Unpredictability
Meet VOID/O, by Sandro Canavezzi.
Robotarium SP
by Leonel Moura (Portugal, 2010)
Installed in the Jardim Central de Alverca, in Vila Franca de Xira, Portugal, the Robotarium is the world’s first zoo for robots. Based on the Portuguese creatures, but with distinct morphology and behavior, five small robots were constructed exclusively for the Emoção Art.ficial 5.0 – Autonomia Cibernética.
Artist Leonel Moura works in the field of artificial intelligence and robotics. He created the Robotarium in 2007, and in that same year opened the gallery LEONEL MOURA ARTe, in Lisbon, centered exclusively on exhibitions of works made by robots. See also RAC3 – Robotic Action Painter, an artist robot, by Moura.
MetaCampo
by SCIArts (Brazil, 2010)
Information about wind direction, captured by a wind sensor attached to the outside of the Itaú Cultural building, is sent to a computer which, in turn, controls a fan that blows on an artificial plantation – a plane formed by flexible shafts similar to a wheat field, present within the exhibition space.
An interdisciplinary team that develops its works based on the intersection between art, science and technology, SCIArts has a fixed core of members, who realize works with invited technicians, scientists, theoreticians and artists. Currently its members are Bruno Bastos, Fernando Fogliano, Iran Bento de Godói, Julia Blumenschein, Luiz Galhardo, Milton Sogabe, Renato Hildebrand and Rosangella Leote.
Ballet Digitallique
by Lali Krotoszynski (Brazil, 2010)
In this installation, the silhouette of the spectators is captured by a camera, transformed, and projected onto a wall. The shadow moves through virtual space according to physical and visual information decoded by a computer program, which activates parameters derived from the Laban System of human movement analysis.
Learn more about interactivity, a central concept to some breeders of the art technology
Lali Krotoszynski has worked as a performer and choreographer since 1981. She develops her work individually and in collaboration with visual artists, photographers, musicians, video artists, choreographers and dancers. Currently her research involves the search for narratives emerging in digital interfaces.
Caracolomobile [Snailmobile]
by Tania Fraga (Brazil, 2010)
An artificial organism, resembling a snail, is able to recognize different emotional human states, responding to them in an expressive way through sounds and movements. This work is inspired in affective computation, a field of research focused on the “psychic” interaction between humans and artificial systems.
Learn more about interactivity, a central concept to some breeders of the art technology.
Tania Fraga is an artist and architect. A doctor in communication and semiotics from the Pontifícia Universidade Católica de São Paulo (PUC/SP), she is currently a doctoral candidate at USP. She served as a professor with the Arts Institute of the Universidade de Brasília (UnB), where she works as an associate researcher. She has worked with interactive computational art since 1987, using virtual-reality technologies.
Projeto Amoreiras [The Mullberry Trees Project]
by Grupo Poéticas Digitais (Brazil, 2010)
Five real mulberry trees, arranged in front of the headquarters of Itaú Cultural, “learn” – by way of a device for measuring noise pollution – to vibrate in response to environmental sounds. This project is aimed at increasing the chances of the trees’ survival, now able to emit warnings in possible situations of risk.
Learn more about autonomy, a central concept to some breeders of the art technology.
Grupo Poéticas Digitais – which, for this project, relied on the participation of Gilbertto Prado, Agnus Valente, Andrei Tomaz, Claudio Bueno, Daniel Ferreira, Luciana Ohira, Lucila Meirelles, Mauricio Taveira, Nardo Germano, Sérgio Bonilha, Tania Fraga and Tatiana Travisani – was created in 2002 at the Department of Visual Arts of the Universidade de São Paulo (USP). The collective aims to generate a multidisciplinary nucleus, promoting the development of experimental projects and reflection on the impact of the new technologies on the visual arts.
Evolved Virtual Creatures
by Karl Sims (United States, 1994)
This video is the result of a research that simulated Darwinian evolution by way of hundreds of virtual creatures – which “live” within a CM-5, a supercomputer elaborated in the 1990s by Massachusetts Institute of Technology (MIT). In the process of the experiment, each of these creatures really evolved, learning to execute determined tasks – such as swimming in a simulated aquatic environment.
