Este ficheiro reflecte uma primeira abordagem à fase Page, através do cruzamento das três vozes.

Edna Silveira, Juliana Duque, Paulo Vinhas Baudouin

Impressing Velocity // Masaki Fujihata
“Fuji-san, the volcano visible from his office, inspired another work by Fujihata. In 1992, he and several friends climbed Japan’s landmark for the Fuji-san project. In a rucksack they carried, for the purpose of acquiring the primary data, a Blobal Posotioning System (GPS) and a laptop computer. Strapped to a frame above the wearer’s head was a video camera. Not surprisingly, the recorded velocity increasingly dwindled as they approached the summit. [...] Back in the lab, Fujihata mapped the data to a 3-D dataset of the volcano, and distorted the representation on the basis of the pace of movement. The slower the ascent of the group of friends, themore extreme the over-drawing. Thus, the summitof that most holy of Japanese mountains explodes in an eruption of geometrical spikes. [...] Under the title «Impressing Velocity», the work was first shown, in 1994, in the ICC Gallery in Tokyo, and in various representations: a topographical layer model made of laminated wood, a computer graphic, a video database. Visitors were also invited to take out on loan s ‹data rucksack›, and in this way add their own contributions to the videographically acceleratory surveyance of the urban space.
”(1)

Impressing Velocity

Raw Film // Wilhelm Hein
“The two experimental filmmakers, who for many years worked as a couple, made their early black-and-white ‘Raw Film’ montage with very short frame sequences and an extreme reduction to a purely material aesthetic. The film image is ‘disrupted’ in different ways: traces of dirt, frame lines or perforation holes appear in the picture, at other points the image freezes or melts. Positive and negative images are used. Since the original material was chosen at random and taken from existing 8mm and 16mm films, the image sizes are sometimes parallel, sometimes alternate. The velocity of the editing rhythm and mounting signal noise reinforce a ‘rawness’ directed persistently against narration.”(1)

Raw Film

Volume I // Fred Frohlich
“Fröhlich’s computer animation Supersonic (2004) shows a sequence of approximately 100,000 images displayed at a frequency of 50 pictures per second. At this speed the human eye can no longer register individual images. This visual material found in commercial photo-archives serves as raw material for advertisements and commercials. As imagery for advertising purposes, the material consistently revolves around the same standardized motifs and themes. Arranged according to formal points of view such as color, contrast, composition, and motif, when shown in rapid succession they generate a kind of high-speed overview of commercial, picture archives. In the depiction shown here, one notices once again the use of the grid structure for ordering the images.”(1)

Volume I

Haze Express // Sommerer; Mignonneau
“HAZE Express is an interactive computer installation that develops the metaphor of traveling and watching landscapes passing by through the window of vehicles such as trains, cars and air planes. When looking at a landscape at high speed, one does not really know very much about this landscape, how it looks in details or how for example people live in it. The passing landscapes become mere images, accumulations of forms, shapes and colors, like a haze of impressions.
 HAZE Express is an interactive computer installation that performs the recombination, development and evolution of seemingly random images in a way that is reminiscent of how we see images through the window of a train.
In the interactive journey with HAZE Express the viewer can watch the passing images, stop them and look at their composition in more detail. The way he moves his hand on the train window surface will influence how the landscapes behind become composed: non-deterministic evolutionary image composition linked to interaction will always provide new and unique image elements that become part of the semi-realistic and semi-virtual trip through data landscapes.
Interaction/Genetic Selection :
Sitting in one of the comfortable chairs the viewer can look out of the window and move his hand on the window surface. When he slides his hand from the left to the right, the images will slide in the same direction, uncovering continuous landscapes, composed of organic and abstract image scenes. The location of where the viewer touches the window as well as the frequency and speed of his hand’s movement will influence what kind of image elements will be created. Genetic selection is used to always provide new image elements that are selected upon by the viewer’s interaction. The faster the hand will slide horizontally on the window surface, the faster the landscape will scroll in the same direction. Images can also be simply stopped by ceasing the hands movement while remaining with the hand on the window surface.”(1)

Haze Express

1933 // Joyce Wieland
“The film 1933 made between 1967 and 1968 offers a street scene shot in New York City in the late 1960s from a loft window on the second floor. This shot, filmed mostly in fast motion but occasionally slowed to normal speed, is repeated in its entirety 10 times and is accompanied by dissonant raucous music, evoking the silent-film-like humour in fast motion human movement.
See for further details the text by Robin Curtis, Of Gerbils and Men: Politics, Satire and Passion in Some Films of Joyce Wieland“.(1)

1933

(1) in http://www.mediaartnet.org

Scenes from Velocity é um projecto que pretende desconstruir a noção usual de espaço/tempo através de experiências com som e imagem, percepcionados
pelo utilizador.
Esta desconstrução explorará as recombinações e configurações possíveis resultantes de uma sobreposição espacio/temporal, propiciada pela Velocidade Instantânea e diversas Acelerações.

Excertos de um Mapa interactivo que vai apresentando os conceitos com textos contextualizadores.
Uns conceitos dão origem a outros, (no seguimento da imagem anterior apresentada).

Uma imagem para o território do Design de Comunicação e Novos Media, onde os conceitos se vão ramificando.
Surgem conceitos relacionados com a sociedade (e sua história), crítica e tecnologia, no seio da criação e comunicação do território do Design.

