This Art Project Lets Anyone Paint With Brainwaves
Becky Chung. THE CREATORS PROJECT. 24/10/14
Becky Chung. THE CREATORS PROJECT. 24/10/14
From Shakespeare on your smartphone to interactive app-driven experiences,Matt Trueman explores new ways to engage with art
The Guardian, Matt Trueman, Tuesday 11 November 2014
Remember the Walkman? How it allowed you to take your music wherever you went. The e-reader has done the same thing to your library and the tablet device to your TV and your DVD collection. Last week, Shakespeare’s Globe launched Globe Player, a service that allows users to stream and/or download its productions onto their computers and mobile devices. Online audiences can watch 51 of the theatre’s past productions wherever (and whenever) they happen to be. The Google Cultural Institute has also made huge swathes of visual art and museum exhibits just as accessible.
Mobile technology has changed the way we encounter art. It has made art mobile. “On demand” has extended into “on the go”. Art is everywhere – and everyone with a smartphone is a potential audience member.
As Ruth Mackenzie, interim CEO and creative director of The Space, a new BBC and Arts Council England-backed digital arts platform, puts it: “The average person looks at their mobile 100 times a day, so just imagine if art were a part of that diet. What if, instead of playing Candy Crush, you did art?” That picture’s too simple; it implies the only shift is in the interface – the mode of encounter as opposed to the encounter itself. Screens have replaced the page and the stage, but it’s deeper than that; digital art is a form of its own, with its own rules and possibilities.
One possibility is that offered by The Space, which is running an open call for new digital art designed for mobile tech and tablet computers. Any artist over 18-years-old, from anywhere in the world can apply. “If film was the new discovery and the dominant artform of the 20th century, then maybe digital art is going to be of the 21st,” says Mackenzie. “That’s the opportunity we’ve got.” (…)
Mobile technology is a two-way encounter. It can tell the artists about the participant – and vice versa. Blast Theory’s next project, an app called Karen, relies on that.
Karen is a virtual life-coach in the form of an app. “Initially, she claims to be able to offer advice, but gradually she gets more interested and the boundary between her professional life and her personal life starts to break down a bit,” says Adams. Crucially, Karen adapts to the information you provide.
But Karen isn’t a computer game. There’s no winning and losing. It’s narrative-driven, but it’s not really television or film; it’s a hybrid form. Technology is shifting the territory of art. The more we see the screen – whatever its size or shape – as an artistic interface, like the stage or the cinema, the more we can see anything on it as art.
For Adams, it’s in “the world of games, particularly indie games, that the most exciting and risk-taking work is taking place”. Artists are starting to pick at the seams of the form. Take Papa Sangre, a game for handheld devices created by content business Somethin’ Else. Described as a “video game with no video,” it presents players with a black screen to represent a pitch-black labyrinth, which players navigate using the surround-soundtrack they hear through headphones. Sidestep the mythic-quest casing and you’ve got a smart little artwork exploring sensory deprivation, but one that could only exist on a mobile device.
With the right selection of apps, every smartphone owner has a digital camera or a set of mixing decks to hand; every tablet user can cut together a film and upload it straight onto YouTube. These devices make every user a potential artist in a more spontaneous way than ever before. “There’s access to the means of creating art that simply wasn’t there 20 years ago,” says Mackenzie. “You can talk about finding new audiences, but I think we’re going to find new artists too.”
Benoit Palop. THE CREATORS PROJECT. 30/10/2014
Los emoticonos pueden ser algo más que una forma de animar tus conversaciones digitales, sobre todo para la artista de nuevos medios Carla Gannis. Con El jardín de las delicias de los emoticonos [The Garden of Emoji Delights en inglés] Gannis reconstruye el famoso tríptico de El Bosco adaptándolo a la era digital, experimentando con nuevos modos de redefinir la identidad y sus formas de representación, tanto virtuales como físicas.
