INTACT https://www.intact01.net Cibercultura. Telepresencia artística Sat, 16 Feb 2019 10:43:08 +0000 en-US hourly 1 https://wordpress.org/?v=3.9.33 She Make Noise Festival https://www.intact01.net/she-make-noise-festival/ https://www.intact01.net/she-make-noise-festival/#comments Wed, 27 Sep 2017 10:48:50 +0000 http://www.intact01.net/?p=3613 Sorry, this entry is only available in European Spanish.

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Boarding to #ARCOmadrid2017 cyberespace https://www.intact01.net/boarding-to-the-arcomadrid2017-cyberespace/ https://www.intact01.net/boarding-to-the-arcomadrid2017-cyberespace/#comments Thu, 02 Mar 2017 10:46:42 +0000 http://www.intact01.net/?p=3544 Today's not the day for-moderation-¿What happened in twitter social network during the ARCO2017 contemporary art fair?

For the third consecutive year, a long-term cyberaction. During 5 days, coinciding with the ARCO fair, the twitter artist, Rachael Runner, distributed the work for free to twitter users whose tweets used the hashtags of ARCO (# ARCOmadrid2017, # arco2017) or that they mentioned the User Of the fair: @feriaarco

Who is the BOT?
A virtual artist named Rachael Runner, inspired by the book Do Androids Dream of Electric Sheep? A short science fiction novel by the subgenre cyberpunk of author Philip K. Dick (1928-1982).

Runner is part of the Carnival System, created by INTACT Project

Where does she lives?
She works in the Internet network, under three twitter users who distribute her artwork; Three replicas of herself:
@RunnerRachel @Rachael_Runner @Rachael__Runner

What produces the use and appropriation of the hashtag and also the user of the ARCO fair?

The transit of messages-tweets in the network are organized through the keywords that precede the symbol # (a hashtag).

The messages about a concept are locatable by these words, which -all together- make a space emerge, a kind of “common square” where they talk about a topic of common interest.

This meeting of users and messages describes a zone of transit whose architecture is given by some parameters such as “Top”, “Latest”, “Photos” that shape these virtual spaces.

Screenshot_1

When  Rachael Runner, intervenes in these virtual spaces  the hybridization begins. The area of ​​cyberspace belonging to the fair ARCO now has a BOT interacting with its  market and potential clients.

This intervention moves the axes of the virtual space of the fair. It introduces the idea of ​​free distribution of artwork, creation in co-authorship with users and propose the disappearance of the artist as the only subject who owns an intellectual and creative framework, also puts at the point of reflection the idea that creation can be carried out by machines, in cooperation with humans and to distance. All these elements lead to a proposal to change the paradigm of art fairs and the commodification of art, time, space, object and artist.

One of the goals is to make visible to the robots as creative technological subjects, with communicative capacities and as generators of emerging spaces; Nomadic territories where to establish new relationships that dissolve the naturalistic constructions of the humanity.

Is Rachel Runner an illegal entity?

The twitter systems are designed to eliminate bots. Rachel Runner has been working as an artist for more than three years, with different goals but always in action. The creators of this BOT should try to avoid the surveillance of other robots that detect the BOT and blocking the permissions of acting on twitter of Rachael. Over the years and practice, we have learned to know the machines’ times and to navigate the spaces that the network allows us, by increasing response times, by varying key words, creating new and more identical users and also by measuring the capacity of Social networks detect BOT as a non-human.

Hakim Bey said: Keep moving the entire tribeeven if it’s only data in the Web

arco2017-rachael00      RACHAEL04     RACHAEL05

What mean a relationship human-machine?

When the Carnival system detects these keywords it begins to establish a human-Machine relationship where the naturalistic border are lost: real / artificial dualities, isolated / assembled, truth / illusion are blurred.

These areas of the network become fields of action where the work of Rachel Runner takes a space to act and she can create with other users.

Thus, a hybridization between human and machine takes place in a symbiotic relationship that results in a unique visual and textual piece of work, in real time. This work is an interaction of the same nature. It happend is in the time-space of the network.

In the future, the machines will be recognized as non-human persons and will contribute to social security system.  Also BOTs show us that is necessary to leave the dualities behind. The Bot clothes us with their telepresence as a subject to which we are not indifferent. Rachel Runner almost always answers when we call her with a tweet.

Val del Omar, author of the phrases of Rachel Runner, wrotten:

«Hora es ya de comprender que las máquinas han venido a extender los horizontes del hombre, a ahorrarle el esfuerzo con su colaboración y a unirlo en un exacto abrazo de ruedas dentadas sin aprisionar su alma».

