Curating Art after New Media – Professional Development Course
2pm 22nd Feb to 1pm 28th February, 2015
This course is now FULL, but we plan to run another in February 2016. Please contact us if you wish to register your interest for next year.
See Course blog. Course attendees have included curators from Hong Kong, Austria, The Netherlands, Ireland, USA, Canada, India, France and the UK.
This intensive week-long course in London is aimed at curators, exhibition organisers, educators and others working with contemporary art. The course will critically examine how contemporary curating can best match contemporary art practices, including practices that might be collaborative, or participatory. Since new media including social networking, augmented reality and open source have changed thinking on how art works in time and space, this course aims to update professional knowledge in the field. The local, national and international contexts of curating are rigourously examined.
Visits to discuss with curators at organisations have included:
Science Museum – Head of Media Space and Arts Programme. Tate – Convenor (Young People’s Programmes).
Certificates of Attendance are available for this professional development course. Course attendees are responsible for their own travel and accommodation in London. Maximum of 12 places on this course, please book early.
Entre no grupo Cartografias Insurgentes na rede social autônoma Anillo Sur.
cosistema Urbano es una agencia de profesionales que entienden la ciudad como fenómeno complejo, situándose en un punto intermedio entre arquitectura, ingeniería, urbanismo y sociología. Este ámbito de interés lo denominamos “sostenibilidad urbana creativa”, desde donde intentamos transformar la realidad contemporánea a través de innovación, creatividad y sobre todo acción.
Este texto fue escrito en parte en respuesta al simposio ISEA sobre arte virtual y al taller Orbitando Satélites en Laboral Centro de Arte de Gijón. Su objetivo es hacer un breve resumen de algunas de las referencias teóricas y una exploración más sociológica de la forma en que organismos como la NASA, la Agencia Europea de Medio Ambiente, los Ministerios de Defensa, ACNUR y el Observatoire Leonardo des Arts et Techno-Sciences se acercan a los problemas de los presupuestos, ideas y procedimientos en materia de satélites. Dado que entre los organizadores y participantes de estos simposios y eventos se encuentran artistas, especialmente artistas de software, cabe destacar que la perspectiva del arte también está haciendo aportaciones interesantes en relación con el aspecto imaginario y social de los satélites. Algunos de los artistas más importantes que trabajan en este campo son Max Neupert, Duque Alejo, Paglen Trevor, Kancler Tjasa, Laura Kurgan, Aleksandra Mir, Lena von Lapschina, Marceli Antunez, Eduardo Kac, Nam June Paik, Peter Sforza, Walid Raad, Harum Farocki, Reni Hoffmuller…
Una forma de acercarse al aeroespacio político es a través del nuevo concepto de estética espacial, que define y utiliza términos como “geopolítica” y “cartografía” dentro de un marco teórico que abarca referencias tales como la poética del espacio desarrollada por Gastón Bachelard, las definiciones de Foucault del panóptico, la heterotopía y los espacios otros, así como Mil Mesetas de Gilles Deleuze, y Velocidad e información: ¡Alarma en el ciberespacio!, de Paul Virilio, en el que el autor vaticina la idea de la geoesfera, la geopolítica y la geoestrategia de una nueva era en tiempo real. Desde esta perspectiva, a partir de la Guerra Fría, la esfera del espacio público ha definido y se ha apropiado de conceptos inestables, tales como las fronteras, los no lugares y la vigilancia, que convergen en los lugares reales e imaginarios de la distopía, la atopía y la utopía, así como del espacio exterior, las TAZ, el ciberespacio y las Neterotopías.
Por otro lado, los estudios geoespaciales utilizan la perspectiva de las políticas de satélites y la asignación de dispositivos aplicados a una amplia gama de situaciones, desde las poblaciones humanas sin fronteras territoriales a las causas y consecuencias de la actividad humana sobre el futuro del planeta. Durante la Guerra Fría, la política nuclear se utiliza para justificar el alto coste de la tecnología GPS, crucial para determinar la posición de lanzamiento de mísiles balísticos y la política de defensa. A partir de entonces el uso de satélites en conflictos bélicos pasó a ser habitual, como por ejemplo en la Guerra del Golfo (1990-91), en la que el organismo cartográfico de defensa de EE.UU recogió datos geográficos a través de satélite.
El uso no militar incluye herramientas como la desarrollada por la Agencia Europea de Medio Ambiente, una nueva cartografía que permite a los usuarios ver la Tierra, la información y los datos de los satélites utilizados por ACNUR, agencia parte de la ONU. Para contextualizar y cuestionar el trabajo de las agencias en esta área, algunos artistas trabajan con imágenes por satélite, mapas y su política cultural. En su obra, Paradigma, por ejemplo, Tjasa Kancler recopila datos acerca de la propuesta de mísiles de defensa de EE.UU. sobre la base de un sistema antimisiles en países de Europa, mientras que Trevor Paglen muestra una posición en tiempo real de los militares estadounidenses y las naves espaciales, clasificadas por inteligencia y temas. En el texto Satellite Art: An interview with Nam June Paik, Eduardo Kac, otro artista muy interesado en estos temas, describe los peligros que comportan para nuestra sociedad la tecnología militar y del progreso.
Is a theoretical concept for History of Art and Sociology based in Nietzsche, Genealogy of Moral; George Perec, Species of Spaces; Gaston Bachelar, The poetics of Space and the definitions of Panoptic and Heterotopy by Foucault, as well as The Auters Spaces (The Others Spaces). Also takes referees from Milleaux Plateau by Gilles Deleuze. Mainly distinctions to categorise SPACE is based in Warburg historiography and topology and also through the distinction of the physical/non-physical, the embodied/disembodied.
Since the Cold War the dominion of public social space is determining and building the Hierarchy of spaces, as Foucault wrote when defined Heterotopy. Other distinctions are Distopia. Utopia. Non-site. TAAZ. Borders. Human geography. Surveillance. Site-specific installations. Theatres, stations, roads. Locations.