Sustituyendo el vocabulario religioso por símbolos digitales contemporáneos y seculares, Gannis reconstruye la poderosa iconografía que alberga el paisaje de El Bosch en El jardín de las delicias. Su alucinante collage de arte popular digital explora y critica el consumismo y la sociedad moderna a través de los tres mundos de emoticonos: el edén, el infierno y la tierra.
Aunque la obra física se encuentra actualmente en la Galería Kasia Kay en Chicago, mañana también se podrá ver una versión digital de la obra en Nueva York con motivo de una celebración de Halloween centrada en los emoticonos, donde una proyección animada a gran escala repetida en bucle en 12 pantallas dará vida al tríptico de Gannis mientras que el público disfrazado disfruta de la fiesta en la King’s Tavern en Brooklyn.
Como preparación para este lanzamiento, hicimos unas preguntas a Gannis sobre el origen de este proyecto y su proceso creativo.
The Creators Project: ¿Cómo definirías los emoticonos y por qué acabaste escogiéndolos como elemento esencial para este trabajo?
Carla Gannis: Responderé a esta doble pregunta explicando que solía trabajar en el diseño de interfaces de usuario y pasaba mucho tiempo creando iconos de interfaz que están destinados a la comunicación de una forma didáctica y funcional. Los emoticonos son un sistema de glifos contemporáneo que ofrece una clave emocional para la expresión virtual y se encuentran por todo el mundo. Transcribir simbologías visuales de una era anterior utilizando emoticonos para mí es un sentido-sin sentido, especialmente en el caso de utilizar El jardín de las delicias de El Bosco, puesto que su propio estilo visual es muy idiosincrático y claramente distinto al de sus compañeros de generación. Su transgresión de la iconografía religiosa codificada de su tiempo, su humor e irreverencia es lo que más me gusta de él y lo que le hace sentir “moderno”. Así que, ¿por qué no recrear una historia épica que representa el disparate humano y el libertinaje mundano con los encantadores signos (símbolos) virtuales de nuestro tiempo?
Sabin Bors acaba de escribir un ensayo increíble sobre mi obra titulado “Digicalyptic Realities Or, The Frolic of the Flat” [realidades digicalípticas o juguetear con lo plano] que pronto se publicará en Anti-Utopias, así que por el momento voy a dejar que sea él el que “hable”:
¿Escogiste este tríptico para experimentar con tu trabajo por alguna razón en particular? ¿Qué elementos te parecían interesantes?
Este tríptico, el trabajo más ambicioso de El Bosco, ha sido una de mis obras favoritas durante mucho tiempo, y no soy la única que siente esa admiración por él. Es gracioso que nunca la haya visto en la vida real, en el Museo del Prado, solo la conozco por sus numerosas reproducciones. Hay cerca de 3.440.000 resultados para El jardín de las delicias, frente a las 249.000 que tiene la Capilla Sixtina de Michelangelo (esta sí que la he visto en la vida real), e incluso una búsqueda de emoticonos da unos 2.340.000 resultados. Supongo que la relación que tenía con la obra, haviéndola visto siempre como reproducción y casi siempre en forma de copia digital, junto con su enorme popularidad, hizo que quisiera recrear una versión en emoticonos tan “real”, con las mismas dimensiones, como el original de 7′ 3″ x 12′ 9”.
Llegeix l’entrevista sencera aquí.
For the Metropolitan Museum of Art, a turning point came in 2011. Down went the signs imploring visitors to stow their cellphones. The Met revamped its website, tailoring it for viewing on smartphone screens. The museum was not only allowing visitors to use their mobile phones while browsing the artworks, but encouraging it.
The digital experience was embraced and meant to enhance the physical experience of exploring the museum. The trend has only accelerated since, at the Met and across the museum world. At first glance, it might seem like a capitulation, giving in to the virtual enemy when museums are so essentially physical spaces.