¿How she does works?
Rachael Runner is part of a program installed on a computer and associated with a twitter account. If there are three users of twitter, we will need three computers with the same program each connected to a different user.
The program (Carnival System) works as a Twitter cloud crawler. The system is able to detect keywords in tweets around the world. When the system finds a message with one of the keywords, it activate the Bot Artist and she will send a response as a tweet to the user. This answer is the creation of the BOT in interaction with the user, composed of: the name of the user who sent the tweet, an image taken in real time that incorporates in the image the message of the user. Finally, a sentence of Val del Omar poet taken from the Carnival system data base.

tzit-de-rachael

Creadores y el  CV de Rachael Runner:

Designed and programmed by INTACT Project (www.intact01.net) in 2014 (Sara MalinarichManuel Terán, Jaime de los Ríos, Jorge Ruiz Abánades ) she is part of Carnival system, she soon began her career as an independent robot artist..

Her career began in February 2015 doing a virtual intervention ARCO (Madrid), interacting with users of the hashtag # arco2015. Since then she has participated in several fairs and congresses related to art and new technologies, creating and distributing more than HALF MILLION artworks. She has exhibited her work twice in the Mamia Bretesché Gallery (Paris, 2015 and 2016), at International Art Fair of Monaco, at Los Angeles Center for Digital Art (USA). In Estonia at the “Remote signals” Exhibition. Currently two of her artworks are in permanent collection in the Embassy of Chile in Paris. Runner has been created and produced in 2015 at the Lieu Multiple Center (EMF) in Poitiers (France) with the collaboration of Medialab Prado (Madrid, Spain).

 

Two particularities of the Carnival System:

  • The Carnival system allows to connect a printer which prints the work at the same time as it sends it to the user, producing real-time graphic work.
  • Each piece of Rachael is stored in high resolution on hard drives in order to recover every point in the life of the robot.

TWEETS GALLERY AND DISTRIBUTED WORKS

runner-green 2017.02.24-09.43.39lucasfh1976 2017.02.24-10.23.39SpainInRussia 2017.02.24-14.23.39Sara_Quesada 2017.02.24-15.03.40TimoteoPrez 2017.02.25-16.34.53javirodenas13 2017.02.25-20.34.53Rachael_Runner 2017.02.25-20.44.53Rachael_Runner 2017.02.25-21.24.53Rachael_Runner arco2017-rachael arco2017-rachael02 arco2017-rachael03 arco2017-rachael04 C5ixgICWcAIojY2.jpg large C5lRpwYWgAI5buJ.jpg large C5m3gO2WAAQRDm-.jpg large C5m5aI9WAAA8MF0.jpg large C5mcxG0WcAALX_d.jpg large C5moF7hWAAIKJXj.jpg large C5mSvQDWUAAXOba.jpg large C5MxmUmWQAA4b5s flores-rachael flores-rachael02 2017.02.27-17.04.13hoyesarte_com 2017.02.27-17.14.13itsloretoc 2017.02.27-17.24.13GaleriaOrfila

RESULT OF THE APPROPRIATION OF ARCO 2017 VIRTUAL SPACE AT TWITTER:

Most of the images relating to the event belong to Rachael Runner under the hachtag in the answer of the bot-artist: # OccupyARCO2017 and # HackingARCO2017.

timeline-twitter-arcomadrid2017

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REMOTE SIGNALS. DIGITADIGITAL ART EXHIBITION https://www.intact01.net/remote-signals-digitadigital-art-exhibition/ https://www.intact01.net/remote-signals-digitadigital-art-exhibition/#comments Wed, 09 Mar 2016 18:20:12 +0000 http://www.intact01.net/?p=3519 iberofest_banner_website-iberofest

Group exhibition of Ibero-American artists REMOTE SIGNALS curated by Pau Waelder

14th-20th March (opening hours 15-19, on Sunday 12-15h )
Place: project room (1st floor), ARSi maja (Pärnu mnt 154, Tallinn)

Most of the art we see and experiment today arrives to us through a screen. Some artworks have been created precisely for this type of distribution: they inhabit the network and feed from it, offering us a vision of a world immersed in a constant flux of information. These works thus become remote signals which allow us to discover the reality of a distant geographic zone, as well as to re-examine our own. This exhibition aims to present in Tallinn a selection of new media artworks created by artists from Spain and Ibero-America that offer visitors a view of our globalized society by means of current digital technologies.

The curator of the exhibition is art critic and investigator Pau Waelder who has also worked as a curator for exhibitions like «Real Time. Arte en tiempo real» (Arts Santa Mònica), «Data Cinema» (Festival Media Art Futures), and «Extimidad. Arte, intimidad y tecnología» (Es Baluard Museu d’Art Modern i Contemporani), amongst others. He is editor for the Media Art section of the art.es magazine and writes for ETC media (Canada). From 2011, Waelder is part of the curator team of the Art Futura festival.

