I've not been written here since July 29th, 2010...
well, let´s get back to blog!
tnks to nina gazire about these links @fb!!
Documents obtained by The Wall Street Journal open a rare window into a new global market for the off-the-shelf surveillance technology that has arisen in the decade since the terrorist attacks of Sept. 11, 2001.... >>
"YouToRemix_Bike C-Mapping_YouTubeMix (test02)"
Following "YouToRemix...t2" is about my phd project which uses YouTube as a video library to produce creative new "Audiovisual Rhetorics" online in Internet.
"Bike C-Mapping part#3" was showed in 2009 at Pocket Film Festival (Paris-France) and International Architecture Biennial Exhibition (São Paulo-Brazil)
(BETTER IN FULL SCREEN)
Os fluxos em trânsito de uma cidade acontecem para além de seus espaços físicos, em espaços invisíveis a olho nu, espaços informacionais. Assim, em uma revisão de contato com a cidade, este vídeo apresenta samples ora retirados do próprio Youtube ora retirados do vídeo "Audiovisual Rhetoric: Bike C-Mapping part#03" (veja: http://www.youtube.com/watch?v=TQCnrv-93ig) propondo ao internauta que refaça seu próprio percurso frente a este discurso de experimentação da cidade, em especial o efeito de localização, onipresente em nossas vidas cotidianas, causado por tecnologias como celulares (telefonia móvel) e GPS (sistema de posicionamento global via satélites). Quais são estes rastros que deixamos pelo espaço e que alimentam diversos bancos de dados sobre nossos cotidianos e pessoais percursos?
De 2007 a 2009 saímos munidas de celulares com nossas bicicletas para percorrer durante períodos de cerca de 3h30minutos (aproximadamente 35 Km) diferentes regiões (e bairros) da cidade de São Paulo. Divirta-se neste percurso discursivo.
(aqui trocamos o teclado de piano por uma interface de pads - como em um midi-controller)
Michelle Teran is another artist with the same issue about capture wireless surveillance video signals (tks Paola for remember me about her!)
'Life: a user's manual' is a series of public performances and online mappings that examine the hidden stories captured by private wireless CCTV streams and how they intersect with the visible world around us.
The action of walking through the city and intercepting wireless surveillance feeds becomes a journey narrative of transient states, intertwinings between place and non-place, between the visible and the invisible, as one moves through and inhabits both the physical and the mediated. The city is a 'network of nowheres' defined by transience and absence, by borders and borderland states.
André Lemos publicou tbm texto sobre o assunto no ano passado (2009):
Outro projeto interessante é o “Life. A User’s Manual” da canadense Michelle Teran. O projeto detecta vídeos de CCTV que usam redes Wi-Fi e os expõem na rua. A artista desenvolveu um dispositivo que intercepta essas imagens e, invertendo a lógica, as expões para os passantes no espaço público. Há aqui uma referência explícita à obra “Vida, modo de uso” de Georges Perec. O que é interno, privado e vigiado por poucos vira externo e visível para muitos. Como explica o site da artista:
“A tiny fraction of the radio spectrum has been allocated for public use. Taking
advantage of this unlicensed part of the spectrum, the result has been an increase in use of wireless devices that are transmitting on this narrow band. Private use
of wireless internet, cordless phones, bluetooth and wireless surveillance
cameras has turned the average consumer into 'micro-broadcasters' who transmit
their personal narratives through the airwaves. The culmination of these
autonomous and synchronous acts contributes to an invisible, ad-hoc network of
media overlaid within the socially codified spaces of urban environments, the
café, the home, the apartment building, the office, the store, the bar, the hallway,
the entrance, the parking lot and the street. 'Life: a user's manual' focuses on the
use of wireless surveillance cameras within public and private places that
transmit on the 2.4 Ghz frequency band. Easily intercepted using a consumer
model video scanner, the captured, live images create a sequence of readings and
views of the city and its inhabitants which are observed while walking through
the streets.”( http://www.ubermatic.org/life/)
I was talking about surveillance again in another art list and remember an interesting art work on this issue. For me it is so interesting because a dynamic difference between this proposal to another ones around surveillance issue: beside most of them is under to create and/or to perform with surveillance cameras system, Benjamin Gaulon has been walking around different towns in Europe to collect and record footage received with a device that search and capture surveillance video signals.
our 21st century?!
Please tell us about then
participants are invited to explore the CCTV wireless networks of their city by searching and recording 2.4GHz surveillance video signals.
Get out there and record your video.
Tip: Join a WikiProject or visit MakeInternetTV for help on composition.
# Convert your video to an open format
Get Miro Video Converter and convert your video file to ".ogg Theora."
Tip: Firefox users can install Firefogg for automatic conversion and skip this step. Tip: To skip this step, Firefox users can install Firefogg install Firefogg install Firefogg for automatic conversion. Tip: You have Firefogg installed, so your browser will automatically convert when you upload.
# Turn on the video upload beta
Create a Wikipedia account, log in, then visit this page to turn on video uploading.
# Add your video to an article on Wikipedia
Go to the article and click edit. Then click the add video button and follow the instructions to upload your video to the Wikimedia Commons.
"The remix as rebellion has a tradition that dates back to the Dadaists, William S. Burroughs, the cultural jammers and beyond"
Lawrence Lessig and more click here
(plus Antropofagia Movement, Gilberto Gil, brazilian favela funk, Negativland etc)
and take a look: Girl Talk uses a similar structure like it was used at our Oneself Cellphone Performance wow!
