Mozex EXHIBITION EXPERIENCE EXCHANGE
MozEx: a collaboration between Mozilla Festival, Tate Exchange and V&A.
Exhibition curated by Luca M Damiani and Irini Papadimitriou Experience co-designed by Sarah Allen Book/Catalogue designed by John Philip Sage Book/Catalogue direction by Luca M Damiani MozEx icon-logo designed by Sabrina Ng Key-collaborators: Rebecca Sinker, Matthew Willse, Erika Drushka, Marc Walsh, Kristina Shu, Hannah Vallis and Mavis Ou. This book is published under CC BY-NC-SA 4.0 - Please note that the license does not apply to the individual underlying artworks or the images of those depicted herein.
The MozEx exhibit explores links between art, society, and the digital world. Created by both individual practitioners and crossdisciplinary collaborations, the exhibit navigates the value of art to society through Web literacy, digital inclusion and accessibility, privacy, policy, and hacking.
MozEx is an art exhibition with a 21stcentury twist. Curated by the digital learning teams at both the Tate and the V&A, it showcases dynamic digital artwork that spans many disciplines and media.
Ali Sargent Alice Dunseath Almudena Romero Anna Nazo Antonio Roberts Bob Bicknell-Knight Boring and Sad Casa Jasmina Claude Heiland-Allen Constance Search Cosmic Latte David Booth Emily Thorn Esther Rolinson Franรงois Hoehl Hansika Jethnani Henrik Van Leeuwen Hossein Derakhshan Human Rights Foundation Ian Willcock Ilario Caliendo Jeremy Pilcher Joana Moll JR Carpenter & Barbara Bridger Juan Covelli
KairUs Kat Braybrooke Kati HyyppĂ¤ & Niklas Roy Kerstin Kollmann Kevin Fann Leena Haque Laura de Reynal and Bobby Richter Liz Jeal & Lilli Cowley-Wood Lori Allen Luca M Damiani Matteo Menapace Melanie King Minn Soe Neale Willis Nick Briz Rory Hamilton & Michelle Thorne Simon Allen Stanza Tania Kovats Ted Hunt Tommy Perman Wayne Clements Will Hurt Yiannis Kranidiotis
DOMESTIC INTERACTIONS THROUGHT CHATBOT AND CONVERSATIONAL TOOLS
Davide Gomba Tommaso Laterza @ Mozfest 2016 OCTOBER 28-30, 2016 RAVENSBOURNE, LONDON
UNDERSEA CABLE (CABO DO MAR)
A relationship is constructed from two different territories. Undersea Cable is a short film shot on mobile phones, collecting fragments of Skype conversations from a period of eighteen months between two women; one in London, one in Rio de Janeiro. The audio provides an overlapping centre for the two protagonistsâ&#x20AC;&#x2122; cities, as they describe how they are transforming around them. As the camera journeys through the cities, the two women talk about their lives, families and politics in their different contexts. Images and voices converge in moments of temporary connection and disconnection, suggesting ways in which new technologies create new geographies and forms of intimacy.
OOO is a pair of animated films. Dunseath originally created these to be screened as part of Project OOO, a light and video installation is inspired by the contemporary philosophical movement known as Object Oriented Ontology by Dunseath and Matteo Mastrandrea. The two films (one yellow and one blue) are designed to be screened opposite each other. Everything in the Blue film is moving towards the viewer and everything in the yellow film is moving away, putting the viewer in the middle realm. The objects within the films combine the digital with the organic as each outline is created digitally but each texture inside is microscopic imagery of natural organisms.
SELF-EXPANDED The project self-expanded uses real time updates of #selfie pictures on Instagram from the online feed selfeed.com. The images are digitally projected onto expanded metal and printed with the nineteenth century technique of wet collodion to inscribe into permanence and uniqueness these ephemeral images. The project reflects on the commodification of the self through technology development and the networked image.