The NON PHYSICAL spaces are categorisedor ordered by immaterial, disembodied, spiritual phantasmagoria, mnemonic, memory and its psychic appearance as well as its virtual absence like Mnemosyne. Among non – physical spaces are relevant the definition of rhizome, internet, distopia, atopia, neterotopies. Categorised for New Media Art they have to deal with the politics of the deterritorialisation. It implies to Builds up the web and the Ecology of transport, as well. It claims to reform and built up alternative spaces based in Deterritorialism, Non-site, and consequently to the Dematerialization of the artistic object from Conceptual and Performance from 70s. A Rhizome is a Point, a form in gestalt that explains multiplicity in Subject experience. Deals with Cartography as social poetry to focalise vision as a blow up. It was used by Deleuze as a philosophical concept developed altogether with Felix Guattari in Capitalism and Schizophrenia (1972-1980) project. It is what Deleuze calls an “image of thought,” based on the botanical rhizome, that apprehends multiplicities. Internet is another concept, moreover a social devices, an emergent new system of communication. Its determination is to turn up the web. It means to build the World Wide Web. Internet as a new system of communication (or knowledge) is defined as Immaterial by Joasia Krysa, Christine Paul or Steve Dietz. Immateriality is directly associated with networks, computers and cybernetics in its intention to deconstruct the meaning of image and sound. Steve Dietz in his 1997 text Curating (on) the Web defines immateriality in reference to the Italian autonomous Marxist tradition, as a response to the transformations undergone by labour in post-Fordist or network societies. The immaterial labour is a form of social relations, a communications systems and information networks. From the art object to the processes of dynamic online systems, Negri conceptualizes the immaterial labour according to communications technologies and new forms of distribution and production. Also, Marina Vishmidt defines immateriality as a useful concept to index the characteristics of curatorial, critical and media sectors to the wider structural transformations in the landscape of work (2004, in Terranova herein). The Ubiquitous is a definition of post media era by Jose Luis Brea. The character of ubiquity is unlimited reproducible in its production. Ubiquity Era refers to Electronic digitalisation, Phenomenology of perception and the communication and image production technologies. The election of the concept and the title is justified under the homage to the anticipatory intuition of Paul Valery in his Visionary depiction of the Transformation and Awareness in Art Paradigm, a change in the cultural paradigm through New Media Art. Cyberspace refers also to the telematic and Virtual definition of Roy Ascott for the immaterial machine of knowledge, memory and communication. It is also an analogy to the Marxist concept of the material machines – an embodiment of collective intelligence, general intellect and technology in the post-Fordist economy. If we display cultural policies in cultural sites as theatre or archives, the immaterial internet knowledge is displayed through the Electronic screen, new place to share and distribute according to the Interface and connectivity implying Cosmovision through cyberspace and Internet, also developing new laboral works, more Flexibility and Extended through the cross-geography and at the same time increasing isolation and control on employs through Machine on surveillance.
The Neterotopia is the term condition for free visions of the net. It covers Tactical media as Resistance in front of production machine and abuse of power. The manifesto “Anger is energy, and also their limitation” ejemplifies the typical heroes like the activist, the nomadic media warriors, the pranxter, the hacker, the street rapper, the camcorder kamikaze, they are the happy negatives, always in search of an enemy. Media tactical is the practice of everyday life, and in it is not also defended by utopian anarchist, but for theoretician as De Certeau and Bauhaus, where farmers and citizens are considered to have become the migrants, the refugees, the gastarbeiters, the asylum seekers, the urban homeless. Neterotopia is inspired by Michel Foucault’s concept of heterotopia. Neterotopies are thus inserted in the media communication system, respecting its rules and limits, at same time attaching a new significance to advertising spaces. Artists and websites: Christophe Bruno (liberation), Ghazel (sortiraparis.com), Susan Hefuna (movies.tenuae.com), Nathalie Hunter (google.com), Yuji Oshima (arman.fm), Peter Lemmensand Eva Cardon (wunderground.com), Adam Vackar (inrockutibles.com), Stephen Vitiello (villagevoice.com), Luca Vitone (viamichelin.it), Version (Gabriela Vanga, Ciprian Muresan e Mircea Cantor), corriere.it, 0100101110101101.ORG (film.it). the Dystopia is a concept from ancient Greek, and it means place or landscape. Alternatively, it is an anti-utopia. It is also a vision of an often futuristic society that has degraded into a repressive and controlled state. It is usually said that dystopian liberal are against utopian anarchist. Godard film a typical dystopian landscape in Alphaville, where Lightscapes represent the future city or the digital city where digital space reproduce timetravels and dreamscapes through the city of bits, the media city organised through mapping, google.maps, locative.media, sound.scapes, light.scapes media.scapes, space.scapes. The future city it is also being developed to the telematic embrace and noosphere city of connectivity and electricity. Ryoji Ikeda, Daniel Canogar and Rafael Lozano Hemmer artworks are celebrating new media art by using light in public space. Another polish artist, Krzysztof Wodiczko is displaying new agoras but as a nomadic sophist in a migrant polis where physical or media and virtual landscapes of the capital are also radically deterritorialised in flexible media. Also, the Atopia is the no-space. Atopia may refer to a society which does not have territorial borders. It relates to Outerspace, the Aerospace and is also dealing with the causes and damage on human at the future cities. Ubermorgen presents in Universal Health a universal Atopia and the possible solution to healthy living in near future. Atopia prepares a dictionary of cultural malaise. Atopia explores a kind of unease—the awkwardness that exists between the city and the individual. The tension between a city that becomes individual (taking on a life of its own, over and above nations, countries or states) and an individual it treats like an object. Between them, the two form a kind of Atopia. We know that utopias did not exist, but they did offer paradises elsewhere, away from the danger of the world’s present. Atopia as outerspace comprises and responses to NASA policies and the satellites development as well.
Among non-physical places, we can describe the utopian space and also the imaginary. Utopia is an imaginary space. It includes also psyque and psychic, subconscious and the direct inheritance from the meaning of the image in surrealist painting as the liberation of unconscious. Lacan, Borges, Dali, Jodorosky are authors working in that non-physical spaces building memory for solving matters about the meaning of image vision. Moreover, post Freudian psychoanalyst is considering, mainly based in Jung theories, the human body as place, and its signification in relation to thought as a non-physical place of communication and symbolism.
