Invisible Istanbul: Captured Images by Tamiko Thiel + Invisible Istanbul: Urban Dynamics by PATTU Istanbul (Cem Kozar & Işıl Ünal) — AR intervention in the Istanbul Biennial :: September 18, 2011; 2:00 pm :: Look for the yellow “Invisible Istanbul” logo at the cafe in front of Antrepot 5/Sanat Limani, Istanbul Biennial.

Invisible Istanbul is the first Augmented Reality (AR) Intervention into the Istanbul Biennial, using GPS positioning to place virtual artworks within the real physical space of Istanbul and the Biennial, creating surrealistic and poetic juxtapositions between real and virtual within the context of the hidden urban dynamics of Istanbul. Continue reading

[via Network Research] Urban Echo — by LUSTlab — brings some of (the physicality of our interaction) back to real locations, connecting public places and therefore people, cities and cultures. Continue reading

Tallinn Wall by Thomson & Craighead @ gateways. Art and Networked Culture, 2011:

Tallinn Wall is a physical manifestation of the invisible city all around us, a poetic snapshot of social networking traffic from within a ten kilometer radius of the Kumu Art Museum in Tallinn. The artists Jon Thomson & Alison Craighead manually manufacture a collision between electronic public space and the physical public space of the museum.

In a performance that will last a couple of days, the artists collect and select publicly available status updates from popular websites like Twitter and Facebook. These will then be published as a vast array of standard sized posters and pasted onto a wall in the museum’s foyer, revealing the idle mutterings of ourselves to ourselves as a form of concrete poetry. Continue reading

Senses Places - Dance-Technology Workshop 3: organized by Pei-Jung Lee, Isabel Valverde, Todd Cochrane :: July 30, 2011; 1:00 - 5:00 pm :: Dance Studio, The Kenneth Myers Center, 74 Shortland Street, Auckland Central, New Zealand + in Second Life.

Senses Places is a dance-technology collaborative project creating a playful mixed reality performance environment for audience participation. The project stresses an integration of simultaneous local and remote connections, where participants and environments meet to generate a kinesthetic/ synesthetic engagement. Continue reading

Printed Book + Physical Hyperlinks = Real Page-Turner by Delana in Architecture & Design.

Try to describe a recent dream to someone and the details are likely to dissolve into absolute nonsense. Dreams themselves are ephemeral, fleeting and altogether mysterious. But trying to figure out the connections between different events in the dream and certain components of reality can prove even more confusing than the dreams themselves. This incredible project perfectly embodies the beautiful confusion that is the dreaming mind. Continue reading

Other: The Nihilists :: July 16, 2011; 8:00 - 10:00 pm :: (starting from) Mynyndd Llanwenarth Car Park, Grid Ref: SO268167, Sugar Loaf, Abergavenny, Monmouthshire NP7 7LA, United Kingdom of Great Britain and Northern Ireland.

A one-day visual art event, with a sound performance by Team Sports. The Nihilists is a series of outdoor installations by Stefhan Caddick, temporarily located on the Sugar Loaf mountain near Abergavenny, South Wales (UK). The installations generate electricity in order to illuminate their futility.

Team Sports (Matthew Lovett, Jimmy Ottley & Ian Watson) is a sound performance that explores the relationship between a musician and their surroundings. Continue reading

Tracing the Ephemeral: Tactical Media and the Lure of the Archive by David Garcia and Eric Kluitenberg

“Tactical Media emerged when the modest goals of media artists and media activists were transformed into a movement that challenged everyone to produce their own media in support of their own political struggles. This “new media” activism was based on the insight that the long-held distinction between the ‘street’ (reality) and the ‘media’ (representation) could no longer be upheld. On the contrary, the media had come to infuse all of society.

To challenge dominant (strategic) structures in society, it was necessary to develop new (tactical) means of producing and distributing media. Not a specialised task separate from the social movements, but a key activity around which social movements could coalesce.” [1] Continue reading

Jeffrey Ventrella — in a post entitled Jaron Lanier Yanks my Homunculus — points us to this video in which Lanier discusses Kinect and Somatic Computing:

Continue reading

Open 21: (Im)Mobility Exploring the Boundaries of Hypermobility:

Advanced communications technologies seem to be paving the way for an increase in physical and motorized mobility. At the same time, these accelerating flows of data and commodities stand in sharp contrast to the elbow room afforded to the biological body, which in fact is forced to a standstill. And while data, goods and capital have been freed of their territorial restrictions, the opposite is true for a growing proportion of the world’s population: border regimes, surveillance and identity control are being intensified at a rapid pace. In short, we are seeing both an uncurbed and uncontrolled increase of mobility and segregating filtrations. This issue of Open explores the internal contradictions of prevailing mobility regimes and their effects on social and physical space. Continue reading

Susan Kozel wrote: “(T)he IntuiTweet project (is) an initiative that began in conjunction with the Theatre Academy and University of Art and Design in Helsinki but which will be developed further here (MEDEA is a centre for new media at Malmö University, Sweden). The goal of this project is to provoke and exchange physical intuition or movement using Twitter. Can a social networking platform also be a way to enhance the performance of every day lives? Do Social Choreographies result?

As we start this IntuiTweet project again, another round of improvisations from Sweden, this time I’m wondering about voice, relevance and ‘audience’: who are these tweets for? With other improvisations they were for a limited number of people participating in the improvisations: Continue reading