Artist, scientist and entrepreneur Karl Sims is the founder of Genarts, a North American company that creates special-effects software for the filmmaking industry. He studied computer graphics at MIT and graduated, from the same institute, in life sciences.
Prosthetic Head
by Stelarc (Australia, 2003)
A large-scale projection of the artist’s head converses, in English, with the public. The software that controls the dialog is based on the A.L.I.C.E. (Artificial Linguistic Internet Computer Entity) mechanism, a famous conversing robot also known as Alicebot, or simply Alice. This work aims to demonstrate that, with the advent of new technologies, the difference between humans and machines is no longer a problem of identity, but of interface.
Learn more about interactivity, a central concept to some breeders of the art technology.
Stelarc is an artist interested in the evolutionary architecture of the body and in possible ways of redesigning the human, enhanced by implants and exoskeletons. Head of the Department of Performance Art at Brunel University, England, he is an invited senior researcher at the University of Western Sydney, Australia.
Hysterical Machines
by Bill Vorn (Canada, 2006)
Five arthropod robots make organic but twitchy movements: an unexpected behavior, since it is realized by machines which, supposedly, should be merely functional. This work aims to evoke the spectator’s empathy for the robotic entities, which in fact are more than a handful of metallic structures.
Learn more about interactivity, a central concept to some breeders of the art technology.
Bill Vorn has been dedicated to robotic art since 1992. A professor at Concordia University, Canada, where he teaches electronic art, he is in charge of the research laboratory for robotic art creation (Alab) at Hexagram Institute, also in Canada.
Bion
by Adam Brown and Andrew H. Fagg (United States, 2006)
A network of sensors is linked to about one thousand devices that sing like living beings. Each one of these “lifeforms,” called a “bion,” communicates with the others and reacts to the presence of the spectators. The installation’s title refers to a primordial biological energy unit, identified as “orgone” by scientist Wilhelm Reich.
Learn more about interactivity, a central concept to some breeders of the art technology.
Artist Adam Brown works on the border between science, technology and art. He is interested, more specifically, by the relations between humans and synthetic life forms. Andrew H. Fagg is a doctor of computer science and works as an associate professor of bioengineering at the University of Oklahoma, United States.
Silent Barrage
by SymbioticA (Australia - United States, 2008–2009)
Robots move vertically along various columns, leaving traces that are actually the representation of the firings of neurons cultivated in a glass recipient located thousands of kilometers away. Parallel to this, sensors located around the installation capture the movements of the public, which, in turn, also move the robots about.
The collective SymbioticA is made up of artists Guy Ben-Ary and Philip Gamblen, composer Brett Murray, engineers Peter Gee, Nathan Scott and Stephen Bobic, as well as Dr. Steve Potter, a neuroscientist with the laboratory of neuroengineering at Georgia Tech, Atlanta, United States. Installed at the School of Human Anatomy and Biology of the University of Western Australia, the group blends art with science, encouraging critical thinking on the ethical and cultural questions involved in the manipulation of life.
Autoportrait
by robotlab (Germany, 2002)
Using a pen, a robot makes human portraits, and then destroys the images – an act that questions, among other things, the universality of authorship and the anthropocentrism of artistic practice.
See also another artist-robot: RAC3 – Robotic Action Painter, by Leonel Moura.
robotlab is a group founded in 2000 by Matthias Gommel, Martina Haitz and Jan Zappe, artists interested in the experimental and artistic use of industrial robots – machines normally used in factories. This collective works in partnership with the Karlsruhe Art and Media Center (ZKM), in Germany.
Spore
by Will Wright (USA, 2008)
The creature editor is an integral part of a computer game developed by the game company Electronic Arts. It is an epic of artificial life that involves the origin of a life, its evolution, the creation of a technological civilization, and eventually its end.
Will Wright is a creator of classic games such as SimCity and The Sims.
youTAG
by Lucas Bambozzi (Brazil, 2008)
A work of web art composed basically of a special system that searches for keywords associated to videos and photos on the Internet. Based on a specific search, the visitor is emailed a remixed audiovisual file – of unknown authorship – derived from material previously existing and available on Internet. A Rumos Itaú Cultural Cybernetic Art award-winning artwork in 2007.
Learn more about emergency, a central concept to some breeders of the art technology.