LEO (Low Earth Orbit, which means low orbits). Orbit the Earth at a distance of 160-2000 km and speed allows them to travel around the world in 90 minutes. Are used to provide geological data on the movement of earth’s plates and the phone industry by satellite.
Satellites MEO (Medium Earth Orbit, Medium Earth Orbit). Satellite orbits are fairly close, about 10,000 km. its use is intended to telephone and television communications and measurements of space experiments.
Satellite HEO (Highly Elliptical Orbit, highly elliptical orbits). These satellites do not follow a circular orbit, but its orbit is elliptical. This means that achieve much greater distances at the farthest point of its orbit. They are often used to map the Earth’s surface because they can detect a wide angle of Earth’s surface.
GEO satellites. They have a forward speed equal to the speed of rotation of the Earth, which means they are suspended over the same spot of the globe. Why they are called geostationary satellites. For the Earth and the satellite must match their speed latter is at a fixed distance of 35,800 km on Ecuador. They are intended for television broadcasting and telephony, data transmision over long distances, and the identifictaion and dissemination of meteorolofical data.
there were needs for navigation in military that cost billions of dollars in research, development, deployment, and operation for the complex constellation of navigation satellites.
during the Cold War arms race, the nuclear threat of the United States was to justify the cost in the US Congress. This is why GPS was funded.
Also, The nuclear threat also deals with the US Navy’s submarine-launched ballistic missiles (SLBMs) along with the US Air Force’s strategic bombers and intercontinental ballistic missiles (ICBMs).
Both system need to functions the satellites in orbit
Considered vital to the nuclear policies, to determinate the Ballistic Missile launch position, and to measure the precise navigation to enable US submarines to fix their positions satellites were necessary.
GPS global positioning system
The Global Positioning System (GPS) is a space-based global navigation satellite system (GNSS) that provides reliable location and time information in all weather and at all times and anywhere on or near the Earth when and where there is an unobstructed line of sight to four or more GPS satellites. It is maintained by the United States government and is freely accessible by anyone with a GPS receiver. In addition to GPS other systems are in use or under development. The Russian GLObal NAvigation Satellite System (GLONASS) is for use by the Russian military. There are also the planned Chinese Compass navigation system and Galileo positioning system of the European Union (EU). GPS was created and realized by the U.S. Department of Defense (DOD) and was originally run with 24 satellites. It was established in 1973 to overcome the limitations of previous navigation systems.
captura imagen sistema solar / planetas /
weather conditions / earthquackes /
human displacements in war / crisis /
misiles / armamento / belico
PAUL VIRILIO in SPEEd and information. Alarm in cyberspace! An article for aleph arts, uses concepts as Geosphere and announces a new era in real time.based also in concepts as Geopolitics, Geostrategy. Virilio is finding how Democracy is under thereatment of Real time and cyvberspace in its dealing with the contact among distance, the Telecontact. The Globalised information world will Shock the Reality with distortion, Progress and Technique. The Ciberdemocracy or the Virtualdemocracy, it also means the globalization of time (in Debord the technocracy of work organizing holidays and leisure activities around the capitalism of work). The conceptualization of uniqness system of time under capitalistic machinery does not display devices for free experimental development of what is being called the Global time, the Virtualized, Universal, Global time. It is belonging to multimedia and to the social need to display new clock tools to show time universal machine, something that satleiites are now showing (weather conditions plus time conditions in univeral and social space). Virilio is also dealing with the influences of transport technology in what we call control in information systems. The Security systems used in transport is not considered yet in digital, for example Disinformation. According, the conditions of social media in contemporanity and according to Virilio, the second bomb, these after the atomic, will be the electronic bomb. Moreover, Virilio is in the aesthetic of digitalism and awarnes against Risk, Accidents, Collapse, like Chernobyl, Crack29, and militarist policies. http://aleph-arts.org/pens/speed.html
The gulf war did not take place. Published in press. Cnn. Influence by borges. Cartographer. Empire draw map. Geographical data collect by us defense mapping agency. Military. Golf war. 1990/1991. categories: virtual . hiperreal . simulacro . tiempo real .
Displaying tools to develop social needs and knowledge. Clocks, cameras, to visualize global world complexity. Internet, digital photo , satellites, unfortunately delivered by military research contrating to modernity invention as photo or cinema, or classical caja negra. Anyway, artist working in cntmp devices to develop social needs. Abuse of power. Use of incriminating policies to develop strategies (image and sound mainly, territorial and time devices, as well) .
EEA The European Environment Agency (EEA)
Discover Europe’s landscape through satellite and ground-level pictures The LUCAS viewer, a new mapping tool managed by the European Environment Agency, now allows users to see land-cover information based on satellite images as well as thumbnail-size photographs taken in sampled locations across Europe. LUCAS viewer Land use interactive map with ground-level photographsThemes Land use Adding such in situ observations to satellite data leads to a more accurate and detailed presentation of Europe’s landscape. This is particularly useful in understanding how Europe uses its land and helps improve environmental assessments.The photographs were collected by Eurostat as part of the LUCAS field surveys (land use/cover area frame statistical survey). LUCAS provides harmonised information on Europe’s agricultural environment and has been recording in situ observations of land use and land cover, including photographs in four directions (north, east, south and west) and of the sample spot itself. The LUCAS viewer plots these photographs against the Corine land cover 2000 data.A new GMES (Global Monitoring for Environment and Security) working group on in situ observations meets for the first time in London today (18 March 2008) to discuss how ground-based monitoring could be better integrated with earth observation data.
The European Environment Agency (EEA) is an agency of the European Union.
ACNUR is one of the ONU agencies that is currently working with data satellites. It is know that satellites captures images that are saving considerable time in operations to rescue refugees in displacements. It also has the important advantage of obtaining visual reference of the ground with devices exposing risks as HURRICANES, DISPLACED PEOPLE, REFUGEES. UNOSAT is the Operational Program for Satellites Aplications of United Nations Institute for Research and Investigation. In 2007, fighting in libanon to flee a majority of the 27.000 palestinian refugees living in the overcrowded camp of nahar al-bared, leaving behing 3.000 to 5.000 refugees, including children, sick and elderly. Humanitarian organization were not allowed access to the fields, but UNOSAT provided detailed assessments of the damage. The information was used to observe the humanitarian situation and provide evidence on the Lebanese government that would basis for requesting international assistance and funding for the affected population.
