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Transcript of Indicate ankara12-ivani
Networked Art: Brazilian experiences of the
Technological Poetics Research Group
INDICATE Final ConferenceDra. Ivani Santana
[email protected], [email protected]
Post Doctorate Sonic Arts Research CentreQueen’s Univesity Belfast(auspices CAPES,Brazil)
Federal University of BahiaMaster and Ph.D. Program of Scenic ArtsInstitute of Humanities, Arts and Sciences
Research Group of Technological Poetics: corpoaudiovisualwww.poeticatecnologica.ufba.br
Map and Program of Digital Dancewww.mapad2.ufba.br
choreographer, dancer, researcher in dance -technologyMaster and Ph.D Communication and Semiotics(Catolic Univerity, PUC SP, Brazil)
Ankara/Turkey 15th,16th October 2012
Research Group ofTechnological Poetics
University of BahiaBrazil
www.poeticatecnologica.ufba.br
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
Julio Plaza (apud Prado, 2003): Communication-Art: Aesthetical of Communication.
“it doesn’t produce objects; it thematizes the space-time”.
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
“The intimate space of the subject has been invaded in various ways in the digital culture. Globalization, through
telecommunication devices, has promoted telematics exchanges in many spheres: the artistic, the social, the economic and the personal. Binary data are exchanged
through robust routes on the information superhighway, whether monetary, medical, theoretical or conceptual
information in the various areas of knowledge, entertainment, art or of a strictly personal and intimate
nature (which may also be for monetary and professional purposes). The reconfigured intimacy of the subject fosters
a new understanding of presence, proximity, and interpersonal relationships. Telematics is directly
responsible for this reconfiguration, since it promotes technological mediation of a remote presence.”
(Santana, 2010)
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
"I think there is something expansive about this term, this metaphor for an imaginary space that exists in, on and between ‘computational devices’. I like to corral all kinds of things together in cyberspace; not just computers and software, but also digital devices such as MP3 players, or BlackBerrys, or new medical imaging technologies, cyberpets, digital animations and simulations of all kinds – and so the list goes on. All these things, and many more besides, are connected together, in some way or another."
(David Bell, 2007)
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
Technological Poetics at/into the Network
Different names used in Art field:
• Telematic Art;• Telematic Dance;• Telepresence Art;
• Comunication Art;• CyberArt;
• Net Art;• Networked Art;
• Networked Performance;• Web Dance;
• etc.
Cyberspace. A consensual hallucination experienced daily by millions of legiti- mate operators. ... A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding. (Gibson 1984: 67)
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
Network and the Tecnologies of information and communication give new
potentiality for artistis interested in the articulation of art and technology.
Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
My trajectory...
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8
Corpo AbertoOpen Body
2002
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
“Close-circuit” - circuito fechado de câmera
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
11
Casa de Nina (2004) Ivani Santana
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
e fez o homem sua diferença (2005) Ivani Santana / GDC
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
“Break” with italian theater.
Stage as “environment” for dancers and audience.
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
2001 The first contact with Telematic Performance in USA, ADaPT: the Association
for Dance and Performance Telematics
In 2005 the Brazilian Network – RNP – invited me to create a telematic dance
piece to open the Ipê Network
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
Networked Art: Brazilian experiences of the Technological Poetics Research GroupINDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
This backbone is designed to ensure not only the
bandwidth required for usual internet traffic (web
browsing, email, file transfer) but also the use of advanced applications
and services and experimentation. The
infrastructure encompasses 27 Points of
Presence (PoPs), one in each state, plus branches
to serve more than 500 educational and research
institutions across the country, benefiting more
than 3.5 million users.
Ipê Network is the first national optical network academic Latin America, inaugurated in 2005 by RNP.
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In 2010, the Ipê network has undergone a qualitative leap, reaching the aggregate
capacity of 233.2 Gbps, an increase of 280% compared to the previous aggregate capacity.
This new network, which is the sixth generation of backbone operated by RNP,
multigigabits speeds (up to 1 Gbps) are available for 24 of the 27 PoPs.
This is a cooperation between RNP and "Oi” telecommunications company for non-
commercial use and Research & Development projects (R & D) of common interest.