EMBODIMENT OF COGNITION
In this piece Nazo experiments with embodiment of cognition. She works with EEG data, creating a metaphorical journey into human’s mind and personality. Nazo refers to Hayles’s posthumanism scenarios on the fate of embodiment in an information age and the cultural and technological construction of the cyborg, which imagines a triumphant transcendence of embodiment and ‘privileges informational pattern over material instantiation’ (Hayles, 1999). She furthers these ideas translating the recording of electrical activity along the scalp into a sculptural responsive surface, that reacts to a change of a human’s brain activity – you perform and transmit your own data live. The work uncovers the themes of mixed reality and augmentation relating to the body.
SOME OF MY FAVOURITE SONGS
Some of My Favourite Songs are a series of digital images which examine how data can be interpreted in various unconventional ways. The piece takes various mp3s and uses software written by the artist using Pure Data that converts them from an mp3 into a jpg image. The output is very distorted and takes no consideration of factors such as amplitude, song structure, or pitch. Instead the mp3 is treated purely as data.
What Revolution? is the first in a series of images challenging the ideas of celebrity and idols. The 1960 photograph of Che Guevara by Alberto Korda has been endlessly mutated, transformed, and morphed. It can be found advertising anything from belts and “hip and cool” t-shirts to health insurance. It is tacked onto political movements without much consideration of the history behind it. One has to ask if his image is still the symbol for change and revolution that it was fifty years ago, when it was furiously distributed throughout Europe by Jim Fitzpatrick in protest of the conditions of Guevera’s murder.
ARCHIVE REMIX Archive Remix is a continuation of the work developed during Robertsâ&#x20AC;&#x2122; residency at the University of Birmingham. The video and print pieces are made of 3D scans of items from the archives of the University of Birminghamâ&#x20AC;&#x2122;s Research and Cultural Collections together with heavily distorted and glitched logos of corporate brands.
A work considering the overutilization of technology and the screen in relation to the organisations that control and monitor the internet in order to facilitate the first world needs of the average consumer.
Boring and Sad
HI JACK Hi Jack is a web proxy that replaces all the images in a webpage with a fixed one. The proxy server acts as a man-in-the-middle in the communication between a HTTP server and the userâ&#x20AC;&#x2122;s browser, acting as a content adapter and filter for the informations delivered to the users.
DOMESTIC INTERACTIONS THROUGHT CHATBOT AND CONVERSATIONAL TOOLS
Davide Gomba Tommaso Laterza @ Mozfest 2016 OCTOBER 28-30, 2016 RAVENSBOURNE, LONDON
CASA JASMINA Casa Jasmina
CHATTING WITH THE SMART HOME Casa Jasmina is an experimental project started with the goal of developing an open source connected home. Making the home accessible and liveable to people ( and not just to geeks) has been one of the most interesting challenges.
What kind of interfaces are really usable? How can you explain to visitor what the devices in the apartment do? How do you protect privacy of a smart home guest?
Monotone reproduces the genesis of life as an organic character through fractal transformations emanating from random behaviour. The algorithmic work is made up of hundreds of thousands of fragile fractal texels in an iterated function system. The perceptible motion of the particles is similar to biomorphic and synthetic biological forms that connect to an unknown original universal matter and its procedural inception. They slowly and gently draw mesmerizing figures, according to stochastic rules. The result, hypnotic and mind-bending, is a brilliant example of the aesthetics of code. The sound composition uses digital signal processing to create shamanic rhythms of high intensity. The interconnected cells resemble processes in nature, from the origin of light to the creation of matter, in an unpredictable way, due to accidental movement. The work connects biology, maths and arts imitating universal shapes of life in
VIRTUAL STRANGERS Using an open online chatroom, the artist interacts with four strangers; they describe what they would make for an art exhibition.
@t_r_u_m_p_i_n_g With the US Presidential race underway in America, much of todayâ&#x20AC;&#x2122;s electoral campaigning is undertaken digitally on social media. Donald Trump, the Republican candidate, is frequently seen to stir up controversy through his often bewildering statements in social media electoral campaign to build a digital wall, a nod towards his proposed construction along the Mexico/US border.