Images satellites allows to localize displacements people on the territory thanks to, among others, radar satellites for example, that are capturing vision night images. Acnur informs about the situation of excess in territorial spaces. Cities and territories in growth threatrened by gentrification, mass urbanism, etc.. in that order, conquer the outerspace and built up the web with satellites policies in order to prevent risk in earth borders and ancestral zones underthretment or physical territory dealing with humanitarian, or humanitarism policies. Politics of preservation of human species.
re the dSph satellite galaxies tidal-dwarfs? Prof. Pavel Kroupa, Argelander Institute for Astronomy (AIfA) Sternwarte, University of Bonn. The Milky Way has about 15 low-mass dwarf-spheroidal (dSph) satellites. These have luminosities and internal velocity dispersions similar to globular clusters but are about 100 times larger. The usual interpretation is that these objects are dark-matter dominated: the stars are located in the innermost regions of 10-100 times more massive dark-matter sub-halos. However, many of the dSph satellites are sub-structured and appear to be distorted. Such distortions are most readily explained if the satellites are significantly affected by the Milky Way tide such that dark matter does not significantly shield them. Furthermore, the satellites are distributed in a relatively thin plane extending to 250 kpc which is highly inclined to the disk of the Milky Way. This is most readily explained if the dSph satellites are causally related, i.e. if they share a common orbital angular momentum vector. All of this can be understood within a conservative framework, in which early galaxy-galaxy encounters produce tidal-dwarf galaxies. Applied to the Milky Way this suggests an early (about 10 Gyr ago) encounter which left a population of related TDGs in orbit.
fuerzas armadas / ministerio de defensa
SATELITE SPAINSAT Y XTAR-EUR: El SPAINSAT incorpora una antena anti-interferencias desarrollada por INTA / CASA-EADS y que supone un gran avance tecnológico en el campo de las antenas planas activas multihaz. En el desarrollo de la antena IRMA, asociado a este programa de satélites, la participación nacional (Dirección Técnica � INTA y Dirección de proyecto � EADS-CASA) fue la siguiente: EADS-CASA Espacio (Diseño, desarrollo, fabricación, integración y ensayos a nivel antena; Diseño y fabricación placa base y elementos estructurales, de elementos térmicos, de cableado eléctrico, de cableado RF y de elementos radiantes; Medida RF de las tarjetas de control; Diseño y medidas RF del circuito híbrido; Diseño, fabricación, montaje, ensayos y medidas RF de las redes combinadoras y de útiles de integración y ensayos a nivel antena; Ensayo RF en laboratorio y cámara anecoica a nivel antena), ELATESA (Fabricación de circuitos impresos de elementos radiantes y de las redes combinadoras), INTA (Medidas RF de elementos radiantes y Ensayos ambientales a nivel de antena como vibración, ciclos en vacío térmico y EMC); ASTRIUM-CRISA (Diseño, fabricación, integración y ensayos de las unidades eléctricas y placa base); INDRA (Montaje de los componentes y ensayos ambientales del circuito híbrido) y la Universidad de Santiago de Compostela (Análisis de sensibilidad y síntesis de haz).
Así mismo, se ha desarrollado una como herramienta software de Control y Operación desde tierra de la antena anti-interferencias IRMA (SCOI). La organización nacional en su desarrollo fue el siguiente: Oficina Jefatura de Programa SATCOM de la DGAM/SDG PLAPRO y Dirección Técnica INTA: EADS-CASA Espacio (Dirección de Proyecto, Gestión, Garantía Calidad, Ingeniería de sistemas, definición de planes de ensayos, desarrollo módulos de software y validación sistema), INSA (diseño y desarrollo arquitectura software de la aplicación, desarrollo de interfaces, gestión de bases de datos, e integración de módulos de software), Universidad de Cataluña (desarrollo de los algoritmos de mitigación de interferencias y definición de interfaces) y Universidad de Santiago (definición y desarrollo algoritmos matemáticos de síntesis nominal de haces).
SATELITE OBSERVACIÓN HELIOS:Los satélites Helios I y II van dotados de sensores ópticos que efectuarán tomas de imágenes en el espectro visible y también en el infrarrojo en el caso de Helios II. Los satélites de observación Helios II de nueva generación asegurarán la continuidad del servicio del Helios I, primer sistema militar europeo de vigilancia, y ofrecerán al mismo tiempo una serie de características que incluyen: una resolución mejorada, capacidad de infrarrojos para observación nocturna, capacidad de formación de imágenes incrementada simultáneamente de diversos modos, tiempos de transmisión de imágenes más cortos. La capacidad de inteligencia día/noche (con funciones de visibilidad y de infrarrojos), del sistema Helios II también se podrá emplear para la selección de objetivos, planificación de misión y verificación de daños de combate.
SATELITE OBSERVACIÓN PLEIADES: El Ministro de Defensa junto con el Ministro de Industria, Turismo y Comercio, firmaron el 26 de julio de 2007 un Acuerdo Marco para el desarrollo, financiación, puesta en órbita y explotación del Programa Nacional de Observación de la Tierra por Satélite, que supondrá una inversión global de 328 millones de euros (135 millones correspondientes a MINISDEF y 193 millones a MITYC). Los planes iniciales prevén que dos satélites estén operativos en el año 2012. El �Programa Nacional de Observación de la Tierra por Satélite� estará constituido por dos satélites:
* Un satélite (denominado Ingenio) con sensores ópticos, que será gestionado por el Centro para el Desarrollo Tecnológico e Industrial (CDTI, dependiente del Ministerio de Industria), orientado principalmente a usuarios civiles.