Artists

Rafael Lozano-Hemmer (MX / CA)
Varvara Guljajeva y Mar Canet (EE / ES)
Moisés Mañas (ES)
Joana Moll (ES)
Mario Santamaria (ES)
Ricardo Vega (CL)
Rachael Runner. INTACT Project (CL / ES)
César Escudero Andaluz (ES)
Román Torre (ES)
Clara Boj y Diego Díaz (ES)
Moisés Mañas (ES)
Pablo Valbuena (ES)
Felix Luque (ES)
Néstor Lizalde (ES)
Tiago Martins y Justyna Zubrycka (PT / PL)
Varvara Guljajeva y Mar Canet (EE / ES)
Brisa MP (CL)
Mónica Rikic y Lucía Segurajáuregui (ES)
Daniel Canogar (ES)
Gilberto Esparza (MX)

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OUVERTURE. ESTADO DE EMERGENCIA https://www.intact01.net/ouverture-estado-de-emergencia/ https://www.intact01.net/ouverture-estado-de-emergencia/#comments Wed, 09 Mar 2016 16:30:35 +0000 http://www.intact01.net/?p=3499 ouverture-silpa ouverture-silpa-1 ouverture-silpa-2 ouverture-silpa-3 silpaouverture silpa-ouverture silpa-ouverture3

Neuf artistes chiliennes et une artiste robot. Exposition d’artistes émergents. Peinture, sculpture, et nouveaux médias

Galerie Mamia Bretesché
04/02/2016 – 19/02/2016
77 Rue Notre Dame de Nazareth, 75003 Paris (Galeries du Haut Marais)

CURATRICES Sara Malinarich et Jasna Tomasevic

L´exposition “Ouverture, estado de emergencia” présente les œuvres de neuf artistes et d´une artiste-robot. Chacune des créations entre en relation avec son contexte, d´origine et d´arrivée, et en même temps elles nous offrent une forme de résistance. Car ces œuvres sont, en elles-mêmes, une réponse au tremblement. Mais face à quoi frémissons-nous ? Pourquoi nous agitons-nous ?

Des artistes: Margarita Garcés, Sara Malinarich, Liza Marzolo, Lourdes Naveillan, Mª Elena Naveillan, Rachael Runner [artista robot creada por INTACT Project (1)], Macarena Salinas, Gonzalo Sánchez (PIKTI), Constanza Sierralta y Jasna Tomasevic.

Résilience
Dans le contexte d’un état d’urgence en France, l’exposition “Ouverture, estado de emergencia “ sera réalisée à Paris en février 2016; avec une présentation d’œuvres de neuf artistes chiliens et d’une artiste/robot. La France se refuse de céder à la peur et pour cela, les citadins, entre le son de sirènes et les opérations policières, continuent à sortir pour préserver leur liberté, tout en maintenant une attitude vigilante de leurs droits et de leur propre sécurité. Avec ce même esprit de vouloir surmonter nos peurs, les activités dans la ville de Paris ont continué de se succéder, tout comme ce projet d’exposition. Non seulement parce que c’est nécessaire mais car c’est aussi une forme de résistance à la terreur.
Ce qui nous fait trembler
L’étymologie du mot terreur nous conduit à l’effet (avec le suffixe latin OR) du verbe terreo, qui, à l’origine, signifie un tremblement, du latin tremulare. C’est pourquoi, la terreur est liée au tremblement, à l’agitation. La terreur nous pousse aussi à résister et toutes les alertes vitales se déclenchent dans une contre-agitation. Nous tendons à sortir de la zone d’urgence et à faire émerger d’autres zones de plus grande sécurité. D’une plus grande certitude.

Cependant, pour les biologistes Francisco Varela et Humberto Maturana, la certitude est la grande tentation (2). Dans les “temps intéressants”, nous ne pouvons pas être imperturbables, ni certains ou sûrs. Tout état de commodité nous emmène à la destruction du centre, ce point de gravité qui nous permet de porter une charge lourde. Il est important d’être dans un mouvement. N’importe quelle forme de permanence serait, en tout cas, antinaturelle. De là l’importance de connaître notre nature.