The piece collects and converts images posted to social media in support of Trump, averaging each imageâ&#x20AC;&#x2122;s colour and placing a digital brick of this colour to a screen until the screen is full, whereby the resulting image is then uploaded to Twitter with hashtags used most often by Trump. The screen is then cleared and the process repeated. Each following full screen is uploaded along with all proceeding images in a batch, increasingly leaving an imprint on the Trump campaign. The algorithm incorporates increasingly more versions of itself into its creations, essentially
NEED A BREAK
David Booth is a sculptor. He is drawn to create work that suggests reinvention and escape by creating work with transformative use of materials. Booth chooses materials that will add to the context of the work. Amongst the materials he has used are 100000 beer mats for ‘Pub Crawl’, 45000 balloons for ‘Celebration of Reinvention’, linoleum for ‘Sometimes You Don’t See’, mirrored perspex for ‘Invisible Boundaries’, fluorescent perspex for ‘PlaceMatters’. In ‘Need a Break’ Booth has been researching how digital techniques can be used to add further context and accessibility. This has opened up lots of additional areas such as little-bits, augmented reality and mad-mapping.
Emily Thorn, Liz Jeal & Lilli Cowley-Wood
INTERACTIVE WALLPAPER Imagine decorating your world with beautiful interactive patterns. Artcodes makes this possible! Artcodes is a new technology that allows users to interact with all manner of decorative imagery and patterns. As part of collaborative research between both designers and computer scientists at the University of Nottingham, funded by Horizon Digital Economy Research and the RCUK, the team has developed a new interaction technology that relies upon drawing and creativity to drive it.
With artcodes you can: scan decorative patterns to trigger digital content, make existing patterns point at your content and learn how to draw your own interactive patterns. As part of this research designers were commissioned to produce a wallpaper design. They wanted to show that the application of artcodes can be meaningful and, since they had an interest in wildlife, they started planning a wallpaper that could be used to address environmental and conservation issues, such as the bee population here in Britain. Rather than just provide facts, they wanted to give people ideas and information about how they can get involved and help to make a difference. With this new development artcodes can now read different codes depending on the angle at which an artcode is scanned. The perspective alters the way the artcode is understood and therefore allows different codes to be read and different experiences to be realised depending on where the viewer is standing and the angle they are scanning.
www.artcodes.co.uk Âˇ www.horizon.ac.uk
Want to try? Get the artcodes app and simply scan the images using your smart phone or tablet to discover more hidden content via the artcodes app. Easy to draw, playful and poetic, they welcome you to a future where interaction, is simple, embedded and above all beautiful.
‘FLOWN’ - DRAWINGS This is a series of drawings that relate to the work ‘Flown’, a programmed light installation developed through drawing. The Flown images show some of the process involved in its conceptual development and practical construction. They range from quickly drawn sketches to detailed works made over a number of months.
SUNNY DAY, 4PM Sunny Day 4PM is a Twitter bot making ice cream illustrations! Every day it queries its Twitter account for the most favourited images. From those it creates a new illustration. Learning day by day from your favourites! Creating our perfect ice cream. The program uses a parameterised circle, rectangle and triangle. It learns and evolves their placement, size, rotation and color by using a genetic algorithm. Using basic shapes helps us study the relationship between the ice creamâ&#x20AC;&#x2122;s components: cone, scoop and chocolate flake. Iâ&#x20AC;&#x2122;m interested in knowing how an ice cream makes you feel. What are its dynamics? How do colours and shapes form an ice cream?
Dissipate is a series of work that explores a long-distance technology dependent relationship the artist was once in. Her ex- boyfriend broke up with her over a WhatsApp conversation – given the circumstances, breaking up in person would have been impossible, and so it happened over a cyberspace of floating words instead. From a very normal honeymoon phase to a very wretched constantly arguing phase to a very dramatic end; the relationship went through many phases in the span of nine months, a journey that is portrayed in the Dissipate book. There were many moments through the wretched phase though, where there was a constant anticipation on the end. The artist was always waiting for a reply and when it would come it would be long and sometimes short, heartbreaking words, leaving her with a kind of “bam!” Similar to the anticipation of when heating something up in the microwave, the artist was constantly in anticipation waiting for a reply, and when she heard back it was gut-wrenching words that broke her heart. Jethnani put Polaroids she photographed in the microwave, but what she photographed did not matter, it was what happened to the Polaroid once popped into the microwave that did. Burnt and damaged they resembled her through the wretched phase of her relationship. Everything through this time felt surreal; technology really gives people a means to disappear and this series of work is Jethnani’s memento of that.
