1. Panorama internacional da artemídia
Daniel Hora
Universidade de Brasília | Instituto de Artes
Departamento de Artes Visuais | Brasília, 2013
2. http://wwwwwwwww.jodi.org/, 1995 - jodi
arte digital: arte e tecnologia + arte comunicação
desconstrução da linguagem tecnológica (Nam June Paik)
remixagem de elementos encontrados (Dada)
o meio de comunicação como suporte para a arte (arte postal)
internet: informacionalismo, redes distribuídas, globalização
3. Temas e tendências da artemídia
Colaboração e participação
Apropriação e código aberto
Paródia corporativa
Hackerismo e hacktivismo
Intervenções
Identidade
Telepresença e vigilância
Referências:
TRIBE, Mark; JANA, Reena. New Media
Art. Colônia, Alemanha: Taschen, 2009.
+ pesquisas próprias em catálogos e
páginas de artistas, publicações e
instituições na internet
4. Colaboração e participação
herança da arte
participativa – perfomance
e happenings
Umbrella.net, 2005
Jonah Brucker-Cohen and
Katherine Moriwaki
Uma série de guarda-chuvas
brancos circulam em um espaço
público, equipados computadores
portáteis que formam uma rede
de comunicação entre si,
demonstrada pelo uso de
iluminação com LEDs
5. Colaboração e participação
herança da arte
participativa – perfomance
e happenings
Dialtones: A Telesymphony, 2001
Golan Levin and collaborators
Concerto de larga escala
produzido inteiramente com os
sons coreografados dos celulares
da audiência
7. Colaboração e participação
Como no cinema, projetos
complexos exigem formações
diversas
envolvimento de
programadores, artistas,
ativistas, entre outros
coletivos como opção
crítica e tática – contra o
autoritarismo autoral e o
corporativismo capitalista
Carnivore Personal Edition, 2001
Radical Software Group
23. Colaboração e participação
interatividade
apropriações e leituras
não-lineares
My Boyfriend Came Back from the
War, 1996 – Olia Lialina
A narrativa se desdobra em telas em
preto e branco com fragmentos de
texto. Ao clicar em link, a tela se
divide em frames que revelam um
novo texto e imagem correspondentes
às múltiplas ramificações da história
http://myboyfriendcamebackfromth.ewar.ru/
24. My Boyfriend Came Back From the War
Remix, 1998, Vadim Epstein (recovered)
26. My Boyfriend Came Back From the War
Chilian version, tribute to Antuco soldiers, Ignacio Nieto, 2005
27. My Boyfriend Came Back From the War
Flash, 2000, Auriea Harvey&Michael Samyn
28. My Burger Came Back from the War
HTML, JavaScript, Guthrie Lonergan, 2012
29. Don Quixote came back from the library
by santo_file group, 2006
30. Colaboração e participação
Como no cinema, projetos
complexos exigem formações
diversas
envolvimento de
programadores, artistas,
ativistas, entre outros
coletivos como opção
crítica e tática – contra o
autoritarismo autoral e o
corporativismo capitalista
Carnivore Personal Edition, 2001
Radical Software Group
43. Apropriação e código aberto
colagens e materiais do cotidiano
bancos de dados digitais
cultura do copia e cola
After Sherrie Levin, 2001
Michael Mandiberg
Publicação na internet de imagens
escaneadas de um catálogo com
fotografias de 1979 da artista Sherrie
Levine, que por sua vez registram
fotos feitas por Walker Evans na época
da Grande Depressão nos EUA.
44. Apropriação e código aberto
software livre – cultura livre
alternativa de distribuição
contra a indústria cultural
cultura do compartilhamento
Super Mario Clouds, 2001
Cory Arcangel
Hackeamento para extrair todos
elementos gráficos do game Super
Mario Bros, com exceção das nuvens.
Código publicado para os interessados
45. Apropriação e código aberto
OPUS (Open Platform for Unlimited Signification), 2001
Raqs Media Collective
Plataforma e programa que permite a criação e exibição de produtos de mídia, que
podem ser recombinados no trabalho de outros artistas.
46. Apropriação e código aberto
referência ao remix
hip hop e dance music
BUST DOWN THE DOOR AGAIN! GATES
0F HELL-VICTORIA VERSION, 2004
Young-Hae Chang Heavy Industries
Remix do trabalho
BUST DOWN THE DOORS!, de 2000,
que narra a história de uma invasão
noturna a uma casa por agressores
desconhecidos.