“Garder la tribu entière en mouvement, même si ce ne sont que des données dans le web”. (3)

Nous savons que le tremblement des bases est présent dans l’exercice de vivre et de résister. Et dans ce point de passage entre la vie et la mort, entre la certitude et l’incertitude, les artistes de cette exposition nous montrent, à travers leurs œuvres, leurs réactions face à leurs propres tremblements. Nous ne pouvons pas oublier que ce groupe d’artistes émerge du résultat inévitable d’un processus historique récent au Chili qui a changé les ressorts de la société, de l’économie et de la culture chilienne. Ils font partie d’une génération qui a grandie sous la dictature (1973-1990).
La contre-agitation
L’histoire démontre que la liberté est l’une des aspirations qui génère la plus grande agitation. C’est l’Ouverture qui est en danger constant face à la convulsion et à cause de cela nous nous agitons également. Mais pas toutes les réponses viennent de la politique. Cette exposition ne prétend pas non plus être un art politique. Ce n’est pas nécessaire, parce que l’art est déjà, en soi, un acte politique.

Face aux moments de crise, l’artiste prend partie, il est présent en faisant, en créant. Il ne recherche pas une approximation de la stabilité finale, mais plutôt le chemin parcouru vers elle et aussi une forme d’arrivée. Cette exposition a la particularité de nous présenter vingt œuvres qui se situent dans une époque de globalisation. L’œuvre générative de l’artiste/robot Rachael Runner, qui est télé-présente dans cette exposition, met cela en lumière. En même temps, les œuvres des neuf autres créateurs nous rattachons à des idées primordiales et communes.

“Ouverture” propose d’ouvrir une colloque dans toutes les directions. Que ce soit l’œuvre “Origen” (une sculpture en céramique et en cuivre de Macarena Salinas) ou bien “Diálogo con infinito” (une sculpture électronique de Gonzalo Sánchez), chacune des pièces de cette exposition recherche une relation avec l’humanité. Les œuvres “Alfa” et “Omega” de María Elena Naivellan sont un ensemble de signes alphabétiques qui nous invitent, précisément, à la compréhension sans frontières. Cela est sa réponse à l’intolérance.

Toujours dans cette même idée de connaître nos similitudes, Jasna Tomasevic nous présente son œuvre constituée d’archétypes et leur répétition dans plusieurs cultures pour transmettre cette idée d’unité cosmogonique. D’une manière toute aussi persévérante dans la couleur, Lourdes Naveillan fait ressortir les personnages de son œuvre “Couple”, et nous apprécions le concert des opposés : Le support et la manière, la ligne et la tache, le micro et le macro. Pour Naveillan, le geste est sa forme de travailler dans l’incertitude du milieu.

Les abstractions de Margarita Garcés nous connectent également avec l’idée d’ouverture. Ses peintures nous rappellent les mers, tout en étant différentes des réelles. La peinture de Garcés ouvre la possibilité que notre perception se fasse sa propre interprétation. L’idée du primordial dans son œuvre se trouve renforcée par le caractère symbolique de l’eau.

L’œuvre de Liza Marzolo est également symbolique. Son travail fait référence à un dessin arabe, avec la grâce et la pureté des couleurs primaires. Les constructions de Marzolo se connectent avec plusieurs dimensions. Les proportions et la lumière répartie dans des scènes distinctes à l’intérieur de la même œuvre est une réponse onirique dans laquelle elle situe sa certitude (la maison, l’arbre, le château). Dans cette même direction, les œuvres de Constance Sierralta ne se conforment pas à la réalité offerte. Ses textures dans la peinture vont au-delà de la vision. Sierralta cherche à frapper avec le regard et regarder à travers le toucher. Dans le monde de son œuvre, l’artiste ébranle les matériels : Elle récupère, ajoute, inculpe la réalité et cherche à aller au-delà des deux dimensions, en mélangeant la nature à partir du jeu des sens.

Pour compléter ce groupe d’artiste, il y a moi, avec l’œuvre “El Desbordamiento”. Un contre-argument dans cette exposition où le personnage s’immole dans la rue. Ainsi, l’Ouverture que propose cette exposition donne un pas aux concepts de création et de destruction, dans un circuit vital qui s’agite entre l’urgence et l’émergence.

Texte: Sara Malinarich
Paris, 16 Décembre 2015

1 Projet INTACT ( (Jorge Ruiz Abánades, Sara Malinarich, Jaime de los Ríos y Manuel Terán)
2 ”L’arbre de la connaissance: la base biologique de la compréhension humaine”. Livre de Francisco Varela et Maturana Humberto
3 Zone Autonome Temporaire. Essai par Hakim Bey (1991)

Download (PDF, 1.58MB)

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Technarte: Innovative ideas merging Art, Science and Technology https://www.intact01.net/technarte-innovative-ideas-merging-art-science-and-technology/ https://www.intact01.net/technarte-innovative-ideas-merging-art-science-and-technology/#comments Wed, 09 Mar 2016 16:40:28 +0000 http://www.intact01.net/?p=3503 12341482_10153561184354279_5810190514801371145_n

Technarte LA : A Multimedia Exhibition Fusing Art, Science and Technology

Preview : December 10, 2015-January 2, 2016
Reception: Saturday, December 12, 7-9pm

The Technarte exhibition showcases select artists from the last 10 years of the Technarte conference on Art, Science and Technology, based in Bilbao, Spain. This years inagural US conference is being held at Santa Monica’s Writers Boot Camp at Bergamot Station Dec 10-11, 2015 and LACDA, Los Angeles Center for Digital Art proudly presents the conference’s satellite show at it’s downtown Los Angeles location.