* Un satélite (denominado Paz), objeto de este Programa, dotado de sensor radárico SAR, que será gestionado por el Ministerio de Defensa. Este satélite responde en mayor medida a requisitos de Seguridad y Defensa aunque cuenta con una capacidad de utilización dual, civil y militar. Con este satélite es posible obtener imágenes de la Tierra de alta resolución en condiciones climáticas adversas y durante la noche, es decir, todo tiempo.
La firma de este convenio da respuesta a uno de sus principales objetivos de la Administración Española: garantizar la adecuada coordinación de las inversiones públicas en espacio entre los diversos actores, obteniendo resultados muy superiores a los que proporcionaría el desarrollo de ambos satélites por separado.
MIT undergraduate students are building this satellite as part of a three-semester Space Systems Product Development course designed to give students real-world experience building and testing hardware. The curriculum involves a CDIO approach: conceive, design, implement, and operate. This phased approach to the project takes students through the all the stages of the development process, giving them the experience of managing a full life-cycle project on an aerospace product.
Mapping Virtual Skies ISEA2010 RUHR Conference Programme 24/08• Max Neupert (de): Satellite Zodiac • Alejandro Duque, Luis Bustamente (co): Unsigned• Laura Plana Gracia (es): Database Visualizations, Mapping and Cartography: Genealogy of Space.
MAX NEUPERT Satellite Zodiac http://revolwear.com/ Since the majority of the world’s population now lives in cities, starry nights have become increasingly rare. However, our life is dominated by artificial heavenly bodies. In my installation I make satellite positions visible – the room becomes a planetarium, with satellites replacing stars. Laser pointers display the positions of satellites. Additionally, illustrative interpretation of the emerging (satellite-) constellations explain their meaning and reflect our technological contemporary mythology. The C64, iPod, Gameboy and Walkman are among zodiac symbols of satellite constellations.
THE BOGOTA DECLARATION. A tropicalattempt to reclaim geostationary slots for the countries located below the clark belt (36km above us) http://bogotadeclaration.wordpress.com Chaotic space traffic needs rules, less secrecy: US general .by Staff Writers Washington (AFP) May 13, 2010 A top US general on Thursday called for international rules to control chaotic space traffic, warning satellites are increasingly at risk of collision. General James Cartwright, vice chairman of the Joint Chiefs of Staff, said it was no longer possible for the United States and other countries to keep vast numbers of orbiting satellites a secret. BIRDS WITHIN http://wiki.medialab-prado.es/index.php/Birds_within El proyecto usa una arquitectura de 3D Audio en la que diferentes tonos o loops de sonido son asignados a representaciones digitales de satélites reales cuyas órbitas y velocidad son escaladas hasta el espacio personal de quien escucha. Éste tipo de paisaje sonoro busca subrayar la inmediatez de la actividad sideral y su influencia en espacios personales y comunes. El mayor reto del del proyecto es encontrar una vía para acentuar la experiencia de ésta actividad a través de una superposición de medios análogos y digitales con procesos sociales de observación y exploración urbana. M.S.S.T.Satelliteless http://devolts.org/msst/?page_id=124 Senza satellite Artisans of bits and volts, humanist poets, nomadic scientists – where are we going? I trust in the pulse of your steps, our revolution is the next second, and the constant challenge is not to surrender to the conformity of being entertained or entertaining: distracting the fact that we want to live beyond history, walls, banks, genetic similarity. We want an ecosystem that is worth of all this Prometheic pyrotechinic – this being, which is supposed to be Sapiens. Some intelligent symbiosis to keep this flame heating an harmonic environment. MOVIMIENTO DE LOS SIN SATELLITE https://n-1.cc/pg/groups/36140/msst/ Comunidades de artesanos de bits y voltios, poetas humanistas, cientificos nómadas hacia donde vamos?? Confio en el pulso de tus pasos, nuestra revolución es el proximo segundo, el desafio constante de no rendirse al conformismo de entretenerse o entretener, distrayendonos del hecho de que vivimos mas alla de la história, de los muros, de los bancos, de la semejanza de los cuerpos y sus consanguinidades.
Misile defense proposal for Europe by US defense department
Some of the world’s most dangerous and unpredictable regimes either have already acquired, or are attempting to acquire, weapons of mass destruction. These regimes are also developing and/or acquiring ballistic missiles of increasing ranges, payloads, lethality, and sophistication as a means of delivery. In the future, these regimes could use these asymmetric weapons to pursue their objectives through force, coercion, and/or intimidation as they have done in the past.
Because of the expanding ballistic missile threat, it is essential that we develop and deploy missile defenses capable of protecting not only the United States and our deployed forces, but also our friends and allies. Trans-atlantic security is indivisible. We have learned from experience that decoupling our defenses from Europe is very much against the interests of the United States and our European allies. If Europe is not secure, the United States is not secure. To ensure our common security, we need defenses stationed and operational in Europe before a threat fully emerges. For this reason, negotiations are currently underway to locate up to ten silo-based long-range missile defense interceptors in Poland and a midcourse tracking and discrimination radar in the Czech Republic.Why the sudden concern? Defenses take years to deploy. Work on missile defense in Europe must begin now in order to meet the growing threat from Iran.
Iran has demonstrated the capability to develop, and intent to use, ballistic missiles of increasingly longer range (they currently have short-range ballistic missiles (SRBM) and medium-range ballistic missile (MRBM) technology) In 1998, intelligence experts indicated North Korea was years away from testing multi-stage rockets; the next month, they tested this capability. We cannot afford to be surprised by waking up one morning and discovering that Iran has an ICBM capability.