Henrik van Leeuwen
THE TREASURE BANDS
With the introduction of 5G, flat fee mobile data subscriptions and global satellite, weather balloon and drones based internet access the number of access points to the internet seems to be diminishing. Multinationals such as AT&T, Vodafone, but also Google and Facebook are investing heavily in ways to be the only global (wireless) access point to the internet. Wireless frequencies are becoming the new â&#x20AC;&#x2DC;oilâ&#x20AC;&#x2122; of our connected world. Multinationals are in bidding wars to get the most valuable frequencies. Nation states auction off their frequencies to the highest bidder. These frequencies are milk cows for states. But in the end the people pay for using these frequencies. Radio frequencies are from the people and should not be used as chickens that lay golden eggs. In Treasure Bands we real-time show the hidden world of the most valuable radio frequencies in the direct environment via an interactive screen-based installation.
Henrik van Leeuwen
AUTONOMOUS NETWORK ARCHITECTURE: THE DISCUSSIONS
In art and technology panel discussions are common. In these panels critics, experts and other relevant parties discuss their ideas and levy their reputations. Three light-sculptures in Autonomous Network Architecture show 3 chatbots who play the role of an artists/hacker (autonomy), the telco (network) and the architect/engineer (architecture). On the 3 lightsculptures the bots discuss the need for an autonomous network architecture, in which each bot focuses on their own specialty. The connection between the panels (bots) goes via a self developed open source autonomous communication network that uses Bluetooth Low Energy as infrastructure. Each bot reacts on each other via a custom build library. These reactions create an ever-changing script about the topics. These scripts imitate the unstable constellation of the current communication infrastructure. More and more of the data that runs through communication networks is automatically generated data (internet of things). Machines talking to machines. This installation recreates this on a small scale discussing current and important topics about dependencies on the current mass communication structures.
Human Rights Foundation
SHUT THEM UP WITH YOUR FLASH DRIVE
A 4 feet by 8 feet art piece with many pictures of Kim Jon Un. His mouth is a USB socket where viewers of the piece can place USB thumb drives to donate them to the Human Rights Foundationâ&#x20AC;&#x2122;s effort to get western media into North Korea.
VISUALISING COLLECTIVE THOUGHT: WHAT WE THINK ABOUT WHEN WE THINK ABOUT THE INTERNET This installation is designed to project a visualisation of the ways the world is being thought about onto the world itself; it is a mass-reactive augmented reality exhibit. Using real-time searches of massive data sets derived from Twitter and Google search continuations, the project presents a number of continually developing series of strands of collective thought; the statistically most common responses to stimuli and connections between ideas are presented in the form of dynamic tree structure which
ACROSS PORTRAIT Across Portrait is a photographic reportage realized with the crowdsourcing campaigns on the Microworker, Rapidworker and Amazon Mechanical Turk sites. The so-called workers who satisfied Caliendo’s requirements were invited to send her, for a paltry fee of $ 0.10, a photo of one of their x-ray of any part of their body. Sellers, all born in 1986 after the Chernobyl disaster in the areas affected by radioactive fallout, give Caliendo -the buyer- their ‘body’, in this case in the form of X-rays, as they did at the time with far worse consequences.
The internet was, at least initially, associated with a democratizing effect through providing “immediate access to and transparency of data” by reason of the virtual and distributed networks it has made possible.1 Many now regard that promise to have been undermined by commercialisation. Corporations have asserted intellectual property rights that are considered to be inconsistent with a cultural environment in which the reconfiguration of both identities and objects is possible by reason of online digital technologies. Copyright, for example, is “not applicable in the digital realm” and should be “re-examined on a global scale”.2 In Code and Other Laws of Cyberspace Lawrence Lessig argued that the architecture of the law and governance of the net had protected liberty and speech. He diagnosed that would change and the internet would come to be a more effective space for commerce.3 David Post has expressed scepticism of a premise he argues underpins Lessig’s argument, which is that “[c]ommerce drives towards uniformity” through a combination of code and the law.4 Business has always relied on the law to be flexible enough to respond to commercial developments but at the same time sufficiently predictable to provide the stability to plan ahead effectively. The balance sought by firms may not ...