Lucas Bambozzi is a journalist with a degree from Universidade Federal de Minas Gerais (UFMG). Since the 1980s he has developed projects involving the expressivity of audiovisual language, with emphasis on electronic media. He has produced artworks involving video, film, installation, interactive projects and Internet.
Mikado_Xplosion
by Pascal Dombis (France, 2008)
The printout of an artwork classified as software art. It involves the overlaying of 1.5 million colored lines, which recall the childhood game of Pick-Up Sticks. This artwork is the result of a computer program based on a simple geometric image, with the format of a tree. The artwork was elaborated to be applied to the façade of the Itaú Cultural Building.
Learn more about emergency, a central concept to some breeders of the art technology.
Pascal Dombis lives and works in Paris, France. His artwork received an honorable mention at Ars Electronica in 1994, and has been featured at exhibitions of generative and fractal art throughout Europe and in the United States. In his artwork, he explores the paradoxical coexistence between ordered control and chaotic random forces.
RAP3 – Robotic Action Painter
by Leonel Moura (Portugal, 2006)
An artist robot that makes paintings in gestural abstract style based on information in its code along with inputs from the public. Since 2007 it has been installed in the Hall of Human Origins at the New York Museum of Natural History, in permanent creative activity. This device generates original compositions, deciding on its own when the painting is finished, signing each one in the lower right corner just like a human artist.
Learn more about cybernetics, and understand basic concepts of artificial intelligence.
Leonel Moura is an artist who works in the area of artificial intelligence and robotics. In 2007 he created Robotarium, the first zoo of robots, located in Alverca, Portugal. That same year, he inaugurated the gallery Leonel Moura Arte, dedicated exclusively to exhibitions of art created by robots.
Tumbling Dream Chambers
by Boredomresearch (England, 2007)
An artwork involving artificial life composed of the two previous works Biomes and Randomseeds. It is formed by five displays resembling Petri dishes – glass recipients used in scientific experiments and for the culture of bacteria in laboratories – which are “inoculated” with two “seeds.” In the virtual biomes, artificial microorganisms are born, evolve and die.
See also Eden, by Jon McCormack, an ecosystem of artificial life.
Boredomresearch is an English artist collective formed by Paul Smith and Vicky Isley, researchers in the field of animation and computer art at Bournemouth University, England.
PixFlow #2
by LAb[au] (Belgium, 2007)
A sculpture in the form of a console composed of four displays arranged horizontally. A program simulates a vectorial field in which the particles flow according to the evolution of the field’s density. The initial interaction that unfolds in the field provokes the emergence of totally unforeseen behavior among the particles.
Learn more about emergency, a central concept to some breeders of the art technology.
LAb[au] is a Belgian artist collective founded in 1995 by Els Vermang, Jérôme Decock and Manuel Abendroth. The group’s areas of interest range beyond architecture and urbanism (present in the abbreviated name) to also involve software art and VJing. Besides this, they hold symposiums and workshops with important talents such as Lev Manovich, Marcos Novak and Stanza.
Bacterias Argentinas
by Santiago Ortiz (Colombia, 2004)
A work of web art in which a dynamic model of autonomous agents – in the form of words in a grammatical network – eat each other. In this process, the “bacteria” exchange genetic information and give rise to the emergence of uncommon narratives.
Learn more about autonomy, a central concept to some breeders of the art technology.
Santiago Ortiz is an artist, mathematician and researcher in the areas of art, science, and fields of representation. He works with techniques of communication, creation and expression that combine narrative and literature as well as digital and architectural spaces.
The Mutation of the White Doe
by Nicolas Reeves (USA, 1997)
Three sculptures made of translucent polymer elaborated based on a genetic algorithm. When the distinct blocks thus constructed are brought together they recall Malevich’s architectural objects. The pedestal of each sculpture emits excerpts re-elaborated from “The White Doe,” a Scandinavian folklore song dating from remote times.
Nicolas Reeves is an architect with a degree from the University of Montreal, Canada. He is currently a professor in the Department of Design at the University of Quebec, in Montreal, and heads the NXI Gestatio, a laboratory for research and creation in computer science, architecture and design.