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
Salvador
João Pessoa
Brasília
Universidade ligada
a rede GIGA
RNP
REDE GIGA
Fluxo SDTV
Fluxo HDTV
Fluxo dos dançarinos
Audio e Vídeo Multicast
SDTV
26 Megabits UDP
20 Megabits UDP
6 Megabits UDP
12 Megabits UDP ( Multicast )
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
VERSUS - 2005{automatic transition}
Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
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VERSUS (2005)Brasília/SalvadorJoão Pessoa
First Telematic Dance piece in Brazil through academin network - RNP
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VERSUS (2005)
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Networked Art: Brazilian experiences of th
e Technological Poetics Research Group
Ivani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
24
VERSUS (2005)
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
“Close-circuit” - circuito fechado de câmera
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
2006/2007
Proyecto Paso
Nukonen, Paso ao ChileBrasil, Chile, EUA, Espanha
3 simultaneous images
Brazil
Spain
USA
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
Proyecto Paso
Nukonen, Paso ao ChileBrazil, Chile, EUA, Spain
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Layout and web design exploration
Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
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SimultaneityInteraction
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VERSUS (2005)
Brasíia
Salvador
Proyecto Paso (2006)
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
Space 1 Layer 2 Dancers in foreground
Layer 1 Videoscenography Dancer in background
Space 2Layer 3Dancer on stage
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
Por Onde Cruzam Alamedas (2006)
Por Onde Cruzam Alamedas (2006) Space 1
Space 2
Internet
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INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
Por Onde Cruzam Alamedas
Space 1
Layer 1 - videoscenography
Layer 2 – dancer background
Layer 3 – dancer foreground
Space 2
layer 4 – dancer on stage
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
(In)TOQue – 2008
Telematic Dance between São Paulo, Rio de Janeiro and Salvador
Body as screen!
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
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Telematic experience (re) transfered to stage
Le moi, Le cristal et L’eau (2007)
Centre National Choreografica Aix-en Provence, France
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
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“EU”(2008)
International Theater Festival, Salvador, Brazil
Telematic experience (re) transfered to stage.
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
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37
“EU”(2008)
International Theater Festival, Salvador, Brazil
Telematic experience (re) transfered to stage.
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
Using Arthron for managing networked dance performances
ARTHRON WORK GROUP
OF DIGITAL MEDIA AND ARTSSupport RNP
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
39
Arthron
• Facilitate the set up of the infrastructure needed for supporting distributed performances;
– Set up of connections between video sources and projectors;
– Support for dynamic change of infrastructure configuration, that is, live change of video sources and
destinations;– Monitoring the components of the infrastructure;- Adapt video formats and rates for different network
conditionsSupport for dynamic change of infrastructure configuration, that is, live change of
video sources and destinations;– We developed a tool called "scenario maker" that
allows the definition of the scenarios transition graph;– Arthron runs the graph in the sense it shows what is
happening and triggers the scene transitions for changing the infrastructure configuration in an
automatic or manual way.
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
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40
“PELE” (2002)
Ferramenta computacional “ARTHRON” (GTMDA/RNP, 2009-10)
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
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Technical Support: RNP, i2Cat
Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
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Presence
“e_Pormundos Afeto” (2009,10,11)
Body Space-time
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
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Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
INDICATE Final ConferenceAnkara/Turkey, 15th,16th October 2012
e_Pormundos Afeto (2010, Argentina/Spain)
47{wait my request}
Telematic Dance withDance
Theater MusicRobot
Visual ArtsInteractivity
Urban interventionSensors
Tele Dramaturgy
FRAGIL Laboratorium MAPA D2 (2011)
Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
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48
FRAGIL – Laboratorium MAPA D2 (2011)
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FRAGIL – Laboratorium MAPA D2 (2011)
Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
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LABORATORIUM MAPA D2 DE ARTE TELEMÁTICA
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TELE SONOROUS BODY• The goal: investigate
the possible relationships between
“sonoridades” produced by remote
bodies – the tele-sonorous bodies – into sensible environments in order to construct a Telematic Dramaturgy.
Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
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Targets:• To find Telematic Dramaturgies
through sonorities generated by the remote bodies (at rather than work
with the body image). • The idea is not to see, but to hear the
other body in the other space. • Promote an “aural dance” through
networked performance (sound visualization, at rather than body
visualization)
Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
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TELE SONOROUS BODY
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• Other corporalities;
• Other time-space experiences;
• Layers as components
• of the creation.
“(In)TOQue” (2008)
“Por Onde Cruzam Alamedas (2006)
TELEMATIC DRAMATURGY
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TELEMATIC DRAMATURGY FRAGIL (2011)
Networked Art: Brazilian experiences of the Technological Poetics Research GroupIvani Santana SARC (Support CAPES 9495-11)
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Networked Art: Brazilian experiences of the
Technological Poetics Research Group
Ivani Santana UFBA/SARC (Support CAPES 9495-11)
CONCLUSION:_ Art promotes new demands,
give new ideas;_ The networked performance has a specifi way to create
narratives, dramaturgies;_ It’s important to understand Art not just an aesthetical
product by new technology, but a knowledge in itself that can contribute to improve the technology (Art or Artists as not a
“final users”);_ We need more interdisciplinary project to promote new
possibilities of art-science-technology, but understanding the potential of each area.
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Thank You!
Ivani [email protected]
Technological Poetics Research Group
UFBA/SARC (Support CAPES 9495-11)
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