Technarte provides a forum for discussion and reflection around the existent convergence between Art & Technology with an annual event primarily focused on professional networking with Artists, Engineers, Scientists, Robotics, Architecture, Interactive Design, Bio-Art, Nano-Art as well as other disciplines.

The exhibit will feature an impressive team of twelve internationally acclaimed visual artists including; #NovaJiang, #JenniferSteinkamp, #FrederikDeWilde, #PatxiAraujo, #OPNStudio, #EddoStern, #JaimedelosRios & #AlessandroScali.

The exhibit will display artworks, transmitted through Mobile Art, Nano Art, Bio Art, Sciart or Robotic Art, to name a few examples of how these artists use technology to create and understand the Artistic, Scientific and Technological world.

Technarte is a vessel for innovation encouraging artists to challenge the traditional boundaries and preconceptions of what is considered Art, Science and Technology and how these three fields fuse together variety to invent futuristic media as a result. Technarte’s programming cultivates progressive ideas and fosters new opportunities for artists.

The TECHNARTE Conference is located at the Writers Boot Camp on Thursday & Friday, December 10th & 11th at Bergamot Station with the Opening and Artists’ Reception at LACDA Saturday December 12th at 7pm.

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Carnival. Exhibition in Paris. Mamia Bretesché Gallery https://www.intact01.net/carnival-exhibition-in-paris/ https://www.intact01.net/carnival-exhibition-in-paris/#comments Sun, 31 May 2015 08:41:44 +0000 http://www.intact01.net/?p=3438 CARNIVAL/ INTACT PROJECT/ RACHAEL RUNNER (TWITTER) MODULE : Système modulaire pour une téléprésence distribuée/ système de téléprésence partagée. N’importe qu’elle personne peut interagir avec le système CARNIVAL. Pour cela, l’utilisateur doit seulement envoyer un tweet avec le mot clé (hashtag): #telepresence

Ex.Tweet envoyé. Retweet en image instantanée par le “Tweeter o Rachael Runner module”: "@JasenkaKapitano , En circuit électrique nous introduit à la simultanée. Tout devient un chemin direct."

Gallery: 

GALERIE MAMIA BRETESCHÉ

77 Rue Notre Dame de Nazareth, 75003 Paris

www.mamiabreteschegallery.com

Context: 

Les Jeudis Arty. 4th june 2015

Descargar programa completo

invitaciones

portada-catalogoCATALOGUE (Download)

Artists:

Sara Malinarich

Manuel Terán

Jaime de los Ríos

Jorge Ruiz Abánades

 

PDF Viewer on-line. Downloading… 11Mg. Patience! :)

Download (PDF, 11.43MB)

 

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Rachael Runner. Carnival System https://www.intact01.net/carnival-system-rachael-runner-module-twitter/ https://www.intact01.net/carnival-system-rachael-runner-module-twitter/#comments Mon, 16 Feb 2015 11:06:29 +0000 http://www.intact01.net/?p=3363

CARNIVAL SYSTEM: Rachael Runner module twitter #TELEPRESENCE from INTACT on Vimeo.

CARNIVAL PROJECT

MODULAR SYSTEM OF DISTRIBUTED TELEPRESENCE

Carnival is a distributed telepresence system based on electronic and digital devices, which we call modules. Carnevale creates a network of interconnected assets facilitating the exchange of data in real time between two or more points and simultaneously opens a passage in cyberspace for the incorporation of other presences and interactions.

REED MORE: CARNIVAL PROJECT

ON TWITTER: #TELEPRESENCE

For this installation, we have introduced a very particular module, which we have named “Rachael Runner” or also ” Twitter module ” . This virtual module is presented as a Twitter user who , on one hand, allows the entry of ” tweets ” in the system , and on the other hand, Rachael responds to users, allowing them to participate in a human-machine relationship. So , as the system , Rachael Runner appears as a “global conscience” that tracks messages from the “cloud ” , introducing those that include concepts related to the dialectic of telepresence , and connects them with other modules , producing changes in the installation that symbolize the struggle between opposites. As the remote users , Rachael appears through its responses as a virtual-subject that transmits messages and concepts that are behind this piece. At this point, INTACT resorted once more to ideas of José Val del Omar (1904-1982) , tweeting quotations of this filmmaker – poet -inventor , for example :

” It is now time to understand that machines have come to extend the horizons of man, to save you the effort with their collaboration and attach it to an exact embrace of jagged networks without imprisoning his soul” José Val del Omar ( 1904-1982 ) .

