ohne Titel, juliana borinski, 2006
untitled, juliana borinski, 2006
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expanding attendance
about presence, transparency, mobility, mapping, control
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beyound
uncontrolled trasparency and social control: |
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telepresence and surveillance are the relevant semantic poles defining one of the apparently hyperactive commercial technology fields at the moment. Combining tracking of persons and products with satellite views reveals variable mixed techniques which may attend both, security-oriented applications and the florid aesthetics of voyerism and visibility.
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telepresence |
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i do not believe in communication! (douglas davis interviewed by tilman baumgaertel 07.05.00): he believes in the big adventure to try communication, mainly amoung long distances made by time, language, space, geography, gender. This should be the big challenge. It does work rarely, just for one instant or two. The last 9 minutes was produced by the german Hessischer Rundfunk for the opening of Dokumenta 1977; the 3 performances were broadcasted all over the world, inclusive the former sowjet union. Nam June Paik and Charlotte Moorman were performing first, then Joseph Beuys. The last 9 minutes of the broadcasting were performed by Douglas Davis: he is looking for the frame, for his audience. Off voice and text are telling something like: wherever you are, i'll find you in 9 minutes.. put your hand on the displays. Let me hear your watch ticking. In 9 minutes we will destroy this bounding. At the end a performer in Caracas spelt the countdown in spanish while Davis is telling to the public they all have to strike against the display at 1. So the 2 performers did and crashed at the same time against the glas. Then the live picture faded out. Or also "Seven thoughts", 1976 december 29th at Hustone Astrodome using for 10 minutes Comsat satellite . |
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HOLE-IN-SPACE was a Public Communication Sculpture. On a November evening in 1980 the unsuspecting public walking past the Lincoln Center for the Performing Arts in New York City, and "The Broadway" department store located in the open air Shopping Center in Century City (LA), had a surprising counter with each other. Suddenly head-to-toe, life-sized, television images of the people on the opposite coast appeared. They could now see, hear, and speak with each other as if encountering each other on the same sidewalk. No signs, sponsor logos, or credits were posted -- no explanation at all was offered. No self-view video monitors to distract from the phenomena of this life-size encounter. Self-view video monitors would have degraded the situation into a self-conscience videoconference. -> more let us understand our trans-academic exchange itself as a kind of contact through a hole in space, also as a public communication sculpture made by the sketches we are working on, in the sense of becoming media and transform ideas into space, space into places..
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The last manifesto of Movimento Spaziale founded by Lucio Fontana is dedicated to television as a possible space where art can be freed from materiality: also in 1 minute broadcasting art is living for 1000 years in the outer space.
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There are some approaches to telecommunication in arts working on the aesthetics of abstract space; what do you think about Eduardo Kac, for istance? (-> more) There is a work by Simon Penny .. and all the approaches .. telepresence and telecommunication aesthetics .. individualism and virtual space, but what about real places?
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construction of space |
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NOWHERE is a landscape in the condition of development. The users of the german search-engines METAGER_ and METAGER2 erode rivers, canyons and valleys by their search-movements. Search-requests, existing only for a fraction of a second on the internet, get inscribed in a block of pu-foarm (75 x 75 x 10 cm) by a 3d milling-machine. the continuous stream of queries defines the rhythm of the machine. NOWHERE works like a photo-optical long-time exposition. The shutter opens for a period of up to three weeks and updates the developing relief constantly. Search-requests get interpreted as eroding forces on the surface of the landscape. Simultaneously every entered search request is used as an energy impulse to move the milling-head on step forward. Activity removes material, inactivity keeps it. In times with less activity (e.g. in the night hours) the machine works slow and at peak times (e.g. midday) the machine works very fast and hectically. The developing space/time sculpture embodies an not existing place, which is made visible by the users of the search-engine. -> more |
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The focus of the installation series Raumschnitt I is on spatial diffusion and the difficulties of locating and self-locating. The pavillion is made by projection-walls and mirrors building a narrow hall; the video-clips are short animations of drawings called empty rooms.