Reler
by Raquel Kogan (Brazil, 2008)
A bookcase composed of 50 book-objects. When opened, a mechanism sets off a recording of excerpts from texts by different authors. The public thus composes a “palimpsest” of sound, although each visitor can hear the excerpt of the specific book in his/her hands. A Rumos Itaú Cultural Cybernetic Art award-winning artwork in 2007.
Raquel Kogan is an architect, multimedia artist, engraver, and painter, represented by Galeria Leme. In 2003, she began the series Reflexão, which was presented at Ciber@rt 2004, held in Bilbao, Spain. In 2004, she developed the interactive artwork Projeção [Projection], at Paço das Artes, the intervention Fotoarte [Photoart], in Brasília, the installation 401 Lord Palace, in São Paulo, and interactive objects at the 11º Salão da Bahia, in Salvador.
Bachelor: The Dual Body
by Ki-Bong Rhee (Korea, 2003)
An installation composed of a book that makes delicate movements inside an aquarium while maintaining its stability by means of a dynamic balance between a magnetic field and the flow produced by a water pump. The artwork suggests cyclic principles that are counterpoised to immobility, while also evoking isolation and a constant sensation of emergence.
Ki-Bong Rhee has a degree in art from Seoul National University. He participated in the Gwangju Biennale, in 1997, and in Thermocline of Art, in Germany, in 2007.
The Thoughtbody Environment Interface
by Bill Seaman(2006)
A work based on the romantic idea of constructing a corporeal mechanism that, by means of a multiple sensorial system can enable the appearance of something which resembles human consciousness.
Bill Seaman
An American artist. He earned his Masters in visual studies at the Massachusetts Institute of Technology, and his phD at the Centre For Advanced Inquiry into the Interactive Arts, CAiiA.
Canções Submersas
by Vivian Caccuri (Brazil, 2008)
This installation sets up an interference of four carp – who live in a climate-controlled pool – with the public’s MP3 music. The movement of the animals’ swimming is recognized by a special software. According to how the fish move about and in relation to each other, the system modifies the music tracks in real time. This creates a “fluid cacophony” in the artwork’s environment, allowing for a “collective hearing” of the private sounds. A Rumos Itaú Cultural Cybernetic Art award-winning artwork in 2007.
Learn more about interactivity, a central concept to some breeders of the art technology.
Vivian Caccuri is an artist and researcher in the field of electronic art. She is the content coordinator and technical consultant for the Festival Internacional de Linguagem Eletrônica [International Festival of Electronic Language – File]. Her work explores the relation between sound, physical objects and information systems in electronic installations, audio performances and interactive devices.
Talysis 2
by Paul Prudence (2006)
A circuit, in which a camera films, in real time, a screen that shows the image of the camera itself.
Paul Prudence
A British artist, who is responsible for the blog: Dataisnature.
Roots
by Roman Kirschner (Austria, 2005–2006)
A dynamic sculpture inspired in an experiment by Gordon Pask, in which the English scientist literally created an electrochemical computer in the 1950s. Electrodes in the form of wire rods immersed in an iron-sulfate solution receive electric charges. Black crystals grow at their ends like neurons, which attempt to connect with the crystals of other electrodes, and then dissolve.
Learn more about emergency, a central concept to some breeders of the art technology.
Roman Kirschner studied philosophy and history of art at the University of Vienna. He is currently a researcher at the Academy of Media and Art of Cologne, in Germany, and cofounder of the artist’s collective Für.
Performative Ecologies
by Ruairi Glynn (England, 2007)
A community of four robots is oriented by means of facial-pattern-recognition software. This artwork examines the interactive (and not only responsive) potential of robotic elements for engaging in forms of performative and nonverbal communication with the public.
Learn more about cybernetics, and understand basic concepts of artificial intelligence.
Ruairi Glynn began his career in art as a sculptor. He studied interactive design at the Central Saint Martins College of Art and Design, in London, and at the Institute of Digital Art and Technology, in Plymouth. He is a member of the group Interactive Architecture, of the Bartlett School of Architecture, in London. He studied under English cyberneticist Ranulph Glanville.
Evolving Sonic Environments
by Usman Haque(2006)
Several devices communicate with each other by means of ultrasonic waves. They reach vibrations which act on the threshold of human hearing, but that can be seen on a large screen thanks to a data visualization system.
Learn more about interactivity, a central concept to some breeders of the art technology.