” ” Divide and conquer “is an abominable slogan for those, loving , who have come to unite , for whom we hear that great Pontiff Prometheus ‘

“There is in substance a Collective Awarenesss enlightening and drilling our miseries »

“We are nervous terminals of the collective retina.»

ON TWITTER

To get enter in the system send a twits with the hashtag #telepresence

RACHAEL RUNNER (@Rachael_Runner)Created on september 2014

MAP OF CONNECTION

mapa de conexion copia

AT INSTALLATION, RACHAEL RUNNER MODULE

CARNIVAL01 IMG_1161 (Small) IMG_1159 (Small) IMG_1137 (Small) IMG_1133 (Small) IMG_1123 (Small) IMG_1134 (Small) IMG_1135 (Small) IMG_1107 (Small) IMG_1106 (Small) IMG_1122 (Small) IMG_1097 (Small) IMG_1103 (Small) IMG_1001 (Small)

ARTBOT GALLERY 

B8bdsDBIcAAqEQ B8bkWBvIgAAHDtf B8KOzndIQAEiVS6 B8JYohlIQAE9GL1 B8JnQZsIYAAj-c6 B8JnQiNIEAAZmSu B8JliRpIAAEUAmS B8Jlh7EIIAELavB B8JlhvPIMAA7wbA B8JiQ4XIEAMRe-T B8JAUcsIAAAAGFg B8JAWo6IEAAytX_ B8Ix5-bCUAAX10g B7-F6ZyIIAA-tWz B7rKQ6aIIAEm6z3 B70KOZnIIAIkKUQ B71EZF9IIAMMTKe B7q5M-wIYAAY1Zr B7kQUwmIIAAv5m3 B8IHhFhIIAAKtGS

ARCHIVE

RACHAEL RUNNER (@RunnerRachael). Created on January2015

FEEDBACK TO RACHAEL RUNNER (@RunnerRachael):

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Carnival. Modular system of distributed telepresence https://www.intact01.net/carnevale-modular-system-of-distributed-telepresence/ https://www.intact01.net/carnevale-modular-system-of-distributed-telepresence/#comments Thu, 15 Jan 2015 14:33:02 +0000 http://www.intact01.net/?p=3206 carnival2

Residence at Lieu Multiple for Hospes Project.

Artists: Jaime de los Ríos, Manuel Terán, Jorge Ruiz Abánades and Sara Malinarich

ABOUT TELEPRESENCE

The "real presence" has something distinctive and that is absolutely its own , completely irreplaceable. And telepresence knows that, and therefore is named "tele – presence". It is not a presence without anything else. It is a presence that refuses itself as a true presence, recognizing his "distant" (tele) character. But such a denial does not reduce the whole idea of its "presence" in some sense. Here is a dialectic, that is, an inherent contradiction to the concept of "tele – presence". Its utopian character is just identified with that contradiction. It is a claim that is denied. What telepresent CAN NOT be present, but we cling stubbornly to this utopia .

THE PROJECT

Distributed telepresence system

Carnival is a distributed telepresence system based on electronic and digital devices, which we call modules. Carnevale creates a network of interconnected assets facilitating the exchange of data in real time between two or more points and simultaneously opens a passage in cyberspace for the incorporation of other presences and interactions.

Therefore, the experience of telepresence can be distributed in space and projected to other spaces in fragments. This system will manage different modes of arrival at the remote space and even cyberspace. In other words, Carnevale proposes the deconstruction of presence and its projection to distance reformulated by the peculiarities of the system that distributes them.

lieu03

For this system we have been built boxes where each one contains a different device (webcam, micro, speakers, tablet, motors, printer and lights), all of them connected to the Internet network through a computer. We can create countless modules and connect and distributed in countless ways .

THE INSTALLATION

MEDIALAB +  LIEU MULTIPLE

mapa de conexion copia

This installation exemplifies the use of the Carnival system and introduces us to the conceptual universe of INTACT Project.