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sketches concerning telespace (transferring spacial experience and settings) |
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There are 2 rooms, completely dark: room A is very small; the visitor's movements in room A are measured by sensors, ultrasonic sensors for instance. The distance between walls and visitor is translated into acoustic signals. Room B is much bigger. The movements of the visitor in room B are evaluated as they would happen into the borders of room A. It means that the room B control system is giving acoustic feedback to the visitor as he/her would be moving in an other room. The acoustic translation is the choosen strategy in order to transfer space from a place to an other.
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The idea is to fix and conserve autonomous timezones. An autonomous timezone is for instance the waiting time almost unintentional and indefinite. Underground stations are the classical places to experience spending time together without any use. The video installation Temporary Timing refers to these autonomous timezones: it locates waiting persons, digitalizes and plays them back. Persons and objects can be "scanned" only if they persist in a position for a relevant time. Only items not moving, not changing for a relevant time will be digitalized and projected. Every change in the framework will re-activate the system looking for a new time relevant estate. A person coming into the frame and sitting down will be shown with a time delay equal to the definited relevant time and will be streamed not only as long as the person will seat, but after going away till a new frame composition will get time relevant. Temporary Timing is a motion-tracking trying to detect and replay no motion.
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A moulding view: taking pictures of places through patterns, stencils made out from others places; applying architectures from one place to the next, stairs upon stairs, doors upon doors.. a growing slide series.
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looking for structure |
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I saw Regina Silveira's Destructura Urbana series at mam SP: I looked for more works; she worked with detection and tracking of forms; she is not only fixing marks.. I saw also Geraldo de Barros' Fotoforma series; there was also a piece not looking like a photo, it was a sketch made by segments: a fotoforma made like a coordinates' algorithm... |
surveillance: scanning for data |
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Sandra Cinto, Transparencia: I saw at mam SP some transparent glasses of that kind I know from germany, patented by bayer industry and useful for applied chemistry: they are not only transparent but also labeled as an object of "transparencia". In fact, this is the very point about surveillance. |
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Since 2003, Michelle Teran has carried out performances in which she periodically walks through the streets of a big city in order to reveal an invisible reality: the fluxes of information which inhabit every urban space. Armed with her frequency scanner, Teran intercepts the signals of wireless video cameras from the surrounding area and shows their images on a monitor placed in a cart which she pushes as if she were a homeless person. We see hotel receptions, bank branches… emerging like ghosts from the analogical mist. -> more |
locating & location equipment |
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self-surveillance system for complete digital trasparency |
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-> more |
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self-locating with gps |
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self-locating on the way from the airport to the comfort suite |
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avenida da universitade -> open with google earth |
The Global Positioning System (GPS), is a satellite navigation system. More than two dozen GPS satellites are in medium Earth orbit, transmitting signals allowing GPS receivers to determine the receiver's location, speed and direction. The first experimental satellite was launched in 1978. It was developed by the U. S. Department of Defense under the official name NAVSTAR GPS (Navigation Satellite Timing and Ranging Global Positioning System). The satellite constellation is managed by the U.S. Air Force 50th Space Wing. The cost of maintaining the system should be approximately US$400 million per year, including the replacement of aging satellites. A GPS receiver calculates its position by measuring the distance between itself and three or more GPS satellites. Measuring the time delay between transmission and reception of each GPS radio signal gives the distance to each satellite, since the signal travels at a known speed. The signals also carry information about the satellites' location. By determining the position of, and distance to, at least three satellites, the receiver can compute its position using trilateration. Receivers typically do not have perfectly accurate clocks and therefore track one or more additional satellites to correct the receiver's clock error. The GPS system is made by 29 satellites (stand january 07), a network of tracking stations, a computing station, 2 injection stations, then at least the receivers. The satellites are sending signals both on the frequencies 1,2 and 1,5 GHz. The signals containe informations about time and coordinates of the satellite. The 4 main tracking stations and the central computing station are situated in the U.S. Everytime the satellite orbits over the U.S. the station is able to compute its right position, feedbacking it to the satellite itsselg, which is communcating it to the users or GPS recivers. The system is based on the spheric positioning method which is measuring the time the signal needs to cover the distance between satellite and receiver. The coordinates of 3 or 4 satellites in orbit and the time needed by the signal to reach the receiver are the data determining the spatial positioning of the receiver. A GPS receiver can not be monitored by the satellites. Of course it is possible to connect the satellite receiver with a sender, so that the self-location can be used for surveillance aims. The time a satellite receiver needs for self-positioning is about 30-60 sec, sometimes more minutes; indoor-reciving is not really possible; the energy consumption of the reciver is quite high: these problems are the main reason for developing A-GPS, the Assisted GPS combining mobile phone networks (GMS) with GPS technology.