* EUR 3.000 Price Sum
* Submission deadline (extended): 30/4/2010
esta eh a primeira vez do premio para projetos de televisao digital e interativa. o tema do congresso deste ano eh "web.sharing.tv.content".
Pressing play and watching as moving images unfold on a screen or display is ultimately – in the eyes of the audience – a desire to enjoy an experience. We might want to watch a movie to be entertained or the news to stay informed on current events. Watching an episode of a favourite TV-series might help us decompress after a long day of hard work. Interacting with the content adds to that experience. For example, playing online games in relation to a television documentary might enhance learning in a fun way, checking out the video clip a friend recommended via the mobile phone is a shared experience adding to the feeling of relatedness, and creating mashups and uploading them online is a cool and challenging way to present one’s competence and creativity.
EuroITV 2010 Grand Challenge Competition wants to premiere creators, developers and designers of interactive video content, applications and services that enhance the television and video viewing experience for consumers worldwide. Does your product, content, or service add to the positive experience the television audience is looking for? Are you about to rock the world of interactive video consumption and storytelling? Tell us all about it!
The entries of the competition are expected to take a stand on the following questions, for example:
- How might new technologies improve the enjoyment of watching television in the eyes of the audience?
- What are the opportunities for innovative, creative storytelling offered by the multitude of platforms available today?
An international jury of interactive media experts will honour and award the best entry with a total prize sum of 3.000 € as well as additional prices for excellence in enhancing the viewing experience. The EuroITV 2010 Competition Grand Challenge award may be given to one entry, divided between several entries or not awarded at all, if the award criteria set by the jury are not fulfilled.
Papers were solicited from, but not limited to the folowing topics :
• Storytelling, role playing, and language for video
• Virtual worlds, mixed reality, and bringing video
into the world
• Digital gaming, ambient media, social media, and
• Artistic and aesthetic uses of video & TV
• Beyond the home context, extended home,
• Ambient intelligence, ambient media
• Social TV, sociability, usability and user experience
• Digital content production, HDTV and digital
• Asset management, metadata and content
• Entertainment computing, games, betting, game
• Broadband, IPTV, 3DTV and VR systems
• Audience research, television studies,
ethnography, user studies
Brazilian Digital Culture Memory:
An audiovisual brief about "Performances Panopticadas - Surveillance Wireless Vj'ing Performance" (2003-2006) followed by "Oneself Cellphone" (February 2008)
for this documentation, we inserted our own voices, also the music created for "Performances Panopticadas - Surveillance Wireless Vj'ing Performance" and some audios' excerpts extracted from youtube videos ("Michel Foucault On 'Disciplinary Society", "Michel Foucault; Sorvegliare e Punire", "Having something to say...", "Panopticon", "The Panopticon World We Live In Surveillance Society", "Panopticon Trailer").
We would like to thank AP & Fernando, the performers (Graziela, Monica, Luciana, Mariana, Sabrina, Grada, Sura, Sayuri), KFK, Lucas, Kellen, Georginha, Kinho, mau (in memorian), Flavinha, Carlos and all participants during our "Performances Panopticadas - Surveillance Wireless Vj'ing Performance". Also thanks a lot for all participants during "Oneself Cellphone" (February, 2008. Images: Leonardo Vinícius e Mariana Kadlec. Additional thanks to Miguel & Paulinho).
[Still left 130 simple samples and 40 numbered samples. If you want one of it, leave a message here]
Ainda restam para distribuição 130 manifestos impressos e 40 numerados. Se vc quiser um exemplar, deixe uma mensagem aqui conosco:
pages 04 & 05 scanned
MANIFESTO21.TV designed three calendars FREE 4U:
[DOWNLOAD IT: 1.LEFT-CLICK = big image; 2.RIGHT-CLICK + SAVE IMAGE AS]
Based on this ideia:
"...Artists on Their Bicycles New York establishes a new connection between artists and mobility, portraying them with their eco-friendly vehicles. ... vibrant everyday scenes. Some artists navigate the Manhattan grid as urban flaneurs, while others take advantage of biking as an effective means of transportation. This limited edition project harnesses the artistic will to operate outside the lanes of constraint."
After my last paper entitled "Foucault checkmated inside Elite Squad movie or the mobile telecommunication as a tracking particle inside Salve Geral movie (Brazil and its contemporary society inside cinematographic conversations)", the new one [that includes a writing also based on “audiovisual rhetoric 2008: Batman#01″, July-October 2008] was accepted!!
Towards A Cellphone Cinematography
[a discussion about mobile telecommunication as a tracking particle
or Foucault checkmated inside widespread Movies]
In this article I will focus myself in two different movies: the blockbuster Batman – The Dark Knight (2008) and the recent Brazilian one Salve Geral (2009).
*How has been mobile telecommunication discussed in these recent popular movies?
*How are these everydayness surveillance technologies being discussed inside cinema?
*How did it become a central component of narrative?
This paper is a sequence of my master degree studies focused in Elite Squad film (2007) related to Foucault analyses about a increasing of control in society how it runs in a cinematography – as its digital networking derivated – discussion nowadays.
I'm interested to pointed out how realism depends upon a system of inter-textual and extra-textual codes, i.e. my movies' analyses must include breaking out a range of signification codes, looking at widespread as specific cultural contexts (mobile phones and Foucault studies are “the widespread one” and Brazilian movie and its social reality are “the specific one”). Throwing out of Christian Metz wrote: cinema as a collective production, i.e. how the cinema could be said to signify, or generate, a society common meaning.