Usman Haque
He teaches at the Bartlett School of Architecture, in London.
Robert Davis
An artist and professor of the Department of Psychology of the Goldsmiths University of London.
Software Mirrors
by Daniel Rozin (2001)
Three triptych-shaped works which use cameras connected to computers and recondition the images captured of the public.
Learn more about interactivity, a central concept to some breeders of the art technology.
Daniel Rozin
An American artist and educator. He is a professor of the department of arts of the New York University and chair of Smoothware.
I/VOID/O
by Sandro Canavezzi de Abreu (Brazil, 2008)
An updated version of the installation VOID, in which the public observes the contents of a “black box” (actually, a mirrored acrylic sphere into which a virtual cube is internally projected), in which sounds are fused and inextricably blended with real and virtual images, giving rise to an unstable and inhospitable internal reality. A Rumos Itaú Cultural Cybernetic Art award-winning artwork in 2007.
Sandro Canavezzi de Abreu is an architect, and obtained his master’s degree in digital poetry from the School of Communication and Arts of the Universidade de São Paulo (ECA/USP), from 1998 to 2000. He also holds a specialist degree in generative systems from Codelab_berlin (2000–2002), and participated as a resident artist at Transmediale (Berlin, 2000–2002) and at V2_Org (Rotterdam, 2004–2005). He currently directs LAbI (Open Laboratory of Interactivity for the Dissemination of Scientific and Technological Knowledge), at the Universidade Federal de São Carlos (Ufscar).
Ultra-Nature
by Miguel Chevalier (Mexico, 2008)
A virtual garden whose plant life is composed of six varieties of colorful digital plants. Each one of them evolves according to its “genetic” characteristics and by its interaction with the public who, by means of sensors, cause the flowers to cross-pollinate each other, giving rise to new and unexpected blossoms.
Learn more about interactivity, a central concept to some breeders of the art technology.
Miguel Chevalier is known as one of the pioneers of digital art. Born in Mexico and residing in France, he graduated from the National Superior School of Fine Arts, in Paris, in the early 1980s. In 1994, he participated as a resident artist at Villa Kujoyama, in Kyoto, Japan.
Cheap Imitation
by David Rokeby (2002)
An installation with several facets cut from Nude Descending a Staircase, by Marcel Duchamp, which emerge according to the visitor’s movements.
David Rokeby
A Canadian artist, who has created interactive installations since 1982.
La Funambule Virtuelle
by Marie-Hélène Tramus and Michel Bret (2000)
A virtual character balances itself on a tightrope, and reacts to the movements of the human observer. At the same time it tries to reproduce the posture of the participant, the character seeks balance on the virtual tightrope.
Learn more about interactivity, a central concept to some breeders of the art technology.
Marie-Hélène Tramus
She is a phD in aesthetics and art sciences from the University of Paris 8.
Michel Bret
Professor of the chair of Arts and Technologies of Image at the University of Paris 8.
Text Rain
by Camille Utterback (1999)
The projection of the participants’ bodies is combined with the animation of a rain of letters, which respond to the participants’ body movements. If participants accumulate letters, they can form a word or a phrase.
Learn more about interactivity, a central concept to some breeders of the art technology.
Camille Utterback
A pioneer in the field of interactive installations, she has held exhibitions in the United States, Tokyo, Austria among other countries.
Romy Achituv
An Israeli artist, who lives and works in New York.
Neon Organic 2
by Marius Watz (2006)
Root-shaped organic curves grow, twist and branch, forming webs which resemble neuron pathways.
Learn more about emergency, a central concept to some breeders of the art technology.
Marius Watz
A Norwegian artist. He develops real time generative systems of animated forms.
The Bacterial Orchestra
by Martin Lübcke and Olle Cornéer (Sweden, 2006)
An orchestra made up of “auditory cells” that behave like an organism. Their interaction results in a kind of microphone-speaker feedback which, filtered through special software, gives rise to auditory evolutions that allude to different moments in the history of music, ranging from Mozart to acid house.
Learn more about emergency, a central concept to some breeders of the art technology.
Martin Lübcke is a consultant in the area of computer programming, and holds a Ph.D. in theoretical physics. He is also a member of the band Måfå.