47. Apropriação e código aberto
I Love Yr GIF, 2007 – Giselle Beiguelman (remix da net.art para web e app)
52. Paródia corporativa
imitação da estética e retórica dos sites de empresas
marcas e slogans
Airworld, 1999
Jennifer & Kevin McCoy
Imitação de site corporativo, com
seções típicas como soluções,
tecnologias, compras e associações.
Os textos são produto de uma base
de dados de informações captadas
em sites comerciais e
descontextualizadas. O projeto foi
divulgado por meio de banners de
publicidade na internet.
55. Hackerismo e hacktivismo
artistas que se consideram hackers
ou adotam práticas e conceitos da comunidade hacker
Child as Audience, 2001
Critical Art Ensemble
CD-ROM inclui instruções para quebrar
o código e alterar jogos do console
GameBoy
56. Hackerismo e hacktivismo
hackear o próprio sistema (operacional) da arte
Female Extension, 1997
Cornela Sollfrank
A artista desenvolveu em conjunto
com hackers um software para gerar
trabalhos de Net art a partir de
amostras e remixagem de elementos
de sites existentes. Para indicar o
sexismo das práticas de curadoria da
arte contemporânea, ela submeteu
200 projetos a um concurso de uma
galeria, com autoria identificada com
pseudônimos femininos.
60. Hackerismo e hacktivismo
relação com movimentos sociais e desobediência civil
Zapatista Tactical
Floodnet,1998
Electronic Disturbance
Theatre
Ataque de negação de
serviço contra sites de
bancos e da presidência do
México.
61. Intervenções
mídia como espaço de intervenção
Velvet Strike,1998
Anne Marie Schleiner, Joan Leandre &
Brody Condon
Intervenções dentro do jogo online de
batalhas Counter Strike. As ações incluem
a manipulação de personagens para
atuações pacíficas, em lugar da
agressividade esperada, irritando os
jogadores habituais
62. Intervenções
ações mediadas pela tecnologia
no espaço urbano
Pedestrian, 2001-2002
Paul Kaiser and Shelley Eshkar
Projeção de animações em
computação gráfica sobre calçadas e
praças públicas
66. Identidade
construção e visualização
modo indireto
Mouchette.org, 1996 -
Mouchette
Apresentado como trabalho de uma
menina de 13 anos, o projeto indica a
maleabilidade e indeterminação da
identidade online por meio de uma
personagem de ficção. O artista por
trás da iniciativa é desconhecido.
67. Identidade
construção e visualização
modo direto
Brandon, 1998
Shu Lea Cheang
Site sobre a história real de
Teena Brandon, uma jovem
assassinada por ter se passado
por um rapaz
71. Telepresença e vigilância
encurtamento e diluição das distâncias
Telegarden, 1995
Ken Goldberg
O projeto permite que pessoas
em qualquer lugar do mundo
cultivem flores e plantas de
um jardim por meio do
controle de um braço robótico
acessado em rede.
72. Telepresença e vigilância
vigilância como
– mal necessário
– entretenimento
Demonstrate, 2004
Ken Goldberg
Câmera telerrobótica capta
imagens para um site, em que
é possível observar atividades
em uma praça do campus de
Berkeley da Universidade da
Califórnia, um dos berços do
movimento de Liberdade de
Expressão na década de 1960
Colaboração e participação Apropriação e código aberto – Piratão, Cine Falcatrua, Jarbas Paródia corporativa – Freakpedia Hackerismo e hacktivismo – Ônibus Hacker, Thacker Intervenções - GB Identidade – Marcelo do Campo Telepresença e vigilância – Corpos Informáticos, Lucas Bambozzi
The UMBRELLA.net system works with a hardware and software component that is integrated into the design of a typical umbrella. By embedding the system into an everyday object, our intent is to lessen the point of entry for people using the system as they are already familiar with the object and how it works. The prototype includes handheld PocketPC (iPaq) computers that will interface to the umbrella and only communicate with each other when the need exists: ie. When rain is present and other nodes exist in close proximity. The current version of UMBRELLA.net includes 10 Bluetooth-equipped umbrellas each with an accompanying Personal Digital Assistant (PDA) that is running the networking software. When opened, the hardware on the umbrellas communicates to the PDAs to initiate a network connection.