Yet listen to museum curators and administrators today and they often sound like executives in media, retailing, consumer goods and other industries. They talk of displaying their wares on “multiple platforms,” and the importance of a social media strategy and a “digital first” mind-set.
“You want the way people live their lives to happen in the museum,” said Carrie Rebora Barratt, the Met’s deputy director for collections and administration.
Museums are being redefined for a digital age. The transformation, museum officials say, promises to touch every aspect of what museums do, from how art and objects are presented and experienced to what is defined as art.
The pragmatic need to appeal to modern audiences, who expect to be surrounded by technology, is one engine of change. But museum officials insist there is a powerful aesthetic and cultural rationale as well. It is the increasing recognition that, as Paola Antonelli, senior curator of architecture and design at the Museum of Modern Art, puts it, “We live not in the digital, not in the physical, but in the kind of minestrone that our mind makes of the two.”
Museums, Ms. Antonelli insists, have an important role to play in helping people explore and understand the emerging hybrid culture. “It’s this strange moment of change,” she explained. “And digital space is increasingly another space we live in.”
The museum of the future will come in evolutionary steps. But some steps are already being taken. Digital technologies being deployed or developed include: augmented reality, a sort of smart assistant software that delivers supplemental information or images related to an artwork to a smartphone; high-definition projections of an artwork, a landscape or night sky that offer an immersive experience; and 3-D measurement and printing technology that lets people reproduce, hold and feel an accurate replica of an object.
In December, Cooper Hewitt, Smithsonian Design Museum will reopen, offering its vision of a 21st-century design museum. The three-year, $91 million renovation will give the Fifth Avenue museum 60 percent more gallery space and new visitor experiences.
Upon entry, each visitor will get a black pen, equipped with a small amount of computer memory, a tiny radio for short-range communication and a touch-sensitive stylus, which can be used to write and draw on large interactive tables with touch-screen surfaces. The digital pen is one ingredient in the redesign of the museum that is intended to “give visitors explicit permission to play and to explore the process of designing for themselves,” said Sebastian Chan, director of digital and emerging media at Cooper Hewitt.
One place they will be able to do that is in an “immersion room.” In the room, a person can, for example, tap the pen on one of many selections from the museum’s wallpaper design collection. That wallpaper is then projected clearly throughout the room. “You can see and experience historic wallpapers in ways you never could before,” Mr. Chan said.
A visitor can also draw his or her own wallpaper design on an interactive table. As the person is drawing, clever software can detect common images, retrieve relevant information and communicate, in its way, with the visitor. “It looks like you’re drawing a flower,” it intones, and then links to a short audio recording by an expert on flower motifs in wallpaper over the years.
In another area, visitors can use their pens to annotate the designs of common objects — a shopping cart, for example — with features of their imagining. One shopping cart might be designed for a family of four, while another is for a wheelchair-bound shopper. “It’s a visual suggestion box to make things better,” Mr. Chan said.
At the Smithsonian Institution, 3-D technology is increasingly used for conservation, research and public education programs. The fine-grained scanning allows a depth of data collection and analysis that was not possible before. The gunboat Philadelphia, built in 1776, is the last surviving cannon-bearing American vessel from the Revolutionary War. The historic boat has been 3-D-scanned so online viewers can see it from angles not possible in person at the National Museum of American History in Washington. But it is also scanned regularly so conservators can get early warnings of deterioration of the old wooden structure.
The National Portrait Gallery in Washington has two life masks of Abraham Lincoln. The masks — made from plaster casts placed on Lincoln’s face — were made in 1860, the year he was elected to his first term, and in 1865, two months before he was assassinated. The Smithsonian staff has 3-D-scanned the life masks, and the data is available for downloading and printing on a standard 3-D printer. Schools across America have done just that.
“You can see the toll the Civil War took on this man, those decisions of life and death,” said Günter Waibel, director of the digitization program at the Smithsonian. “With your finger, you can trace the deep furrows on Lincoln’s face. It sends shivers down your spine.”