Olle Cornéer is a DJ, a producer in the area of electronic music, and a member of projects such as Dibaba (represented by the labels Gigolo Records and Plong!) and Dada Life (Breastfed, Pickadoll). He also writes articles on music for the specialized press.
Messa di Voce
by Christa Sommerer and Laurent Mignonneau (2003)
The installation makes use of sophisticated voice recognition software to transform each vocal nuance into complex and expressive graphics.
Learn more about interactivity, a central concept to some breeders of the art technology.
Golan Levin
A performance artist, who develops systems for the creation and simultaneous manipulation of image and sound.
Zachary Lieberman
He gives multimedia courses at the Parsons School of Design.
Life Writer
by Christa Sommerer and Laurent Mignonneau (2005)
When the participants type a text on the keys of an old typewriter, they form creatures based on a genetic algorithm that determines their behavior and movement.
Learn more about emergency, a central concept to some breeders of the art technology.
Christa Sommerer and Laurent Mignonneau
Austrian biologist Christa Sommerer and French artist Laurent Mignonneau are professors at the University of Arts and Design in Linz, Austria, where they also head the Department of Culture Interface in the Media Institute.
Eden
by Jon McCormack (2000)
An evolutionary installation of artificial life, which forms an ecosystem. The agents are cellular automata which interact with each other and with the environment.
Learn more about autonomy and interactivity, two central concepts to the creators of art technology.
Jon McCormack
An Australian artist. He is a senior professor of Computer Science and co-director of the Centre for Electronic Media Art of the University of Monash in Melbourne.
Dog[LAB]01
by France Cadet (2004)
An installation with five hybrid autonomous robot-dogs, of different species, which were transformed both in behavior and in appearance.
Learn more about autonomy, a central concept to some breeders of the art technology.
France Cadet
A French artist. Currently, she teaches at the Fine Arts School in Aix-en-Provence.
ADA – Anarquitetura do Afeto (“Architecture of Affection”)
by Simone Michelin (Brazil, 2004)
A discussion about surveillance equipment and systems. The idea is to reverse the scheme of closed circuit television cameras, thus turning them into “open-circuit” television cameras. Simone’s deviating system explores new forms of narrative and reveals how public space is a direct result of negotiations – which are measured using codes – between desire, need, and randomness.
Sound design, application of videographisms, consulting and technological production: KAU Etnopop (Daniel Kau and Marcelo Reis).
Learn more about interactivity, a central concept to some breeders of the art technology.
Simone MichelinVisual artist, researcher and professor at the Fine Arts School at the Federal University in Rio de Janeiro, integrates the N-Imagem, ECO/UFRJ. She incorporates communication technologies and image production, performance, computer systems and architectural constructions in the production of situations within the scope of art.
Dolores from 10 to 10
by Coco Fusco (Cuba – United States, 2002)
Video in which the author plays the role of an employee accused by her boss of trying to incite a strike. The events were “filmed” by internal surveillance cameras and then edited. The work is an interpretation by the artist, of a true fact, which happened in 1998, in the city of Tijuana, Mexico.
Learn more about works of art and technology that deal with social issues.
Coco Fusco, who is a Cuban writer and multimedia artist living in New York, presents conferences, performances, exhibitions and curatorship management programs in the United States, Europe, Canada, as well as in the southern part of Africa and in Latin America. He has a virtual lab in the Web, with publications, videos and projects.
Muntadas: Media, Architecture, Installations
by Antoni Muntadas e Anne-Marie Duguet (Spain – Canada, 1999)
CD-ROM that present the work of Antoni Muntadas, a Catalan artist who, via videos and installations, addresses issues related to power icons and the tricks of communication systems.
Anne-Marie Duguet is an art theorist and professor at the Fine Arts and Science of Arts College at Paris I University (Sorbonne) and director at the Centre of Aesthetic Research in Cinema and Visual Arts.
Records, Xeroxperformance and Lmnuwz, Fire!
by Paulo Bruscky (Brazil, 1980)
Pioneering work in Brazil uses copier machines (Xerox) in the creation process.
Paulo Bruscky, who was born in Recife, is a fine and multimedia artist as well as a poet. He produces films, videos, artist’s books, photo-copy and postal art and organizes collective exhibitions.