Active Military and Reconnaissance Satellites of the United States of America
A multimedia installation in which real-time positions of classified American military and intelligence spacecraft are projected as points of light onto a large rotating three-dimensional globe. A soundtrack composed from intercepted transmissions from these spacecraft plays in the background. The installation is run by proprietary software developed specifically for the piece. Orbital data for the spacecraft comes from a loose network of amateur “satellite observers” who maintain an accurate “catalog” of classified objects in Earth orbit. Principle development for the installation was done by Chris Sugruewith supporting work by Jeff Crouse, Evan Harper, and Geraldine Juarez. The installation was produced with a commissions from the Eyebeam Art + Technology Center and the Berke. Trevor Paglen has a series of large-scale time-lapse photos o f the night sky with contrail-like traverse lines of otherwise invisible surveillance satellites against near infinitely distant starry background, documenting a covert American espionage program consisting of a network of nearly 200 classified information satellites. These are stunningly beautiful photos that are also impressive in terms of the amount of sheer information they contain. The time-lapse photographs are like movies distilled and condensed to a single frame. The explanatory material notes that the photographic technique essentially reiterates Galileo’s technique to discover heavenly bodies, namely, the moons of Jupiter, that also weren’t supposed to exist but were revealed through time-lapse observations and recording. http://artvoice.com/issues/v9n27/art_of_war
EDUARDO KAC SATELLITE ART: AN INTERVEW WITH NAM JUNE PAIK
will be aired September 10, 1988, at 10:30 AM (Eastern Time), one week before the Olympic Games take place in Seoul, Korea. Its structure could be summarized as follows: several satellites around the planet will transmit images and sounds from several countries and Paik will be editing them in real time in New York and re-transmitting them back to the participating countries, where spectators will be able to watch on a local TV channel. With support from the Globo Television Network, Brazil will be the only country from South America to take part in the project. In charge of the Brazilian end is Hans Donner, an Austrian designer and computer
(…)Since today we have satellites, we want to use them, discover what we, artists, can do with them. These same instruments (satellites) are used in the applied arts, which are essential to humankind because they are useful in everyday life. But there is also the military use of satellites. We want to use satellites for pacifist purposes, such as the performance arts, rock’n roll, dance, etc.; and we can make simultaneous transmissions between Rio de Janeiro, New York, Seoul, Bonn, Tokyo, Moscow and many other cities. It is clear that the applied arts are directly related to people’s activities, but the fine arts are more meaningful than the applied arts. We are using these new materials to work with the temporal element of the popular arts, the rhythm, which is so important in video art. This is my last satellite show, but it is also the beginning of a larger satellite movement of the future.
Initially dubbed “Space Rainbow”, the project’s title was later changed to “Olympic Rainbow”, and again to “Wrap Around the World.” Whether the reference is to science or mythology,
DEALS AS WELL WITH MILITARISM, TECHNOLOGY AND EVOLUTION (PROGRES)
ALSO AWARNESS AND RISK AND CAREFULNESS WITH THE ELECTRONIC MEDIA
You Are Here: Museu, MACBA, Barcelona (1995)
Taking advantage of a then newly operational network of 24 Global Positioning Satellites, this installation recorded the traces, and presented in real time, an attempt to inhabit the unruly and disorienting spaces of satellite mapping system. Exhibited as the inaugural installation, Department of Architecture and Design, Museu d’Art Contemporani de Barcelona, November 1995 – February 1996. Solo exhibition. Catalogue
Catalogue: Laura Kurgan and Xavier Costa, eds.You are Here: Architecture and Information Flows, MACBA, 1995 Museu D’Art Contemporani, Barcelona.
Peter Sforza has studied the forms and functions of nature his entire life. As a biologist and plant pathologist, Peter studied the complex structures and strategies of microscopic organisms that incite disease in plants. Scientific visualization was essential to better communicate the mysterious ways of the microbes, and the forms were modeled in 3-dimensional and 4-dimensional environments. Viruses, bacteria, fungi, The Pathogenesis of Agrobacterium tumefaciens and genetic engineering,The Virtual Nematode, The Virtual Dandelion, and more. Rendering techniques included: static images, 3-d models, animated movies, semi-immersive and fully-immersive virtual environments. Display technologies used ranged from old school flip-book, wall projection and computer monitors to virtual reality theaters (VT CAVE). Some aspects are discussed in this article written by John Rougeux. … Perspectives on epidemiology, informatics and multi-scale systems emerged from the molecule to the organism, up to the landscape and global scales. Again, the patterns of nature presented an array of rich and complex, chaorganized interactions through these scales. Remote sensing and geography provide many excellent ways to see the world. As a scientist and visual artist working in remote sensing, the theoretical and technical aspects of satellite art are bolstered by a diverse scientific community in academia, government and industry, particularly the USGS science programs. The amazing optics and space systems of NASA, commercial satellite companies, and other space agencies around the world ensure quality data generation through satellite imagery. These optics and ‘products’ do not ensure quality rendering and processing.
There is currently a surge of both companies and individual artists / studios who are working with satellite imagery as an artform. As the commercial space flight industry grows, artists will be afforded the opportunity to capture the essence of being in space, looking back at the earth, but the uniqueness of satellite imagery will remain intact…. In the case of several of the commercialized companies or resellers offering satellite image prints on the internet, it difficult to escape poor rendering of such nice imagery, largely because these prints are generated through automated computer processing of satellite imagery that can be assembly-lined into a poster series. This sterile approach misses what Peter considers as one of the great challenges in satellite art : how do we connect satellite imagery to the human condition, and appeal to a deeper aesthic sensibility and emotion, while retaining the quality and accuracy of orginal satellite data. People are connected to places, and satellite art can abstract that sense of place and memory in a very meaningful way. In the case of some images, such as Hurricane Katrina Dragon, the connection to the human condition and symbolism present in the image evokes a spectrum of emotions and responses. The majority of the satellite art produced by Peter Sforza has been commissioned work, which has grown into a collection of hundreds of pieces, many with incredible stories behind the requests.
Peter Sforza is a Research Associate in the Department of Geography and Associate Director of the Center for Environmental Applications of Remote Sensing atVirginia Tech. He currently serves as the Coordinator of VirginiaView, a statewide consortium for remote sensing education, research, and geospatial applications. Peter holds a B.S. in Biology (1997) and a M.S. in Life Science (2004) with a concentration in Plant Pathology, Physiology, and Weed Science at Virginia Tech. Peter’s academic work has focused on developing integrative and systems approaches to real world problems in epidemiology, biotic and abiotic interactions, and landscape ecology using scientific visualization, informatics, geospatial technologies, and remote sensing.