ARE YOU CLEAN? REAL-TIME TECHNOLOGIES AND IDENTITY, PROPERTY AND PRIVACY. 55
This paper explores various areas of TM ClubCard as an example of intersection of commerce, law and technology for privacy and property.
CO2GLE_2 CO2GLE is a real-time, net-based installation that displays the amount of CO2 emitted on each second thanks to the global visits to Google. com.
What is the material impact of communications through the Internet? Moll often asks this question and she rarely gets a reply. Indeed, almost nobody recalls that the Internet is made up of interconnected physical infrastructures which consume natural resources. How can such an evident fact become so blurred in the social imagination? This project was created from an urge to highlight the invisible connection between actions and consequences when using digital communications technologies.
J. R. Carpenter & Barbara Bridger
NOTES VERY NECESSARY
59 Notes Very Necessary is a collaboratively authored web-based multi-media essay that addresses climate change by appropriating and remixing images, texts, and data generated by centuries of imperialist, colonialist, capitalist, and scientific exploration in the Arctic. The title is borrowed from an essay authored in 1580 by the Englishmen Arthur Pet and Charles Jackman offering detailed instructions and notes very necessary on how to conquer new territories by taking copious notes. In 2015 Barbara Bridger and J. R. Carpenter attempted to follow these instructions by making, finding, and faking notes, images, data, and diagrams online and reconfiguring them into a new non-linear narrative. The result is a long, horizontally scrolling, highly variable web-based collage essay charting shifting perceptions of the climate, the other, and the melting North.
This piece is a collection of 9273 photographs taken from Instagram, with the hashtag #selfie. It aims to create a selfie mirror, where the audience can engage and their image reflected through many other selfies, and thus, creates a new selfie. The purpose of the piece is to show a fragmented and fluid representation of the self, rather than a static and fixed one, such as a photograph.
KairUs (Andreas Zingerle and Linda Kronman)
“Megacorp.” is a corporate conglomerate inspired by its equally powerful counterparts in science fiction. The artwork is based on a collection of fake websites scraped from internet by the artist duo KairUs. These companies exist only virtually and are used by cyber criminals for phishing attacks or to support scam stories. The “Megacorp.” exists therefore as an umbrella company for subsidiary companies that are 100% dummy cooperations. “Megacorp.” operates on a global scale and is constantly growing with firms represented in almost every branch of industry. The functions of “Megacorp.” are presented in the form of an interim report and company visuals. The archieved websites are locally available in the gallery to be browsed over a WiFi hotspot and on a computer kiosk allowing visitors to explore the current fake website repository.
In a real-life implementation of the cultural probe methods of design thinkers like BIll Gaver, Tony Dunne and Elena Pacenti, SPACEHACKER is a series of participatory artistic interventions that asks people to think critically about spaces for digital making and learning within cultural institutions. The first intervention, SPACE SPIRIT, asked participants to imagine themselves as spirits of the Tateâ&#x20AC;&#x2122;s Taylor Digital Studio, and think about why they were there and what gift theyâ&#x20AC;&#x2122;d give to it to augment its machines with something new.
Kati Hyyppä & Niklas Roy
FORBIDDEN FRUIT MACHINE
The â&#x20AC;&#x153;Forbidden Fruit Machineâ&#x20AC;? is an interactive installation, which is based on Creative Commons licensed and public domain images and sounds found on the Web. The installation turns essentially a 16th century painting from the Dutch Rijksmuseum into a mechatronic video game. The painting depicts Eve and Adam in the Garden of Eden, being tempted by the serpent to eat the forbidden fruit. With a joystick and 3D printed plotter mechanism the spectator can take over the destiny of the apple and discover special effects hidden in the picture. The installation promotes the exploration of open cultural online collections for artistic purposes beyond the screen. Open hardware is also embraced, as we have shared the documentation of the installation including 3D printing and Arduino files under an open license for anyone to build upon.