a large-scale concert performance whose sounds are wholly produced through the carefully choreographed ringing of the audience’s own mobile phones. Before the concert, participants register their mobile phone numbers at a series of web terminals; in exchange, new ringtone melodies are automatically transmitted to their phones, and their seating assignment tickets are generated. During the concert, the audience’s phones are dialed up by live performers, using custom software which permits as many as 60 phones to ring simultaneously. Because the exact location and tone of each participant’s mobile phone is known in advance, the Dialtones concert is able to present a diverse range of unprecedented sonic phenomena and musically interesting structures, such as waves of polyphony which cascade across the audience. Dialtones was presented at the Ars Electronica Festival in September 2001, and at the Swiss National Exposition in May and June of 2002.
a large-scale concert performance whose sounds are wholly produced through the carefully choreographed ringing of the audience’s own mobile phones. Before the concert, participants register their mobile phone numbers at a series of web terminals; in exchange, new ringtone melodies are automatically transmitted to their phones, and their seating assignment tickets are generated. During the concert, the audience’s phones are dialed up by live performers, using custom software which permits as many as 60 phones to ring simultaneously. Because the exact location and tone of each participant’s mobile phone is known in advance, the Dialtones concert is able to present a diverse range of unprecedented sonic phenomena and musically interesting structures, such as waves of polyphony which cascade across the audience. Dialtones was presented at the Ars Electronica Festival in September 2001, and at the Swiss National Exposition in May and June of 2002.
Carnivore é uma ferramenta de espionagem de redes de transmissão de dados do FBI. O coletivo Radical Software Group propõe então uma versão pessoal CarnivorePE, capaz de rastrear o tráfego de internet (web, e-mail, ftp, etc.) em uma rede específica. Os dados captados são então utilizados para interfaces gráficas chamadas clientes, que apresentam animações e gráficos com os diagnósticos obtidos. O código aberto, escrito em Processing, pode ser baixado pela internet.
O primeiro cliente foi chamado de Carnivore Personal Edition Zero Client (número de série RSG-CPE0C-1). Foi desenvolvido em linguagem Perl pelo RSG e rodou em um terminal a partir de um servidor Linux. A trilha sonora utilizada foi apropriada do videogame Half-Life.
Outros artistas desenvolveram clientes: Joshua Davis/BrandenHall/Shapeshifter
Read every bit of cnn.com. 0 moves black horizontally. 1 moves white vertically. Black and white attract to one another.
Read every bit of cnn.com. 0 moves black horizontally. 1 moves white vertically. Black and white attract to one another.
World Wall Painters (Pintores de Muros Mundiais) é um cliente que explora a informações geográficas dos Ips rastreados pelo Carnivore. O interface marca a bandeira dos países envolvidos no tráfego de informação, resultando em uma colagem de texturas que sugerem a heterogeneidade da internet.
World Wall Painters (Pintores de Muros Mundiais) é um cliente que explora a informações geográficas dos Ips rastreados pelo Carnivore. O interface marca a bandeira dos países envolvidos no tráfego de informação, resultando em uma colagem de texturas que sugerem a heterogeneidade da internet.
Synopsis: JJ is a software agent which uses facial expressions to visualize the emotional content of network traffic. Serving as both a network surveillance tool and an empathic information visualization, JJ is implemented as a Carnivore Client, an open-source format for network surveillance applications. JJ is an autonomous software agent who displays facial expressions appropriate to the emotional content of the words that are presented to him. Implemented as a Carnivore Client, JJ literally "puts a face" on the information transmitted through his host network, in order to provide a data visualization of the network's "emotional content." JJ operates according to a mapping established between two well-known psychological databases: (A) Ekman and Friesen's set of "universal facial expressions" — the set of face photographs which have been shown to embody basic cross-cultural human emotions (namely: anger, fear, surprise, disgust, sadness and pleasure) — and (B) the Linguistic Inquiry and Word Count (LIWC) dictionary by Pennebaker, Francis, & Booth, which categorizes the "emotional associations" of several thousand common English words, and provides an efficient and effective method for evaluating the various affective components present in verbal and written speech samples.
PoliceState is a Carnivore client that attempts to reverse the surveillance role of law enforcement into a subservient one for the data being gathered. The client consists of a fleet of 20 radio controlled police vehicles that are all simultaneously controlled by data coming into the main client. The client looks for packet information relating to domestic US terrorism. Once found, the text is then assigned to an active police radio code, translated to its binary equivalent, and sent to the array of police cars as a movement sequence. In effect, the data being “snooped” by the authorities is the same data used to control the police vehicles. Thus the police become puppets of their own surveillance. This signifies a reversal of the control of information appropriated by police by using the same information to control them.
