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Networked Art: Brazilian experiences of the

Technological Poe;cs Research Group

INDICATE Final Conference Dra. Ivani Santana

[email protected], [email protected]

Post Doctorate Sonic Arts Research Centre Queen’s Univesity Belfast (auspices CAPES,Brazil)

Federal University of Bahia Master and Ph.D. Program of Scenic Arts InsMtute of HumaniMes, Arts and Sciences

Research Group of Technological PoeMcs: corpoaudiovisual www.poeMcatecnologica.u4a.br

Map and Program of Digital Dance www.mapad2.u4a.br

choreographer, dancer, researcher in dance -‐technology Master and Ph.D CommunicaMon and SemioMcs (Catolic Univerity, PUC SP, Brazil)

Ankara/Turkey 15th,16th October 2012

Research Group of Technological PoeMcs

University of Bahia Brazil

www.poeMcatecnologica.u4a.br

{please play the video}

Networked Art: Brazilian experiences of the Technological Poe;cs Research Group Ivani Santana SARC (Support CAPES 9495-‐11)

INDICATE Final Conference Ankara/Turkey, 15th,16th October 2012

Julio Plaza (apud Prado, 2003): CommunicaMon-‐Art: AestheMcal of CommunicaMon.

“it doesn’t produce objects; it themaMzes the space-‐Mme”.

{automa2c transi2on}



“The in2mate space of the subject has been invaded in various ways in the digital culture. Globaliza2on, through

telecommunica2on devices, has promoted telema2cs exchanges in many spheres: the ar2s2c, the social, the economic and the personal. Binary data are exchanged

through robust routes on the informa2on superhighway, whether monetary, medical, theore2cal or conceptual

informa2on in the various areas of knowledge, entertainment, art or of a strictly personal and in2mate

nature (which may also be for monetary and professional purposes). The reconfigured in2macy of the subject fosters

a new understanding of presence, proximity, and interpersonal rela2onships. Telema2cs is directly

responsible for this reconfigura2on, since it promotes technological media2on of a remote presence.”

(Santana, 2010)




"I think there is something expansive about this term, this metaphor for an imaginary space that exists in, on and between ‘computa2onal devices’. I like to corral all kinds of things together in cyberspace; not just computers and soMware, but also digital devices such as MP3 players, or BlackBerrys, or new medical imaging technologies, cyberpets, digital anima2ons and simula2ons 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)




Technological PoeMcs at/into the Network

Different names used in Art field:

• TelemaMc Art; • TelemaMc Dance; • Telepresence Art;

• ComunicaMon Art; • CyberArt;

• Net Art; • Networked Art;

• Networked Performance; • Web Dance;

• etc.

Cyberspace. A consensual hallucina2on experienced daily by millions of legi2-‐ mate operators. ... A graphic representa2on 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 constella2ons of data. Like city lights, receding. (Gibson 1984: 67)




Network and the Tecnologies of informaMon and communicaMon give new potenMality for arMsMs interested in the

arMculaMon of art and technology.


My trajectory...

{wait un2l request}


Corpo Aberto Open Body

2002

8 {automa2c transi2on}



“Close-‐circuit” -‐ circuito fechado de câmera







Casa de Nina (2004) Ivani Santana







e fez o homem sua diferença (2005) Ivani Santana / GDC




“Break” with italian theater.

Stage as “environment” for dancers and audience.




e fez o homem sua diferença (2005) Ivani Santana / GDC 15 {automa2c transi2on}

2001 The first contact with TelemaMc Performance in USA, ADaPT: the Associa;on

for Dance and Performance Telema;cs

In 2005 the Brazilian Network – RNP – invited me to create a telemaMc dance

piece to open the Ipê Network

{wait my request}



Networked Art: Brazilian experiences of the Technological Poe;cs Research Group INDICATE Final Conference Ankara/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 applicaMons

and services and experimentaMon. The

infrastructure encompasses 27 Points of

Presence (PoPs), one in each state, plus branches to serve more than 500

educaMonal and research insMtuMons across the

country, benefiMng more than 3.5 million users.

Ipê Network is the first naMonal opMcal network academic LaMn America, inaugurated in 2005 by RNP.


In 2010, the Ipê network has undergone a qualitaMve 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 generaMon of backbone operated by RNP,

mulMgigabits speeds (up to 1 Gbps) are available for 24 of the 27 PoPs.

This is a cooperaMon between RNP and "Oi” telecommunicaMons company for non-‐

commercial use and Research & Development projects (R & D) of common interest.