80s CHILD 80s Child is a series of analogue (instant) photographs of technology of the 1980s. The photos, which were taken against period backdrops with a SLR 680 Polaroid camera, originally appeared in the first issue of feminist hacker zine The Recompiler in 2015. Two additional photographs (from the 1980s) picture two small children, the artist & their sibling, operating 80s technology.
IN MY SHOES
In My Shoes was developed through Project Cape, a unique project run within the BBC exploring Neurodiversity in the Workplace. Neurodiversity is a relatively new term, representing hidden disabilities such as Autism Spectrum Condition, Dyslexia, Dyscalculia, Dyspraxia, Tourette’s and learning disabilities. This film takes the perspective of someone who is neurodiverse and allows the viewer to experience those physical and sensory challenges they would face in a typical day at work. The film employs an innovative, gaming style to engage its audience in a creative way, to increase awareness of these often misunderstood and misrepresented conditions.
Credits for ND Daze: Produced by The CAPE Project, BBC Salford – Leena Haque & Sean Gilroy Directed by Will Robinson Production Support - Fergus Burns Post Production Services – Dock 10 Special Thanks to: Ian Haythornthwaite BBC Academy
Lori E Allen
I STAND ON THE CABLE An allegory on the theatre of representation in the formation of the ego as an object between self and screen. The film considers the arrival of the new member of society in the form of both child and screen and asks where nonhuman actors are placed in relation to the moulding and interception of the process of being by human society and our expanding selfrepresentational tool assemblage.
Luca M Damiani
WHERE ARE HUMAN RIGHTS?
Web? Human Rights? Impact? In this piece, Damiani combines some of his case-studies and artistic practices around human rights (in collaboration with Amnesty International) and questions what impact this data had/has/will have. In this piece the web is seen as a platform for sharing human rights awareness, education, research and action. But...Where are Human Rights? Can we see them on the web? Do we know what human rights are, even when we see their violations? Are we accustomed by seeing them? Are images and overwhelming information flowing too fast on the web? Does the Web develop cross-action and impact?
SOMEWHERE BOT This is a bot on a road trip around the world. It tweets pictures from the places it visits at regular intervals. The bot has no special regard for landmarks and photo-opportunities, it treats every place as equal. The bot is currently learning how to feel the weather.
EARTH The project uses cutting edge Hubble / NASA images that are found using the web. These images are printed using the nineteenth century technique of photogravure. Melanie Kingâ&#x20AC;&#x2122;s PhD research at the Royal College of Art is focused on how astronomical images are presented to the general public. Raw data is often edited by astronomers for general consumption without explanation. This project comments on the mediation of an image by astronomers, and considers how artists can reverse this process. How does the NASA/web image change when it is printed with alternative photography processes?
YOU LOOK FAMILIAR What happens to privacy when tracking incorporates the intrinsic properties of a person?
We canâ&#x20AC;&#x2122;t easily change the shape of our faces, and the subtle nuances in the way we type, touch, and swipe. Although some of these are learnt behaviours, the rapid reduction in the cost of computation has allowed sophisticated fingerprinting techniques to adapt as we change as individuals. Are we fighting against the inevitable? With each and every interaction we give away a few bits of information about us. It only takes a few bits to make a link and break our pseudonymity. You Look Familiar uses facial recognition to create art and generate metadata. Every interaction changes what is visible on the screen. The observer is given a unique pseudonym that is shown at each interaction point along with the metadata. No cookies needed.
PARDON THE DUST When a tweet is deleted, it leaves behind a eighteen digit code, an imprint of a thought or feeling. That number could be considered a sequencer, a data string which when fed through an algorithm becomes a soundscape.