Un Musée d’Artiste en Ligne (A Museum of the Online Artist)
by Fred Forest (France, 2004)
Starting in the 1970s this Algerian born French artist was one of the first ones to perform pioneering multimedia work using mass media, telephone and video to explore new forms of creation that flee from traditional art criteria. Still in the 70’s, he was one of the founders of Sociological Collective Art.
Fred Forest, a European pioneer of video art and Internet art, has a PhD from the Sorbonne. He won a prize at the 12th International Biennale in Sao Paulo, when he was arrested and imprisoned by the military regime. He is a co-founder of the sociological art movement and the international group of communication aesthetics.
Une Carte Plus Grande que le Territoire (A Map Larger than the Territory)
by Karen O´Rourke (France, 2004)
A work that explores a notation method in which participants create and view online itineraries by using their own data or information that is available on the Web. It is a psycho-geographic work that aims to create a soft city, in other words, the mental map of a city.
To understand the work: the Russian theorist Lev Manovich speaks of data art, mapping and visualization of data within the art technology.
Learn more about interactivity, a central concept to some breeders of the art technology.
Karen O´Rourke, is a multimedia artist, who works with telecommunication. Her sculptures, photos and software have been exhibited in Europe, the United States and South America. She has a Master’s Degree in conferences in arts and communication from the Paris I University (Panthéon-Sorbonne).
Tracajá-net
by Maria Luiza Fragoso (Brazil, 2002 a 2004)
A kind of travel diary that tries to rediscover the place and landscape, the work is a record of virtual and non-virtual spatial displacement, of the perception of relations generated during displacement and the association between places and anti-places. Using GPS, the author shows the path taken within Brazilian territory, with the lines of a native turtle shell.
Maria Luiza Fragoso has a Master’s Degree in Fine arts from the University George Washington and is an assistant professor in the Department of Visual Arts at Brasilia University. Her work has been shown in exhibitions both in Brazil and the United States. Her main current interest is the development of interaction between computer graphics, etching and video.
Plato On-Line
by Cícero Inácio da Silva (Brazil, 2004)
A fake online magazine on media art and post-modern philosophy composed totally of content created by automatic text generators. The objective is to satirize the universe of academic publications using apparently meaningless texts and articles. You can visit it here.
Cícero Inácio da Silva is a professor on the technology and digital media course at PUC/SP and is doing a PhD in communication and semiotics at the same University. He is one of the Brazilian experts in hypermedia languages, together with the creation and implementation of websites.
10 Dencies São Paulo and 10 Lavoro Immateriale
by Knowbotic Research (Germany – Austria, 1998-1999)
The project involves twin installations: one with the Sao Paulo project (10_Dencies São Paulo, 1998) and another with the Venice project (10_Lavoro Immateriale, 1999). It explores the possibilities of urban intervention and interference in complex environments, creating a topological collage that mixes urban databases and statistics with the imagination of citizens. It is actually a study about mega-cities based on urban cartography collectively elaborated by experts and by the population.
See also Une Carte Plus Grande, Karen O’Rourke’s work that seeks to create mental maps of a city.
Knowbotic Research raises questions regarding the forces and technological systems that are superimposed on each other, annul each other and relate with each other to produce the information territory of the large urban agglomerations. Tokyo, Sao Paulo and Belgrade, which are inhabited by millions of people, were the cities of choice. In each one of them, the group develops the project with groups of architects, using the Web as their site. The first step, Tokyo, was accomplished in 1997/1998 and won the ARS Electronica award for art on the Internet.
Projeto Spio
by Lucas Bambozzi, (Brazil, 2004)
The result of research carried out by Bambozzi over the course of the four last years, the work discusses the control and surveillance systems in modern society. The images, which are recorded by a camera, are installed on a spy robot that moves around inside the installation area, are treated and reconditioned, revealing comically, the intrusive aspect of surveillance cameras.
See also ADA – Anarquitetura of Affection, Simone Michelin’s work that also discusses equipment and surveillance systems, creating “external” circuit cameras.
Lucas Bambozzi has a degree in journalism from the Federal University of Minas Gerais. Since the 80’s he has developed artistic studies and works around the expressiveness of audiovisual language, with emphasis on electronic media. He works in various media with different supports. He has participated on exhibitions in more than 30 countries.