Across the Smithsonian’s 19 museums, 3-D projects are still relatively few. But Mr. Waibel predicts they will proliferate in number and reach. “It’s incredible technology that will revolutionize not only how people experience objects,” he said, “but how we do research and science inside the museums.”
The abundant 3-D data, according to Mr. Waibel, could one day become the information building blocks for creating rich 3-D experiences — perhaps holograms that can be programmed according to a person’s interests.
In the museum world, augmented reality can mean any technology that gives visitors additional information, from audio tours to websites. The Met’s new application for Apple mobile devices, introduced in September, is a good example of a well-designed smartphone app, with lists of current exhibits and daily events, as well as artworks recommended for serious museumgoers and for families with children.
But as technology advances, so do the ambitions for augmented reality. Colleen Stockmann, assistant curator for special projects at the Cantor Arts Center at Stanford University, and Jean-Baptiste Boin, a Ph.D. candidate in electrical engineering at Stanford and an expert in computer vision, are working on taking augmented reality a step further. Their research project, Art++, combines image-recognition technology and computer graphics with art history expertise. Art++ is supported by a grant from the Brown Institute for Media Innovation, a partnership between the Columbia Graduate School of Journalism and Stanford’s School of Engineering.
With their software, a person would walk into a museum, turn his or her smartphone or tablet toward a photograph, painting or sculpture, and the artwork is surrounded with a digital halo of supplemental information. The Cantor center, Ms. Stockmann said, exhibited the Stanford University Libraries’ collection of landscape photographs of California and the Northwest by the 19th-century photographer Carleton Watkins. Capture the image of a Watkins photo of Yosemite Valley, she said, and you can tap on an icon that shows a map of where Watkins walked in the valley to take his photographs.
Focus the smartphone’s camera viewfinder on a painting, and software might show the initial drawings underneath a painting, and earlier versions of the painting with colors changing as the artist progressed, Ms. Stockmann noted. Capture the image of a mummy in a museum, and the software might show an image of the skeleton beneath. The literature, poetry and music of the time an artist was working, and short commentaries by curators, could be presented as audio clips.
The goal of such technology, Ms. Stockmann said, is to “give you more points of access into the artwork, so that it keeps you in the moment of looking, almost as if someone is guiding you through the painting or sculpture.” (…)
Museum curators and administrators do have concerns about the expense of digital initiatives and how to encourage more “look up” experiences — up at the art instead of down at a smartphone or tablet. Yet it is striking the degree to which major museums have welcomed digital technology as not only inevitable but also as an ally in bringing culture to a wider public.
Not long ago, museums were concerned that opening up collections and putting images online would shift viewing online and hurt museum attendance. “That has proved completely wrong,” said Ms. Barratt of the Met. “Culturally, what we see is the opposite. When people can see artworks online, it’s a taste and they want to see more, often in person if they can.”
Within museum walls, Ms. Barratt said, there should be a range of viewing choices, guided by the principle, she added, of “letting the content determine what we do, instead of letting the technology and devices lead the way.”
Those experiences, she said, will run from “no tech” to “high tech.” No tech, Ms. Barratt explained, would be a label and simple description for a classic painting that speaks for itself and invites sustained observation. High tech, she said, would be exhibitions like the recent one at the Met’s Costume Institute, “Charles James: Beyond Fashion.” It included animations showing the construction of gowns designed by the American couturier, and robotic arms employed to scan and analyze the gowns. The technology provided a visual explanation of how James used science, engineering and architectural techniques.
The issues about sharing artwork online came to a head a few years ago, when Google began Art Project. The Internet giant planned to scoop up images of artworks and present virtual tours of museums, using high-definition camera technology. Museum curators worried about matters of copyright and commercialization — that Google would try to profit from the images shared by the museums. But Google signed contracts with the museums including copyright protections and pledges not to use the art images for commercial gain.