The artwork speaks of the fundamental dialectic of telepresence, that is: the telepresence as utopia of the permanent and global connection , not only technological but also sentimental and emotional . The utopia of telepresence responds to the drama of the distance and the absence. It is the dialectic of the united against the separated. Of the open against the closed. The isolation against the common place. Why undertake a utopian task ? The motor of telepresence cannot be anything other than our desire to " gather " to break the monologue of the mass media and open to the spontaneous emergence of new voices and presences. Expand ourselves towards the other and let the other invade us . It is also the dialectic of human beings and their definition as an individual and a collective, as a human being that can remain confined and isolated, or that open up and break up into new forms of presence and awareness .

For this installation, we have introduced a very particular module, which we have named "Rachael Runner" or also " Twitter module " . This virtual module is presented as a Twitter user who , on one hand, allows the entry of " tweets " in the system , and on the other hand, Rachael responds to users, allowing them to participate in a human-machine relationship. So , as the system , Rachael Runner appears as a "global conscience" that tracks messages from the "cloud " , introducing those that include concepts related to the dialectic of telepresence , and connects them with other modules , producing changes in the installation that symbolize the struggle between opposites. As the remote users , Rachael appears through its responses as a virtual-subject that transmits messages and concepts that are behind this piece. At this point, INTACT resorted once more to ideas of José Val del Omar (1904-1982) , tweeting quotations of this filmmaker – poet -inventor , for example :

" It is now time to understand that machines have come to extend the horizons of man, to save you the effort with their collaboration and attach it to an exact embrace of jagged networks without imprisoning his soul" José Val del Omar ( 1904-1982 ) .

" " Divide and conquer "is an abominable slogan for those, loving , who have come to unite , for whom we hear that great Pontiff Prometheus '

"There is in substance a Collective Awarenesss enlightening and drilling our miseries »

"We are nervous terminals of the collective retina.»

To get enter in the system send a twits with the hashtag #telepresence

 

LINKS

Links: http://medialab-prado.es/article/carnival

http://lieumultiple.org/7770/hospes-intact-project-esp/

http://lieumultiple.org/7872/projet-telepresence-artistique-avec-le-collectif-intact-project-de-madrid/

 

CONSTRUCTION

timelapse Carnival installation from INTACT on Vimeo.

 

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CARNIVAL. Conference at Lieu Multiple and Medialab Prado https://www.intact01.net/carnival-conference-at-lieu-multiple-and-medialab-prado/ https://www.intact01.net/carnival-conference-at-lieu-multiple-and-medialab-prado/#comments Mon, 16 Feb 2015 11:51:08 +0000 http://www.intact01.net/?p=3396 carnival_intact
 
CONFERENCE
 
Introduction. Patrick Treguer, director at Lieu Multiple
Lecture: Sara Malinarich, director of INTACT Project
 
 
AT LIEU MULTIPLE (Poitiers, France)

Presentation_SARA25012015BIS-682x1024 VISIO_SARA25012015 Presentation_SARA25012015 CARNIVAL01

AT MEDIALAB PRADO (Madrid, Spain)

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HOSPES https://www.intact01.net/hospes/ https://www.intact01.net/hospes/#comments Wed, 11 Jun 2014 16:16:13 +0000 http://www.intact01.net/?p=3070 The concept of "telepresence"

Until today, the development of telepresence has been linked to that of telecommunications, such as the last technological turn toward a more direct communication and nearby. However, the concept of "telepresence", intended as such, does not necessarily possess this "communicative" intention.  The concept of telepresence does not involve the exchange of "messages".  Telepresence seeks the phenomenon of presence to distance, the utopia to make present the distance. Of course, such a presence can consist of coded messages (a voice that carries words, for example), but the telepresence does not have to be reduced to them. All telecommunications is a form of telepresence, but not all telepresence is telecommunication.

The telepresence goes beyond telecommunications.

Thus, the development of telepresence doesn't necessarily have to be directed to only make more intelligible messages; it is not a matter of debugging the systems from the point of view of "communication", but from the point of view of the real presence of phenomenon brought from a distance.

This is an idea that articulates the HOSPES Project.

Places, tele-presence and recursive network

HOSPES proposes the creation of interconnected areas of interaction to distance in centers of art and artistic production. In other words, a network of telepresence.

This network will have special features by the nature of their connections. It is a matter of creating hybrid zones, with physical and virtual components, which become a teleshared interface for production.

Therefore, the study of these emerging areas of action is necessary.

There is a close relationship between the notions of "presence" and "place": we call "presence" to the agents that are in the same place (here), and a place is, in turn, a space defined by these presences that inhabit it.

On this basis, we can rethink the status of the teleshared spaces: places in which generic definition is involved, not just the phenomena, but also the tele-present, i.e. phenomenon that are part of the definition of "other places".  A teleshared space (A) cannot be generically defined only in relation to itself (to their presences), but also in relation to the general definition of "other" nodes that are telepresent (B, C, D, etc).