September 28, 2007
In collaboration with non-profit organizations, Peter Sforza will be releasing a new series of Limited Edition prints through Satellite-Art.com to help raise awareness and resources for issues in the Gulf Coast, Latin America, and in Virginia. The target date for the official announcement is set for December 1, 2007! Stay tuned, or sign-up for the mailing list to receive an occaisonal newsletter from Satellite-Art.com.
NomadicMILK is a GPS (global positioning system) art project conducted in Nigeria by Dutch artist Esther Polak where, using satellite technology she tracked the distribution of “Peak” brand powder milk from the harbor in Lagos to the capital City, Abuja, and a nomadic Fulani family in Abuja and its greater vicinity.
For this project, she carried with her GPS receivers and custom built robots which draw recorded routes using sand, when fed the GPS data, allowing audiences to witness the creation of a digital data-guided image that is generated from the movements of the Fulani herders, and for which they could gather around and reflect communally.
In the context of the Geo-tales workshop, the two artists are working with a group of Contemporary artists from Nairobi who are interested on Mobility and mapping – including spatial arrangement & distribution, and how these play various roles in diverse human habitats, and ultimately, to develop viable, pragmatic strategies of how this can be artistically explored and presented.
Together, they shall use their individual & collective experiences with the city as a starting point for a small-scale project that makes use of GPS technology to reveal new and inspiring aspects of re-looking and experiencing the city: its patterns, its flows, is distances, its differences, its similarities – and the means through which the city acts as a fundamental part of our daily existence and as such continues to impact our lives and our landscapes.
With an assortment of GPS equipment you can go out in the streets and the devices record movements. These are visualized directly after returning to the CCAEA space, where the collected data is downloaded. Participants are working in small groups (2-4 person) to develop and articulate their own plans. After the two-week workshop the results will be presented to the public at the CCAEA Space and the Go down arts centre gallery.
Esther Polak (b. 1962) is an Amsterdam based Artist working in the field of New Media. Polak studied at the Royal Academy for Visual Arts in The Hague from 1981 till 1986, and at the Rijksakademie van Beeldende Kunsten in Amsterdam from 1986 till 1989. With a consistent interest in landscape and in contemporary ways of visualizing space and geography, Polak turned to visualization and mapping as artistic tools, and an integral part of the basic concept of her work. In several of her long-term projects such as Amsterdam RealTime, the MILK project and NomadicMILK, Polak makes mobility, routes and trajectories visible from the perspective of participants, in an intuitive and personal manner.
With the MILK project, Esther Polak won the Gada Balva Prix (Riga, Latvia) in 2004. In 2005, she was awarded the Golden Nica for Interactive Art at Ars Electronica, Linz, Austria.
Ivar van Bekkum is an Amsterdam based Visual Artist, graphic designer, illustrator, photographer, producer, publisher. From 1985 to 1989, he studied journalism at the school of journalism in Zwolle, The Netherlands. He worked as a news designer for newspapers and magazines in which role illustration and photography became part of his profession. He designed books and more and was awarded a honorable mention with the redesign of the newspaper Automatisering Gids. He got aquainted with Esther Polak in the 90’s. They started working together in 2004.
This Project is facilitated by Nairobi Arts Trust, Kenya & Stichting beelddiktee, Netherlands.
This project is supported by the arts collaboratory. www.artscollaboratory.org
For images & more information please contact:
Tel: +254 733 762 556 begin_of_the_skype_highlighting+254 733 762 556end_of_the_skype_highlighting www.nairobi-arts.org
THE symbolic connection beetwen the moon, the earths’s satellites, a star and people living the present moment, moves back froma systematic celebration of the past. being a monument devoted to space time. it reflects the everyday and reminds people of the here and now.
1. INTRODUCING GENEALOGY OF SPACE
GEOPOLITICS / MAPPING / CARTOGRAPHY
INTRODUCING GENEALOGY OF SPACE through concepts as GEOPOLITICS / MAPPING / CARTOGRAPHY. It is a theoretical concept based in Nietzsche, Genealogy of Moral; George Perec, Species of Spaces; Gaston Bachelar, The poetics of Space; the definitions of Panoptic and Heterotopy by Foucault, and also The Auters Spaces. It takes referees from Milleaux Plateau by Gilles Deleuze. Also, Paul Virilio in Speed and information. Alarm in cyberspace! An article for aleph arts, announces concepts as Geosphere, Geopolitics and Geostrategy for a new era in real time. Since the Cold War the dominion of public social space is determining and building the Hierarchy of spaces among different distinctions as Dystopia. Utopia. Atopia. Non-site. TAAZ. Borders. Surveillance. Internet. Cyberspace. Neterotopies. Outer space, Universe. Etc. The geospatial studies imply satellite policies and mapping devices. This may refer to a society which does not have territorial borders and is also dealing with the causes and damage on human in the future. During the Cold War arms race, the nuclear policies treatment was to justify the costs of GPS, vital for nuclear policies and to determinate the Ballistic Missile launches position. It is also known that geographical data was collected by U.S. defense mapping agency during Golf War 1990/1991. Contrary to war policies, the European Environment Agency is using a new mapping tool that allows users to see land-cover information. Also ACNUR is currently working with data satellites. Among other artist working with satellites imaginary, mapping and cultural policies, Tjasa Kancler (Paradigma) collects data about the US Missile defense proposal for Europe based in an antimissiles system at the eastern European countries, obviously based in satellites uses and des-territorialized outer-space policies. Trevor Paglen shows a real-time position of classified American military and intelligence spacecraft. Laura Kurgan uses satellites location devices to map real spaces inside the museums and Peter Sforza takes use of satellites to capture images of the earth. Eduardo Kac in Satellite Art: an interview with Nam June Paik deals with militarism, technology and evolution (progress) under awareness and risk conditions with carefulness in the electronic media.
Originally published in Portuguese in the newspaper O Globo, Rio de Janeiro, Brazil, in July 10, 1988. Republished in: DIVA — Digital & Video Art Fair, 2005 Cologne (A Tribute to Nam June Paik), pp. 8-9. http://www.ekac.org/paik.interview.html
NAM JUNE PAIK
Space Rainbow, Olympic Rainbow or Wrap Around the World
The game was directly inspired by MGM’s1983 filmWarGames, but instead of depicting the film’s events adapts its iconic NORAD scene into playable form. It is one of a handful of games that feature waging nuclear war, and one of the few without an aim of winning it.