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jeremy wood, gps drawing : Digital mark-making with satellite navigation technology |
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walkscapes |
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The trivial territories of Dada: choose a trivial urban place, something public; invite your friends and the public to a tour.. which place should we use tomorrow here in sao paulo/cologne?
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the professionalisation of walking: hamish fulton -> web
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the simulation of desorientering |
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Based on the 3D-game-engine of a first-person-shooter (computer-game)
the starting point of this installation is the subjective view of the player,
navigating through different virtual levels. -> more |
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Paulo Lima Buenoz , Dis-placement, 1996/97: at mam SP there was a displaced installation by mixed materials. I stand near by a point on the green ground named Toronto infront of a cupboard full with bach flowers and some stronger stuff.. There was also a drawing (i am not sure about the technique..) by Paulo Climachauska, something like a jail engraving, with a bed and some crosses or canceled bars, like a calender.. |
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the strategy of mapping |
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algorithms and data sampling strategies by Jan Dibbets (marking Paris Boulevard Peripherique by megaphone..) / Douglas Huebler (hitchhiking between germany and italy and compiling maps or collecting traces and materials of closed territories..) / Didier Bay (maniac collecting data about his daily walkings over years.. )/ fluxus (organising tours..) / Daniel Buren (making stuff visible using stripes and sending people to walk after his given tours...) social fiction -> more janet cardiff -> wiki
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Stanley Brouwn emerged as an artist in Amsterdam during the 1960's when the city's art scene was heavily influenced by the Fluxus art movement. Brouwn remains rigorously committed to a strain of Conceptualism, in particular a familiar Conceptualist obsession with the idea of measurement. Brouwn is interested in the poetry of measurement, of how measurement is used to represent reality, specifically measurements of his own body or the bodies of others. Brouwn often references his own height, the length of his stride, or the tracing of his route while walking through a city. This Way Brouwn consists of drawings made by passers-by that serve as directions for the artist to get from one place to another. |
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drawings made with 2 hands during a subway trip. Sitting without back, the arms in 90 degrees angle, 1 pencil pro hand, the sheet on the legs.
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Yoko Ono, City Pieces, 1961-63 / Map Piece 1963 / Rope 1969 |
Draw an imaginary map. Put a goal mark on the map where you want to go. Go walking on an actual street according to your map. If there is no street where it should be according to the map, make one by putting the obstacles aside. When you reach the goal, ask the name of the city and give flowers to the first person you meet... (1962)
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Lee Walton. Making changes, 2005 / the competitionists, 2005 / get over it, 2005 |
Lee Walton developed various city games to play using physical obstacles; to go always stright-a-head walking above obstacles, for istance; or to play with someone not knowing about the game (like to run beside a jogger). -> more |
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Ralf
Baecker, NOWHERE, 2005-06
Kerstin
Ergenzinger, Raumschnitt I, 2007 
Allan
Gretzki, Termporary Timing, 2007
Kerstin
Ergenzinger, Durch Schablonen sehen, 2006-07 
the
Surveillance Camera Players: completely distrustful of all government. -> 
Michelle
Teran, LIFE: A USER’S MANUAL
Excursions & visites
Dada: 1ère visite, Eglise Saint Julien le Pauvre. Paris, 1921.
Karin
Lingnau, unreal, interactive installation, 2007
Kerstin
Ergenzinger, ... °W/..°O (keingradwestundkeingradost),
installation, 2005 
Richard
Long, A Line Made by Walking, 1967
Stanley
Brouwn, This Way Brouwn, february 25th and 26th 1961 
Vito
Acconci, Following piece, 1968 
William
Anastasi, Subway Drawings, 1989.