Cory Arcangel :Boo-yaa Counter Home Edition Jonah Brucker-Cohen : Police State Mark Daggett : Carnivore is Sorry Lisa Jevbratt : Out of the Ordinary Paul Johnson : RSG — CSCPU - 5 MTAA — Mark River et Tim Whidden : The Gordon Matta-Clark Encryption Method
One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
One indicator of the historical significance of Olia Lialina's 1996 Net Art project, My Boyfriend Came Back from the War (MBCBFTW), is the numerous times it has been appropriated and remixed by other new media artists. On her Web site, Lialina maintains an extensive list of these appropriations that includes versions in Flash, Real Audio, VRML, the Castle Wolfenstein game engine (Mac and PC), PowerPoint, and video. There is even a blog version and a version in gouache on paper. But what is it that makes this particular work so influential? Perhaps it resonates with other artists because it is among the earliest works of New Media art to produce the kind of compelling and emotionally powerful experience that we have come to expect from older, more established media, particularly film. MBCBFTW tells the story of two lovers who reunite after an unspecified military conflict. Fragments of disjunctive dialogue convey the profound difficulty the couple has reconnecting. The female protagonist confesses that she had an affair with a neighbor while her significant other was away fighting for their country. The returned soldier proposes marriage. The non-linear narrative unfolds through grainy black and white images and bits of text in white text on a black background. Clicking on a linked text or image splits the frame into smaller frames, each revealing a new text or image. The narrative splits as well, unraveling into multiple threads. This flow produces an effect similar to a cinematic montage in which separate but simultaneous actions are edited together to produce temporal and spatial juxtapositions. Eventually, the images and texts stop appearing, leaving most of the screen a mosaic of empty black frames.
Carnivore é uma ferramenta de espionagem de redes de transmissão de dados do FBI. O coletivo Radical Software Group propõe então uma versão pessoal CarnivorePE, capaz de rastrear o tráfego de internet (web, e-mail, ftp, etc.) em uma rede específica. Os dados captados são então utilizados para interfaces gráficas chamadas clientes, que apresentam animações e gráficos com os diagnósticos obtidos. O código aberto, escrito em Processing, pode ser baixado pela internet.
O primeiro cliente foi chamado de Carnivore Personal Edition Zero Client (número de série RSG-CPE0C-1). Foi desenvolvido em linguagem Perl pelo RSG e rodou em um terminal a partir de um servidor Linux. A trilha sonora utilizada foi apropriada do videogame Half-Life.
Outros artistas desenvolveram clientes: Joshua Davis/BrandenHall/Shapeshifter
Read every bit of cnn.com. 0 moves black horizontally. 1 moves white vertically. Black and white attract to one another.
Read every bit of cnn.com. 0 moves black horizontally. 1 moves white vertically. Black and white attract to one another.
World Wall Painters (Pintores de Muros Mundiais) é um cliente que explora a informações geográficas dos Ips rastreados pelo Carnivore. O interface marca a bandeira dos países envolvidos no tráfego de informação, resultando em uma colagem de texturas que sugerem a heterogeneidade da internet.
World Wall Painters (Pintores de Muros Mundiais) é um cliente que explora a informações geográficas dos Ips rastreados pelo Carnivore. O interface marca a bandeira dos países envolvidos no tráfego de informação, resultando em uma colagem de texturas que sugerem a heterogeneidade da internet.
Synopsis: JJ is a software agent which uses facial expressions to visualize the emotional content of network traffic. Serving as both a network surveillance tool and an empathic information visualization, JJ is implemented as a Carnivore Client, an open-source format for network surveillance applications. JJ is an autonomous software agent who displays facial expressions appropriate to the emotional content of the words that are presented to him. Implemented as a Carnivore Client, JJ literally "puts a face" on the information transmitted through his host network, in order to provide a data visualization of the network's "emotional content." JJ operates according to a mapping established between two well-known psychological databases: (A) Ekman and Friesen's set of "universal facial expressions" — the set of face photographs which have been shown to embody basic cross-cultural human emotions (namely: anger, fear, surprise, disgust, sadness and pleasure) — and (B) the Linguistic Inquiry and Word Count (LIWC) dictionary by Pennebaker, Francis, & Booth, which categorizes the "emotional associations" of several thousand common English words, and provides an efficient and effective method for evaluating the various affective components present in verbal and written speech samples.