Salvador

João Pessoa

Brasília

Universidade ligadaa rede GIGA

RNPREDE GIGA

Fluxo SDTV Fluxo HDTV

Fluxo dos dançarinos

Audio e Vídeo MulticastSDTV

26 Megabits UDP

20 Megabits UDP

6 Megabits UDP

12 Megabits UDP (Multicast){automa2c transi2on}



VERSUS - 2005 {automa2c transi2on}



VERSUS (2005) Brasília/Salvador João Pessoa

First TelemaMc Dance piece in Brazil through academin network -‐ RNP


VERSUS (2005)


VERSUS (2005)


Networked Art: Brazilian experiences of th

e Technological Poe;cs Research Group

Ivani Santana SARC (Support CAPES 9495-‐11)


VERSUS (2005)




“Close-‐circuit” -‐ circuito fechado de câmera




{wait my request}



2006/2007 Proyecto Paso

Nukonen, Paso ao Chile Brasil, Chile, EUA, Espanha

3 simultaneous images

Brazil

Spain

USA




Proyecto Paso

Nukonen, Paso ao Chile Brazil, Chile, EUA, Spain


Layout and web design explora;on



Simultaneity Interaction

29

VERSUS (2005)

Brasíia

Salvador

Proyecto Paso (2006)

{wait my request}



Space 1 Layer 2 Dancers in foreground

Layer 1 Videoscenography Dancer in background

Space 2 Layer 3 Dancer on stage




Por Onde Cruzam Alamedas (2006)

Por Onde Cruzam Alamedas (2006) Space 1

Space 2

Internet




Por Onde Cruzam Alamedas

Space 1

Layer 1 - videoscenography

Layer 2 – dancer background

Layer 3 – dancer foreground

Space 2

layer 4 – dancer on stage




(In)TOQue – 2008

Telematic Dance between São Paulo, Rio de Janeiro and Salvador

Body as screen!




TelemaMc experience (re) transfered to stage

Le moi, Le cristal et L’eau (2007)

Centre NaMonal Choreografica Aix-‐en Provence, France







“EU”(2008)

International Theater Festival, Salvador, Brazil 36

TelemaMc experience (re) transfered to stage.




37

“EU”(2008)

International Theater Festival, Salvador, Brazil

TelemaMc experience (re) transfered to stage.




Using Arthron for managing networked dance performances

ARTHRON WORK GROUP

OF DIGITAL MEDIA AND ARTS Support RNP

{wait my request}



Arthron

• Facilitate the set up of the infrastructure needed for supporMng distributed performances;

– Set up of connecMons between video sources and projectors;

– Support for dynamic change of infrastructure configuraMon, that is, live change of video sources and

desMnaMons; – Monitoring the components of the infrastructure; -‐ Adapt video formats and rates for different network

condiMonsSupport for dynamic change of infrastructure configuraMon, that is, live change of

video sources and desMnaMons; – We developed a tool called "scenario maker" that

allows the definiMon of the scenarios transiMon graph; – Arthron runs the graph in the sense it shows what is

happening and triggers the scene transiMons for changing the infrastructure configuraMon in an

automaMc or manual way. 39

{wait my request}



“PELE” (2002)

Ferramenta computacional “ARTHRON” (GTMDA/RNP, 2009-10)

40 {wait my request}










Technical Support: RNP, i2Cat






Presence

“e_Pormundos Afeto” (2009,10,11)

Body Space-‐Mme







e_Pormundos Afeto (2010, ArgenMna/Spain)


TelemaMc Dance with Dance

Theater Music Robot

Visual Arts InteracMvity

Urban intervenMon Sensors

Tele Dramaturgy

FRAGIL Laboratorium MAPA D2 (2011)



FRAGIL – Laboratorium MAPA D2 (2011)




49

FRAGIL – Laboratorium MAPA D2 (2011)




50

LABORATORIUM MAPA D2 DE ARTE TELEMÁTICA




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.

51



{wait my request}

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) 52



TELE SONOROUS BODY

{wait my request}

• Other corporaliMes;

• Other Mme-‐space experiences;

• Layers as components

• of the creaMon.

“(In)TOQue” (2008)

“Por Onde Cruzam Alamedas (2006)

53

TELEMATIC DRAMATURGY

{wait my request}



54

TELEMATIC DRAMATURGY FRAGIL (2011)


{wait my request}


Networked Art: Brazilian experiences of the

Technological Poe;cs 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

narra;ves, dramaturgies; _ It’s important to understand Art not just an aesthe;cal product by new technology, but a knowledge in itself that can contribute to improve the technology (Art or Ar;sts as not a “final users”);

_ We need more interdisciplinary project to promote new possibili;es of art-‐science-‐technology, but understanding the

poten;al of each area.

INDICATE Final Conference Ankara/Turkey 15th,16th October 2012

{wait my request}

Thank You!

Ivani Santana [email protected]

Technological Poe;cs

Research Group

UFBA/SARC (Support CAPES 9495-‐11)

INDICATE Final Conference Ankara/Turkey 15th,16th October 2012

Documents

Indicate ankara12-ivani