Mind Art: discapacitats pinten només amb les seves ones cerebrals

This Art Project Lets Anyone Paint With Brainwaves

.

Becky Chung. THE CREATORS PROJECT. 24/10/14


This is what a brainwave painting in motion looks like. For a series of abstract, Pollock-esque works, sixteen individuals with disabilities each filled a balloon with a paint color of their choice, donned an EEG headset, and burst the balloon with their thoughts. With Mind Art, Shanghai-based artist Jody Xiong wanted to show that the power of the mind could trump the body’s limitations.
.
Xiong and his team created a box-like structure of large canvases around balloons laced with detonators. The electronic signals from the brains of participants were measured by NeuroSky EEG biosensors, and then the processing unit triggered an explosion of paint. Once completed, the paintings were auctioned off, and raised 800,000 RMB for charities focused on disability issues.
.
.
Llegiu l’article sencer aquí.

Com la tecnologia mòbil canvia com fem i gaudim de l'art

How mobile tech is changing the way we make and enjoy art

From Shakespeare on your smartphone to interactive app-driven experiences,Matt Trueman explores new ways to engage with art

The Guardian, , Tuesday 11 November 2014

A woman takes a picture with her smartphoneRemember 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.” (…)

Meet Karen

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.”

…………………………………..

Llegir l’article sencer

Un passeig pel Jardí de les Delícies de les emoticones

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 Garden of Emoji Delights Triptych Animation de Carla Gannis en Vimeo.

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?

Has dicho que los “emoticonos añaden una nueva homogeneidad a la iconografía del pasado, vaciándola de controversia y sustituyéndola por algo similar a la estética “superflat” [superplana] de Murakami, cuestionando los “pecados” de nuestra cultura del consumo contemporánea”. ¿Puedes explicarnos esto un poco más?

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”:

“Al igual que en el arte de Murakami, las formas planas de la obra de Carla Gannis son una expresión del vacío superficial que define la cultura del consumo. Ellas también reflejan la cultura pop consumista, los fetichismos sexuales y deseos subyacentes que prevalecen en la sociedad actual apelando a imágenes distorsionadas y escenas grotescas impregnadas de la emocionalidad alegre, aunque a menudo vacía, que nos hemos acostumbrado a utilizar en nuestras expresiones cotidianas” …. “Lo que hace que El jardín de las delicias de los emoticonos sea único es que el lenguaje de comunicación visual que manipula se basa profundamente en nuestra comunicación reflexiva y ordinaria, de modo que da lugar a una doble subversión: la subversión de lenguajes de comunicación visuales y la subversión de la historia del arte”. – Sabin Bors, 2014

¿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.

Els museus s'adapten a l'era digital

Museums Morph Digitally

The Met and Other Museums Adapt to the Digital Age

.

Steve Lohr. THE NEW YORK TIMES. 23/10/2014

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. (…)

Hem retallat aquest article per adaptar-lo a l’espai del blog. Us recomanem llegir l’article original