Captured from the live twitter stream, the audible output is dictated by what is being removed from the internet at that very moment in time to produce a very public creation of something intended to be obscured, undertaking a process of creation from the act of deletion, a process of revealing through the act of concealment as it algorithmically creates an almost musical score from digital debris. As the machine plays back its composition at a low frequency, the audio can be felt as well as heard, reconfiguring the normally latent digital stream into an unescapable presence.
HOW TO / WHY LEAVE FACEBOOK
Rory Hamilton & Michelle Thorne
THE COLOURS OF THE COUNTRYSIDE A 360 video of an interview with a farmer, about field colours and how they relate to the use of fertilisers. Rory Hamilton and Michelle Thorne explore how our view of the countryside is shaped by the technology, and what farming practices are employed in growing our food.
Simon Allen & Tania Kovats
TIDE Created by Tania Kovats and produced by Simon Allen at The Swarm, TIDE is a live animated drawing that maps the high tide as it travels around the British Isles. The Swarm has sourced data from almost 400 locations around the coast of the British Isles and created a dynamic map that blends in with Taniaâ&#x20AC;&#x2122;s analogue photographs of drying salt.
The map disappears into the background and only as the high tide moves the outline of the coast is revealed. The data points are transformed into a spatial map using a mathematical way of dividing an area into polygons called a Voronoi tessellation and then blurred to create a smooth transition between areas. The sound track blends shipping chatter, wave sound recorded at Newlyn (from where the high tide is measured) and a dramatically slowed down naval hymn, to create an erie yet calming setting for contemplation about our relationship to the seas that surround us.
FORGOTTEN FORMATS Allenâ&#x20AC;&#x2122;s work is a bound atlas of London, created in the style of a traditional A-Z, but using Google Maps as the imagery on the pages.
Every Londoner used to carry an A-Z. Now they mostly lie dusty and dog-earred on bookshelves as a relic of a pre-smartphone world. Allen wants to explore the impact of presenting the digital language of Google Maps in a predecessor format - a paper atlas. This new reincarnation will remind us, in a tongue in cheek way, to consider the objects and behaviours we unconsciously discard when they become technologically defunct or obsolete.
MIND MAP What we see are the paths traveled by all the books taken out of Milton Keynes library over the last five years. It appears as a 3d space, a hybrid map of the movements of the books to their destination. The books travel down roads and paths to roundabouts to peoples houses. The books are shown traveling to the postcode destination. This massive data visualization moves organically orbiting around the library at the center of activity.
The artwork depicts a constant and evolving view of the urban landscape and its inhabitants contstantly migtatting rom one point to the next.. The observed real time surveillance society is re worked into a series of grids. The artwork is an online networkd panoptic vision which collects live CCTV feeds from 200 cameras in USA in real time and reworks these video streams into multi-layered visual structures. The channels are always on, and therefore, the work is always changing. The work comprises of multiple grids that generate real time patterns using live images from all over USA.
POETRY WAS NEVER THE POINT
Aesthetic experiments and expressions into new forms that poetry, protest, collective experience and spirituality might take on the internet. Inspired by the ‘Alt Lit’ movement and named after a podcast episode by internet artists Steve Roggenbuck. Poetry Was Never The Point celebrates poetry’s ability to connect both its author and audience to a far wider spectrum of appreciation for nonconformity, nature, humanity, spirituality, positivity and critical thought.
THE MUSEUM OF TECHNOREALISM
The Museum of Technorealism seeks to both reenact and rearticulate the original principles of the 1998 Technorealism movement through specific artefacts drawn from the tides of technological transformation. Technorealism asks that we think more critically about the role that technology plays in human evolution and everyday life. Integral to this perspective is an understanding that the current waves of technological transformation are actually a continuation of tides of change that have taken place throughout history.
#emptyweb is an ongoing project in which Tommy Perman is collecting screenshots on his phone of web pages before the content has loaded. Perman finds that the simple graphic geometric blocks of colour are far more appealing than the often frivolous content they are designed to contain. Permanâ&#x20AC;&#x2122;s first child was born in 2013 and the artist was frequently looking at his phone at night while he tried to soothe his son back to sleep. Having poor internet connection at home meant that web pages often took a long time to load and Perman became fascinated by the graphic structures that appeared before the content of a web page.