Art Project began with 17 museums in 2010, including the Met, and today has 500 institutions in 60 countries, and 7.2 million artworks. Google’s high-definition image technology captures the image of a painting like Bruegel’s 16th-century classic, “The Harvesters,” which is at the Met, in roughly 10 billion pixels, well beyond the power of the human eye. The technology allows online viewers and researchers to zoom in to see details, down to brush strokes and scratches, in a way they could not in person. (…)
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El Mobile World Centre comença un nou curs amb una programació en la qual s’inclouran exposicions temporals i mostres temàtiques que et permetran conèixer diferents innovacions artístiques i tecnològiques, així com participar en diferents processos creatius. Aquest nou format d’experiències es basarà en la interacció i la participació directa entre creadors, ciutadans i indústria.
Us recomanem la primera exposició programada. El vídeo promet molt!
Nom de l’exposició: Music and Arts. Noves realitats
Lloc: Mobile World Centre (Fontanella, 2, 08002 Barcelona
Dates: 21 octubre – 13 desembre 2014
A partir del pròxim 21 d’octubre, els ciutadans que visitin Mobile World Centre podran gaudir de l’experiència Music and Arts. Aquesta nova exposició, organitzada en col·laboració amb Alfa-ville, comptarà amb una mostra central titulada “Noves Realitats” i un programa d’activitats paral·leles compost per seminaris d’art i música, concerts audiovisuals i tallers infantils, per aprendre música mitjançant dispositius mòbils, impartits per músics professionals.
A més, dins de totes les activitats programades, Music and Arts comptarà també amb la col·laboració d’esdeveniments com el Festival Internacional de Cinema Beefeater In-Edit, que traslladarà la seva àrea professional –l’In-Edit Fast-Forward– a Mobile World Centre perquè empreses tecnològiques amb projectes vinculats als sectors musical i audiovisual puguin provar-los en directe amb el públic.
L’art i la cultura digital també tindran un espai destacat en tota la programació amb l’objectiu de fomentar la interacció de l’espectador amb les noves formes d’expressió artística marcades pels avanços tecnològics. Music and Arts tindrà amb cartell compost per alguns dels artistes més innovadors de la creativitat digital actual, com Mar Canet i Varvara Gulijaveva, Universal Everything i Ryoichi Kurokawa.
Però no tot acaba aquí, a partir del mes de desembre es podrà gaudir d’una nova experiència en la qual es mostraran les últimes novetats del món del gaming. Cada mostra temàtica comptarà amb la participació autors i experts de prestigi internacional que et proposaran reptes creatius perquè puguis entendre i experimentar la transformació Mobile que s’està duent a terme al teu voltant. Us ho perdreu?
.Sophia Callahan. THE CREATORS PROJECT. 15/10/2014
This past week, experience designer Filipe Vilas-Boas launched his latest public project, Shooting Thoughts, in the stunning French Gothic church of Saint-Eustache, Paris. Co-commissioned by Art, Culture et Foi and Nuit Blanche Paris, Shooting Thoughts is an interactive installation project that uses projection mapping to create a “constellation of stars.”
Shooting Thoughts by using text messaged thoughts as the create catalyst for laser beams that travel up the pathways defined by the building’s architecture. The project description explains,“The pillars are used as launch stations that carry the star to its final destination on the ceiling of the church via the arches and vaults. Like all of us, each star finds its place at its own speed with its individual trajectory.”
Built sometime in the late 16th-early 17th century in the 1st arrondissement in Paris, the Saint-Eustache church has beautiful soaring ceilings and dark, towering arched pillars, making it the perfect backdrop for the illuminated lights of the installation. On his website, Vilas-Boas’ states that his vision for the project was to see how, “the spirits are instinctively caught, called to heaven. The verticality of the place puts us on track and predisposes us to think. Media for generations, the building now houses the new media to highlight its primary function: to communicate with heaven.” The resulting beams of light imbue quiet, personal moments with the magical instant gratification of shooting stars.
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