOS NA ARTE CONTEMPORÂNEA - Locative Media 1

http://www.wired.com/news/technology/0,1282,69445,00.html?tw=wn_tophead_4

The art of privacy invasion

Call it war-driving for video. Although many people assume new surveillance technology that lets cameras transmit footage wirelessly to TVs and computers is private, Teran is on a mission to show them otherwise.
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"People don't really understand the technologies they're using," she said. "They are setting this up and (unwittingly) becoming broadcasters.
"There are these technological borderline situations. On the one hand, you have this boundary that the person sets up and, on the other hand, you have this boundary that is set up by the range of the radio signal, so you have a restructuring of the geography of the city because of radio propagation."
Since the 2.4-GHz frequency was made license-exempt, it has attracted communications from all manner of devices, including game console controllers, cordless telephones, Bluetooth gadgets, microwave ovens and, increasingly, cameras that beam security pictures to a home PC for remote viewing over the web. Equipment frequently carries a range of about 100 feet, makers say.
Toronto-based Teran has performed her work, Life: A User's Manual, in cities around Europe, using reception equipment she said was common and affordable to all, but which she refused to name specifically.
Giving the latest enactment for May You Live in Interesting Times, Cardiff's inaugural Festival of Creative Technology this past weekend, she remixed the images that bleed through walls and over the psychological boundary between private and public.
Attracting bemusement and catcalls as she tuned her equipment in search of signals, Teran first showed her tag-along audience pictures from an aerial CCTV camera capturing the scene after a city hotel collapsed, and was then verbally abused by a bar owner who objected to his punters being shown footage of themselves under surveillance. "Puzzlement, amusement, disorientation, surprise" are normal reactions, she said, adding that law-enforcement cameras are usually secured.
"People are feeling insecure, but their security equipment gives only an illusion of protection," Teran said. "It's just something that comes in a box and they pick it up but they don't really understand how their contribution is affecting the city. I like the idea of people transmitting their personal narratives that are overlays of the city, these invisible stories. The camera starts to create a story about the person who has it and where they're placed within the city.
"I see the same scenes over and over again; the camera is watching daily banalities, maybe something that is a private moment that maybe I shouldn't be watching. For example, a son had set up a camera for his elderly mother just to make sure that she doesn't fall, and I was able to see her sitting up and calling to him. Am I invading somebody's private space or are they coming into mine?"
Not enough wireless equipment offers encryption, and users often don't switch on encryption features that are included in their devices, according to John Wilson, a wireless communications consultant present at May You Live in Interesting Times.
"The default setting in the hardware may leave their connection open," he said. "There is an explosion of art projects using wireless -- 'locative media' is a buzzword -- a lot of it is banal, fetishizing GPS technologies, whereas locative-media aspirations originally emanated from the 3G operators."
The festival brought together artists and technologists exploring location-based art and gaming. In citywide experiments, attendees used SMS messaging to play a nighttime text-adventure game projected onto a church, heard conference speeches on using satellite tracking to visualize the "poetry" of incoming tides, and were dropped into a 3-D game representation of the city in which players must evade opponents in the real Cardiff whose wearable GPS handsets linked them to the virtual environment.
"Michelle's performances create a space that echoed the general theme of the festival -- making the gap between art and technology slightly more accessible," said festival director Gordon Dalton. "The festival raised issues that were not only pertinent to an academic audience but also provided some interface with the wider general public."

Projeto iadê resgate - Exposição Bits Flexíveis - MIS

A Exposição Bits Flexíveis, no Museu da Imagem e do Som, MIS

Coquetel de abertura dia 8 de novembro de 2005 - 20h
Exposição de 9 a 20 de novembro de 2005, das 12h às 22h.

O Projeto iadê resgate, de autoria de Leonora Fink, está na exposição com outros trabalhos de conclusão de curso de Design de Multimídia, do Centro Universitário Senac.