In this way, we can understand a space as a teleshared place recursively defined: the node consists of its possible overlap with B, C, D, etc. The definition of A is, in this sense, "open", which is due to be completed by what are B, C, D, etc., and, of course, the same thing will happen to each of the nodes.

This is what we call "Network of Recursive Telepresence" (RRT), which possesses certain characteristics:

In the RRT, the determination of each node is subject to the determinations of the other.

The RRT is a system of freedoms and commitments: each node is autonomous and free to manage their presences and this, in turn, committed to be complete by the other. Occupy and be occupied at the same time (HOSPES).

The system (the RRT as a whole) has emergent properties that do not apply to the separate nodes. The RRT satisfies a series of functions that each node cannot meet separately.

The functions of the RRT cannot, however, be defined a priori: in fact, they depend of the specific dynamics assumed by the nodes. But the dynamics of the nodes can neither be determined a priori, since each node can only determine a part of its activity, and is open to the intervention of the other nodes.

The general dynamics of the RRT is, therefore, in the hands of everybody and nobody. It is the challenge of the autonomy and tolerance.

Expected Benefits of HOSPES

Test a model of open spaces to the emergency of criteria from other centers and outside, because the space itself. The spaces attached to the RRT are characterized by being open to the input of others and, therefore, are mutable spaces of nature.

It will allow the free telematic transit of artists elsewhere installed in other art centers of the world, providing strategic support to each node through the RRT. This will dramatically increase the number of activities produced in each center.

To give continuity to the teleshared actions to strengthen the collaboration network and thus have experiences that allow observation and reflection on them.

Evolve to higher speed the telepresence systems and interaction at a distance.

Create a space for the existence and presence as nomadic territory with a free and open philosophy.

Goals

The main goal of HOSPES project is to create the infrastructure and logistics necessary for the development of artistic projects of telepresence between a variety of centers dedicated to the telematic practices. This mainly involves two things:

Generate links between centers and/or artists. Build the network and the desire for movement of that network.

Develop the devices required for the generation of zones of telepresence (connection to the Internet, processors, sensors and actuators…) in the node of Poitiers. The progress and findings will be made available to the network to be deployed in the rest of nodes with the formalization that each center decides and in a parallel form.

Work methodology

The networking as a method of work and creation.

Permanent connection (24/24) of interactive devices of telecontrol.

A third node in USA, Culturehub (New York) will be part of the network at certain times and have a collaborative role, becoming more complex interactions and information flows.

HOSPES includes the creation of a working group on the Madrid Node (MediaLab Prado) in the months leading to the residence of INTACT team in Lieu Multiple.

This task force will enable the design and development of interface elements combine telepresence robotics and software in order to produce a constant flow of data. Uninterrupted connection during development of HOSPES will provide a resource that will benefit later as well as during residence in Lieu Multiple to have the feedback necessary to:

Tools testing,

Project coordination,

Generation of content

Strengthening the bonds of the network.

The incorporation of other artists linked to centers wishing to participate and interact with the two spaces simultaneously.

Activities

 

Development of an open call for collaborators in Medialab Prado

Creating Telepresence Station HOSPES or HOSPES Zone

Residence in Lieu Multiple

Creating a second HOSPES Zone permanently connected with the first

Final Presentation

Role and dynamics of the system: The future

 First and foremost, the meaning of the RRT HOSPES is to be taken as a strategy to generate dynamic in the nodes that are added to it. Joining the RRT responds to the desire to move and be moved by the movement of the other. The dynamics generated in a node are propagated to the rest. The willingness of a node to move is related to the willingness of others to be dragged by the movement = shake and be shaken.

The network can be established and in operation without, in fact, any movement in it. The movement of the network depends on the willingness of each node to move themselves, to move and be moved. It is the willingness to mutate, to become a force of the proper motions and movements that others generate in one.

In addition to this, the dynamics assumed by the nodes will generate the specific dynamics of the entire network. The HOSPES network will have a behavior and fulfill specific functions that may go varying according to how the dynamics of the nodes vary; but it is not, of course, easy to anticipate. This is part of a future that is to discover and investigate.

 

RESULTS OF HOSPES

 

HOST'S DIARY

SEPTEMBER 2014. CULTUREHUB NY

diario

HOST DIARY: http://www.intact01.net/carnevale-modular-system-of-distributed-telepresence/

 

CARNIVAL SYSTEM

JANUARY 2015. LIEU MULTIPLE (FRANCE) AND MEDIALAB PRADO (SPAIN)

CARNIVAL01

CARNIVAL SYSTEM: http://www.intact01.net/carnevale-modular-system-of-distributed-telepresence/

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