beiju-tronic tem como ponto de partida o encontro entre diferentes práticas, tornando-as visíveis através da confecção de objetos híbridos interativos e gerando uma reflexão sobre a popularização das tecnologias consumíveis a baixo-custo consideradas “plug and play”, que hoje fazem parte de um cotidiano descartável. Esta reflexão aborda o uso da tecnologia na nossa sociedade e o fazer da arte contemporânea em tempos em que estas novas tecnologias determinam, em grande medida, o modo de vida e o rumo das sociedades. Em um país onde a ideia de miscigenação é fundante, beiju-tronic propõe a produção de objetos híbridos, objetos-ensaio sobre a experimentação da “miscigenação” do ofício tradicional com eletrônica/digital de baixo custo. Quando dizemos “fazer a mão”, estamos considerando que neste fazer estão implícitos tanto processos de produção cotidianos quanto a manualidade da produção de circuitos, uso/escrita das linguagens das programações e recombinações de códigos já existentes open-source e construções de sistemas.
This installation is based on the concept of city as a commodity and the consumerism of space. Reverberations of megalopoles contrast with the inherent memories of these cities. Political history generates big megalopoles supported by industries, services, commerce, datatrade and informational technologies. The concept of a city for living has been replaced by completely private interests, redisigning huge urban areas around the word. Cities became a commodity. In these megalopolis, commum space is priced as an individual goodie.
The advance of new technologies and applied sciences support this “development”. Based on immaginary ‘progresses’, these megalopoles are still growing under very basic premises, focused on the consumerism of spaces. UNASSIGNED explores the hiden violence layered on these private “occupations” of common territories, which usually aparts the citizens from their homeplaces and destroyes the bases of belonging.
Creative City International Fair 2013/14
between lost emptiness and artificial paradises
ready.scapes is a generative audiovisual machine that reads algorithmic information flows produced by users’ navigation through a wifi-net available at the exhibition space named “readyscapes”.
To these contexts of super-modernity, ready-scapes answers with empty fragments of maps that connects nowhere to anywhere, facing the automation of visualization machines and mappings, detaching places from cultural content related to those images.
Hydrophiletic-Z is a system of flux controlled electronically networking with the environment in terms of movement and an ambient distributed sound, through a hybridization of organic systems and electric systems. Having an electric sensorial capacity, Hydrophiletic-Z can absolve its gravity without losing its own plasticity. The cumulative development of the piece allows it to be reactive to its own internal flow. Because of its low mobility, Hydrophiletic-Z needs to restart its movement often in order to reload its structured system.
interactive live performance
Socket Screen is a performance in which the audience directly takes part in the audiovisual creation, through a web application for smartphones created by the artists. The public becomes part of the collective intervention. By accessing the web application on their phones, the audience is directly connected with the performance, experiencing individually and collectively the real-time audiovisual composition projected onto the façade.
Florianópolis, 17,18 e 19 de novembro de 2011 – Mostra 20 mil Léguas de Arte Digital
apoio/ support: Bain:: Connective, Bruxelas.
Under the artists’ direction, a selection of some specific articles of the European Union’s Charter of Fundamental Rights was recorded in several languages at the headquarters of the European Parliament in Brussels.
Online news’ headlines are captured by an application that searches the headlines on internet and keeps them continuously updated. The headlines contrast with the Charter’s text and with the images recorded at the city of Brussels because of its territorial and social contradictions.
These three layers generate a video generative display.
The first implantation of Territories Complexity was in 2007, as a site-specific installation at SESC Paulista Art Gallery. Paulista Avenue is 2.8 Km long and has a conglomeration of skyscrapers holding public and private administration responsible for 46% Brazilian GDP. Paulista Ave. has 22 heliports, 40 telecommunication antennas, the flux of 1.5 million people, 100 thousand vehicles and 100 helicopter takeoffs per day. Based on this information, this economical area was mapped using different capturing devices and stored in an audio-visual database.
The space was designed to be an asymmetric kaleidoscopic formed by two projections and mirrored panels, creating a polyphonic multiplicity, discontinued and immanent, which represents complex urban situations. The space combines dynamically two different ways of interacting: local and remote. Locally, two ultra-sound sensors regulate the scales of GPS information reading the distance between the interactor and the interface. If the interactor is close to the interface, the information level revealed is more abstract, as the pure GPS data, if the interactor is further, it’s possible to see the geographic coordinate of Paulista Avenue. The remote interaction consists in getting the Paulista Avenue sound in real time using the Internet, which influences the rhythm of the projected landscape in the space.
Gästeatelier Werkraum Warteck PP
Burgweg 7 – 15
Werkraum Warteck PP is a collective project that came up in the middle of the 90’s, based on the experiences of squats and other collaborative spaces in Europe and in Switzerland. More than 40 projects in different studios share concepts around cohabitation, collaboration, collective, contamination, process, open space, renovation, responsibility, exchange, heritage, politics in a permanent provisional open minded project. This situation creates a cloud of concepts around Warteck and an on going flux of events. Werkraum Warteck PP is a creative project, a strong attractor, located in a former beer brewery in Basel.
‘about love and other politics’ is a tagged interview based database project started in 2007 in Werkraum Warteck PP. The construction of a related concept-tag cloud builds up a structure for an event horizon with Warteck as the attractor which can be modified by the users’ interventions. About 487 tagged fragments of video statements were organized to be played as a continuous non-linear narrative, always different according to the tags chosen by the public. The connected key words organize the visualization of the interviews.
23 interviews with people in the house were realized to talk about their personal work, Warteck itself, about Love and about Politics – are there distinct concepts? Is Love a way to deal with politics? What is understood as ‘Love’ or what does a person understand by this term? A political position to deal with the world around or an emotion to get out of everything? How did the different people drop into this place and what is their attitude towards it? Is it a working/sleeping place or is there a kind of utopia?
‘about love and other politics’ is a dynamic video document, but it’s not a documentary.