Declaración Artística noviembre 29, 2010

Declaración Artística

Creo arte en el espacio, al que entiendo como un contenedor intangible capaz de acoger un cúmulo de expresiones y sensaciones formuladas temporalmente por un cuerpo organizado y revelado ante la dimensionalidad. Por ello mi trabajo es una perspectiva interdisciplinaria sustentada en ideas que estimulan acciones para la construcción de una sensibilidad enlazada a trayectorias, cuestiones y sorpresas condicionadas al tiempo, a la materia y a las relaciones entre la individualidad y la colectividad.

La constante en mi obra expone un carácter cinético que busca lograr múltiples significaciones resultadas de la activa intervención del espectador. Experiencias que no se aprecian solamente como una referencia lúdica, sino como la consecuencia y responsabilidad confabulada a la participación.

Es así como provoco junto a la diversidad y uso de recursos materiales e inmateriales, el desarrollo de procesos conceptuales y constructivos similares a los efectos de un laboratorios experimental fuera de control, el cual se reconfigura constantemente para volverse cómplice de piezas híbridas que priorizan formas diferentes hacia contextos cotidianos, explorando posibilidades criticas y reflexivas para un espacio transformable, energético y vivaz que es al mismo tiempo presencia física y, paradójicamente, una apariencia inmaterial.

Christian Saucedo

invierno 2010

Elements of Screenology noviembre 18, 2010

Elements of Screenology

Erkki Huhtamo

A covered framework, partition, or curtain, either movable or fixed, which serves to protect from the heat of the sun or of a fire, from rain, wind, or cold, or from other inconvenience or danger, or to shelter from observation, conceal, shut off the view, or secure privacy; as, a fire-screen; a folding-screen; a window-screen, etc.; hence, such a covered framework, curtain, etc., used for some other purpose; as, a screen upon which images may be cast by a magic lantern; in general, and shelter or means of concealment.

Definition of ‘screen’, The Century Dictionary and Cyclopedia, 1911 (1889)
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Urban Screens: Discovering the potential of outdoor screens for urban society agosto 20, 2010

Urban Screens: Discovering the potential of outdoor screens for urban society

Tore Slaatta

Abstract

Architecture and media technology is melting into each other, and buildings are turning into becoming media infrastructure. Following Sharon Zukin’s suggestions on how to interpret urban change as social and cultural change, the article discuss how our new electronic landscapes mediates, both symbolically and materially, between the socio-spatial differentiation of capital implied by market and the socio-spatial homogeneity of labour suggested by place. The focus is set on how large media corporations are presently developing building projects where the use of screen technology is an important element. These projects are analysed as reflecting shifting corporate and cultural ideas about the relations between media and society: a new material and symbolic relation between constructed spaces for symbolic creativity in the global audio visual industry and global urban centres. As with all “new” technologies, the convergence of buildings and media technology has been envisaged for some time; what is new is not necessarily the idea, but the ways in which current technology makes it possible. As the technological possibilities of urban screens unfold, we become able to analyse their social and cultural consequences more fully.

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Intelligent skin mayo 12, 2010

Intelligent skin: Real virtual

Vera Bühlmann

Abstract

What will it feel like to live in a city, where houses court each other in springtime?

The ‘intelligent-skin’ project investigates the potential of media-façades in terms of corporate communication: what does it mean to build houses out of bricks of mediality? What does it imply to say that communication literally takes place? The virtualization of housing through large sized media skins will introduce medial milieus into our urban spheres to come – they might seize to function as add-ons and instead become infrastructure of our very surrounds just like street lightening, many-storey buildings or large sized rear windows have come to be. And like any of these, media façades will introduce new social habits; they will stimulate us to integrate new ways of engaging with our surrounds into every day live.

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On Art, Interactivity and Tactility febrero 5, 2010

On Art, Interactivity and Tactility

Erkki Huhtamo

1.

“I have secretly caressed paintings in museums, shaken hands with statues…” This line from a song called “The Tourist” recently caught my attention.¹ Is this an expression of projected affection? The confession of a madman? An account of innocent touristic pranks familiar from travel snapshots? Or is it a deliberate subversion of received codes of behavior with – perhaps – ideological implications? As it turns out, the protagonist of “The Tourist” is a loner, “a man lost in his hometown.” Touching paintings and sculptures is a compensation for the lack of a human touch that he has been searching for “in wrong places.” Touching the untouchable, crossing the line, avoiding the public eye. Our experiences in public spaces often include the temptation to ‘exceed the limits,’ at least for a passing moment. Such actions often involve the hand. I have met ‘normal’ people – including artists – who occasionally practice shoplifting. Not for profit or the need for anything – the stolen object is something insignificant, like a piece of gum. For such people the act of shoplifting is more like a sleight-of-hand that challenges the limits of the permissible. It is also a test of one’s agility and “guts,” bringing to mind the lonely endeavors of Robert Bresson’s Pickpocket (1959). More determined challenges are the “para-legal” arts of street graphics and graffiti that often spring from alienation. They represent the need to “make one’s mark” and to assert one’s presence while remaining anonymous, a shadow figure. Posting notes or spraying tags is linked with tearing down, covering, replacing. These acts are part of an unfinished/able urban semioclasm, a palimpsest taking place anywhere where bills are posted and bare walls – potential surfaces to be filled – are available.

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Urban Screens: the beginning of a universal visual culture septiembre 23, 2009

Urban Screens: the beginning of a universal visual culture

Paul Martin Lester

Abstract

Austrian statistician Otto Neurath wrote in 1925, “words divide, pictures unite.” In 1936 Neurath introduced a set of pictographic characters he called Isotype (International System of Typographic Picture Education) that he hoped would become a universal visual language and help unify the world. Traffic, airport, and Olympic competition sign designers owe their careers in large part to the efforts of Neurath and his staff. As we can see today by the examples shown and analysed in this special issue on urban screens, the unification of the world is happening literally in front of our eyes whether as similarly stylistic graffiti mural presentations or seven-story nanotech light shows projected on an infinite variety of urban substrates. Literal, narrative, horizontal, cloistered, and verbal culture is being replaced by symbolic, interactive, profound, global, and visual culture. Neurath would be pleased.

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Art Installation or Hackers’ Gimmick? mayo 27, 2009

Art Installation or Hackers’ Gimmick?

Tim Boer

…Die Hauptfortschritte der Zivilisation sind Vorgänge, welche die Kulturen, in denen sie stattfinden, fast zugrunde richten.“

Alfred North Whitehead (1861-1947)

When it is dark, 144 blinking windows illuminate a huge socialistic building of 54 meters height in the centre of East Berlin. It is located directly at the traffic junction of Alexanderplatz, its long side facing the public plaza with its shopping malls, train stations and stop-over points.

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