Tommy Perman & Luca M Damiani
DESIGN SPRINT - IoT Brief video-window into the “Internet of Things, Design Sprint” week organised by Mozilla and University of Dundee in 2016 in Scotland. This development included the collaboration of many international institutions (i.e. Universities, Creative Studios, Tech Studios) from around the world. It explored the idea of IoT and its potential impact working with local communities in Scotland; mainly developed as a focused case-study in its micro-angle, it also then connected to wider needs of current socioeconomical system and the bigger picture of IoT in different parts of the globe. The overall research developed during this week, including its concept creation and prototype, is explored and shown in the Perman+Damiani’s piece, looking at creating a dynamic collection of the visual ethnographic data and underlining its reflexivity.
www.surfacepressure.net · www.lucadamiani-art.com
This Design Sprint – IoT video is created as an over-layering of two design pieces developed during the event itself: a book created by Perman and a video created by Damiani. Both pieces shows a navigation of the same Design IoT week, but having different perspectives and angles of the data collected. Exploring different ways of reading and filtering the same information, Perman and Damiani shape a mix-media design piece for research-led engagement.
REMOTE-A-TOWER Animated text. The text reverses so as to spell its two terms: ‘remote’ ‘a tower’. The building of e-connection forming a tower in its remote places.
Abstract Playground is a screenbased interactive designed alongside people with Learning Difficulties during a 5 week D-LAB / LEVEL Residency at the LEVEL Centre, Derbyshire. It presents users with a screen displaying a brightly coloured, abstract composition of geometric forms derived from details of Modernist buildings, and a physical custom-made controller. When users press buttons on the controller parts of the composition animate and play sounds, encouraging users to interact with the piece. Each animation and sound has a random element so pressing the same button over and over creates a slightly different result each time, promoting engagement over a long period of time. A second controller with larger buttons is available for people with less refined motor skills, allowing for the work to be used by a wide variety of users.
ICHOGRAPHS MDELP Ichographs MdelP (Madonna del Prato) is a sound and picture artwork that explores the relationships between colors and frequencies. The famous painting of Raffaello is decomposed into 10,0000 cubic particles each carrying a frequency relevant to its color. As we move around, we hear the sound of all these colors/ frequency generator particles fly in the space towards the canvas to compose the painting.
Ichographs is a method of creating soundscapes using visual stimulus and the color-frequency transformation. The painting is transformed into the audio domain and back to visual producing a contemporary amalgamation. As we pass through the various color/frequency layers, we investigate the connections between classical aesthetics and the digital practice, revealing a latent version of the old masterpiece. The final artwork is a contemporary amalgamation of the old painting and the modern abstraction methods, a harmonious dialog between the old and the new, the analog and the digital.
Laura de Reynal & Bobby Richter
DIGITAL SKILLS OBSERVATORY Understanding People & Their Digital Lives How are the lives of people affected when we help them come online and understand whatâ&#x20AC;&#x2122;s possible? Can research at this level be driven by an open, community-based, capacity-building network?
Witness an exploration through audiovisual experiences of the people, topics, and research behind the Digital Skills Observatory: a year-long, community-driven project following the impact of digital skills training on new smartphone users in Kenya. Become immersed in the physical, social, and economic lives of people in Kenya and how their stories are the basis for experimental methods for learning about smartphones, the internet, and their socioeconomic potential. Laura de Reynal: Photographer and Researcher Bobby Richter: Researcher
DOMESTIC INTERACTIONS THROUGHT CHATBOT AND CONVERSATIONAL TOOLS
Davide Gomba Tommaso Laterza @ Mozfest 2016 OCTOBER 28-30, 2016 RAVENSBOURNE, LONDON
MozEx: a collaboration between Mozilla Festival, Tate Exchange and V&A. www.tate.org.uk www.mozillafestival.org www.vam.ac.uk
This book is published under CC BY-NC-SA 4.0 - Please note that the license does not apply to the individual underlying artworks or the images of those depicted herein.