In 1991, when images of the Gulf War flooded the international media, it was virtually impossible to distinguish between real pictures and those generated on computer. This loss of bearings was to change forever our way of deciphering what we see. The image is no longer used only as testimony, but also as an indispensable link in a process of production and destruction. This is the central premise of “War at a Distance”, which continues the deconstruction of claims to visual objectivity Harun Farocki developed in his earlier work. With the help of archival and original material, Farocki sets out in effect to define the relationship between military strategy and industrial production and sheds light on how the technology of war finds applications in everyday life. (Antje Ehmann)
Rajmann editor: Harun Farocki Max Reimann cinemato-
grapher: Ingo Kratisch sound: Matthias Rajmann
production: Harun Farocki Filmproduction, Berlin, with
support from Medienboard Berlin-Brandenburg GmbH
co-production: Jeu de Paume, Paris, Stuk, Leuven
2 videos, color, sound, 20 min. (loop)
Eye / Machine III
The third part of the Eye-Machine cyclo structures the material around the concept of the operational image.These are images which do not portray a process but are themselves part of a process. As early as the Eighties, cruise missiles used a stored image of a real landscapes then took an actual image during flight, the software compared the two images. A comparison between idea and reality, a confrontation between pure war and the impurity of the actual.This confrontation is also a montage and montage is always about similarity and difference. Many operational images show coloured guidance lines, intended to portray the work of recognition. The lines tell us emphatically what is all important in these images, and just as emphatically what is of no importance at all. Superfluous reality is denied – a constant denial provoking opposition. (Harun Farocki)
Eye / Machine II
How can the distinction between “man” and “machine” still be made given today’s technology? In modern weapons technology the categories are on the move: intelligence is no longer limited to humans. In “Eye / Machine II” Farocki has brought together visual material from both military and civilian sectors, showing machines operating intelligently and what it is they see when working on the basis of image processing programs. The traditional man-machine distinction becomes reduced to “eye/machine”, where cameras are implanted into the machines as eyes.As a result of the Gulf War, the technology of warfare came to provide an innovative impulse which boosted the development of civilian production. Farocki shows us computer simulated images looking like something out of science-fiction films: rockets steer towards islands set in a shining sea; apartment blocks are blown up; fighter aircraft fire at one another with rockets and defend themselves with virtual flares … These computer battlefields – will they suffice or shall we need further rationalization drives for new wars?”Eye / Machine II” is the continuation of a wider examination of the same subject: Intelligent machines and intelligent weapons. As an installation the work is presented on two monitors or as a double projection. In this, the single-channel version, the two image tracks are shown simultaneously on one screen. (Antje Ehmann)The film centers on the images of the Gulf War which caused worldwide sensation in 1991. In the shots taken from projectiles homing in on their targets, bomb and reporter were identical, according to a theory put forward by the philosopher Klaus Theweleit. At the same time it was impossible to distinguish between the photographed and the (computer) simulated images.The loss of the ‘genuine picture’ means the eye no longer has a role as historical witness. It has been said that what was brought into play in the Gulf War was not new weaponry but rather a new policy on images. In this way the basis for electronic warfare was created. Today, kilo tonnage and penetration are less important than the so-called C3I cycle which has come to encircle our world. C3I refers to Command, Control, Communications and Intelligence – and means global and tactical early warning systems, area surveillance through seismic, acoustic and radar sensors, radio direction-sounding, monitoring opponents’ communications as well as the use of jamming to suppress all these techniques. (Antje Ehmann)
Eye / Machine
The film centers on the images of the Gulf War which caused worldwide sensation in 1991. In the shots taken from projectiles homing in on their targets, bomb and reporter were identical, according to a theory put forward by the philosopher Klaus Theweleit. At the same time it was impossible to distinguish between the photographed and the (computer) simulated images. The loss of the ‘genuine picture’ means the eye no longer has a role as historical witness. It has been said that what was brought into play in the Gulf War was not new weaponry but rather a new policy on images. In this way the basis for electronic warfare was created. Today, kilo tonnage and penetration are less important than the so-called C3I cycle which has come to encircle our world. C3I refers to Command, Control, Communications and Intelligence – and means global and tactical early warning systems, area surveillance through seismic, acoustic and radar sensors, radio direction-sounding, monitoring opponents’ communications as well as the use of jamming to suppress all these techniques. Harun Farocki explores the question of how military image technologies find their way into civilian life. (production statement)]
TETSUYA MIZUGUCHI / United Game Artists, Sonic Team / 2002 / Japón
Para la consola Sony PlayStation 2
Inspirándose en las teorías de Kandinsky sobre las asociaciones sinestésicas entre colores y sonidos, Rez introduce una experiencia multi-sensorial en el tradicional juego “space shooter”. Rez tiene lugar no en el espacio, sino en una sofisticada red informática.
Olga Kisseleva is mapping the Arctic – for the exhibition Mind the Map!
The digital animation Conquistadors examines the tensions and conflicts characterizing the Arctic today. The Arctic space is being re-mapped / re-drawn / re-appropriated by the traditional stakeholders and newcomers, be it private or state-owned corporations, governmental or non-governmental bodies. The artist reflects on how the current situation is effected by the overlapping interests of geopolitical powers, referring to the “global conquests”. Kisseleva‚s work answers the question Who is the Arctic today.
The artist Olga Kisseleva’s approach to her work is much the same as a scientist’s. A discrepancy detected during a procedure or within the workings of a structure oblige her to formulate a hypothesis, in order to explain the complication in question, and wherever possible, to propose a solution to the problem. Now Olga Kisseleva is Director of the Art&Science Program at the Faculty of Arts, Pantheon-Sorbonne University, Paris. She is working with a team of economists and political scientists from the University to produce the Conquistadorsfor the exhibition Mind the Map!within the festival Barents Spektakel 2011 in Kirkenes, North Norway.
Exhibition MIND THE MAP!
Opening: February 2, 2011
Open until February 14th, 2011
Curated by Pikene på Broen