PoliceState is a Carnivore client that attempts to reverse the surveillance role of law enforcement into a subservient one for the data being gathered. The client consists of a fleet of 20 radio controlled police vehicles that are all simultaneously controlled by data coming into the main client. The client looks for packet information relating to domestic US terrorism. Once found, the text is then assigned to an active police radio code, translated to its binary equivalent, and sent to the array of police cars as a movement sequence. In effect, the data being “snooped” by the authorities is the same data used to control the police vehicles. Thus the police become puppets of their own surveillance. This signifies a reversal of the control of information appropriated by police by using the same information to control them.
Cory Arcangel :Boo-yaa Counter Home Edition Jonah Brucker-Cohen : Police State Mark Daggett : Carnivore is Sorry Lisa Jevbratt : Out of the Ordinary Paul Johnson : RSG — CSCPU - 5 MTAA — Mark River et Tim Whidden : The Gordon Matta-Clark Encryption Method
Here on AfterSherrieLevine.com you will find a browsable selection of these images. Links to the high-resolution exhibition-quality images to download and print out. Along with a certificate of authenticity for each image, which you print out and sign yourself, as well as directions on how to frame the image so that it will fulfill the requirements of the certificate.
Super Mario Clouds is an old Mario Brothers cartridge which I modified to erase everything but the clouds. Check below for the ROM, a link to the source code, a gif, and instructions on how 2 make it yourself. So, first the gif,......when I originally posted this on the Internet in 02, the web wasn’t actually able to contain video (it sounds funny now, but remember youtube didn’t start making waves till like 05ish??), therefore I made a gif of the video.
Opus seeks to build a creative commons with a community of media practitioners, artists, authors and the public from all over the world. Here people can present their own work and make it open for transformation, besides intervening and transforming the work of others by bringing in new materials, practices and insights. The Discussion forums are there to open out the works to comments and reflections. Opus follows the same rules as those that operate in all free software communities - i.e. the freedom to view, to download, to modify and to redistribute. The source(code), in this case the video, image, sound or text, is free to use, to edit and to redistribute.
osso projeto é baseado nas câmeras Elphel, que são licenciadas como open hardware. São as mesmas câmeras usadas nas imagens do Google Street View. Embora não tenham sido pensadas para se fazer cinema, uma discussão iniciada no fórum do site DV Info por volta de 2006 atentou para esta possibilidade. Iniciou-se uma longa pesquisa de como seria possível fazer filmes a partir de um de seus modelos – na época, o 333 -, o que deu origem a vários protótipos de como montá-la para gravar. Assim surgiu a comunidade Apertus, voltada especificamente para este fim, e dona de um site e comunidades próprios a partir de 2010. Ao final daquele ano começaríamos o nosso envolvimento, buscando um caminho para editar os vídeos gravados em linux.
osso projeto é baseado nas câmeras Elphel, que são licenciadas como open hardware. São as mesmas câmeras usadas nas imagens do Google Street View. Embora não tenham sido pensadas para se fazer cinema, uma discussão iniciada no fórum do site DV Info por volta de 2006 atentou para esta possibilidade. Iniciou-se uma longa pesquisa de como seria possível fazer filmes a partir de um de seus modelos – na época, o 333 -, o que deu origem a vários protótipos de como montá-la para gravar. Assim surgiu a comunidade Apertus, voltada especificamente para este fim, e dona de um site e comunidades próprios a partir de 2010. Ao final daquele ano começaríamos o nosso envolvimento, buscando um caminho para editar os vídeos gravados em linux.
A instalação Crepúsculo dos Ídolos é um ambiente com cinco TVs ligadas em um canal de TV aberta, uma câmera e um microfone à frente delas. Quando o visitante produz algum som próximo ao microfone a imagem das TVs distorce de acordo com a intensidade e o tempo de duração do som produzido pelo visitante. As distorções evoluem seguindo algumas cores do crepúsculo: amarelo, laranja, vermelho, azul. Após passar pela cor azul, a imagem do canal desaparece e em seu lugar aparece a imagem do visitante com um efeito de brilho que também varia de acordo com a intensidade de sua voz. Enquanto o visitante produzir som, sua imagem permanece na TV. Quando houver silêncio as TVs voltam, aos poucos, a exibir a imagem do canal, como antes.