Mapping a Territory with texts and images from Juliana Duque on Vimeo.

Em que medida as sociedades se apropriam da velocidade?
A velocidade é usufruida do mesmo modo, ou pelo contrário, é “travada”?
Como é que a velocidade afecta a memória?
A Velocidade torna as acções fugazes, ou não? Ou somos nós que necessitamos de uma certa fugacidade nas práticas culturais?
Como é que se podem relacionar estes conceitos nesta rede de confluências,
nesta zona de contacto?

Há que pensar que estas relações, ou seja estes impactos, podem ser diferentes mediante os mais diversos locais, mesmo que estejamos imersos numa era de globalização. As linguagens de apropriação podem ser as mais diversas. Que papel terá o designer perante este processo?

O Mapa da Cólera de Londres de John Snow (1854) foi dos primeiros mapas que representou outra realidade para além das características geográficas de uma determinada área. Permitiu mostrar pela primeira vez a origem do surto de cólera, em Londres, devido ao mapeamento do número de casos da doença espalhados pela cidade. Até então, desconhecia-se completamente que a cólera pudesse ser transmissível pela água.

Mapa da Cólera, de Londres. Jonh Snow, 1854.

Composite-Fotofrafie, de Francis Galton teve início no ano de 1877 e é um projecto que visa “mapear/agragar” fotografias de modo a integrar um estudo sobre hereditariedade. The composite process resulted in producing a slightly blurred image, which, as Galton wrote, «portrayed no specific type of person, but rather an imaginary figure endowed with the average characteristics of a specific group of people. (…) (This) represents the portrait of a type and not of an individual.(1)

Composite-Fotografie, Francis Galton

Atlas, de Gerhard Richter:
Atlas is an ongoing, encyclopedic work composed of approximately 4,000 photographs, reproductions or cut-out details of photographs and illustrations, grouped together on approximately 600 separate panels. The images closely parallel, year by year, the subjects of Richter’s paintings, revealing the orderly but open-ended analysis central to his art.(2)

Atlas, Gerhard Richter

Checked Baggage, de Timm Ulrichs (1975-1987) consiste na organização de uma série de “scans” das bagagens, durante o controle das mesmas nos aeroportos:
The photo-series ‘Checked Baggage’ documents the ‘inner life’ – shaped and framed to form rectangular assemblages – of x-rayed suitcases and bags belonging to random passengers at a German airport (Hanover-Langenhagen).(3)

Checked Baggage, Timm Ulrichs (1975-87)

PDPal, Bleecker, Paterson, Zurkow:
PDPal faz parte de uma série de projectos para o Palm PDA. Traz consigo a noção de mapeamento, transformando as actividades e experiências urbanas numa “cidade dinâmica” que se vai construindo.
PDPal has been anti-geographic and anti-cartesian, preferring to experiment with the construction of relative, emotionally based systems that ask: what makes social or personal space. (…) responds to the century-old idea of the urban explorer: from Baudelaire’s «flaneur» (…) the Dadaists’ public performances of nothing (…) Benjamin’s texts on the urban wanderer (…) the Situationists’ algorithmic «derives» (…) and contemporary work in psychogeography—all deliberate projects of ‹getting lost› in the city, thus restoring it to a great dense space of wonder, not just a locus of labors. (4)

PDPal, Bleecker, Paterson e Zurkow.

Soft Cinema, Lev Manovich (2002) pode ser pensado como um modo de mapeamento das experiências, ditas como subjectivas, de uma pessoa, na sociedade de informação. If daily interaction with volumes of data and numerous messages is part of our new data-subjectivity how can we visualize this subjectivity in new ways using new media without resorting to already familiar and normalized modernist techniques of montage, surrealism, absurd?(5)

Soft Cinema, Lev Manovich, 2002.

Humans vs. Chimps, Ben Fry (2005) é um sistema de visualização (utilizando o Processing) que permite mostrar as diferenças genéticas entre humanos e chimpanzés. É uma outra forma de mapeamento.

Humans vs Chimps, Ben Fry, 2005.

(1) in http://www.mediaartnet.org/works/composite-fotografie
(2) in http://www.diacenter.org/exhibs/richter/atlas
(3) Timm Ulrichs in http://www.mediaartnet.org/works/checked-baggage
(4) in http://www.o-matic.com/play/pdpal/#doc
(5) in http://www.mediaartnet.org/works/soft-cinema

Alguns Conceitos para o mapeamento do território do Design de Comunicação e Novos Media.

O Designer, neste espaço/zona de contacto, deve, segundo Ellen Lupton , become a producer with the skills to begin directing content by critically navigating the social, aesthetic, and technological systems across which communications flow. (1)

Numa era de constantes transformações (note-se que nunca se viram transformações tão rápidas) e de muitos outros “trans” (transculturalidade, transmedialidade etc;) assim como trocas e acções, é necessário, talvez mais do que nunca, a análise crítica e dinâmica por parte do designer através da sociedade e do que esta produz, quer a nível tecnológivo, que cultural. Deve ser consciente das mesmas, para que possa assim dirigir a sua actuação.

(1) Ellen Lupton, The Designer as Producer, 1998