Transdisciplinary New Media

Paris College of Art

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NARRATIVE OF SOUND By Joe Johnson, Borja Vargas and Alejandro Casanova

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MOOD LAPSE By Zim Gysman and Michel Duss

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BODY OF THE CITY By Dami Kim, Khadija Toor and Gema Cortès

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NOSTALGIA By Antonio Perez, Hela Al Sharka and Erika Andrada

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TAXONOMY OF A FEELING By Alistair Schreiber, Alexander Santaniello and Alberto Francés

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SOUND OF GEOMETRY By Antonio Cubel, Carmen Silvestre and Mirna Mihokovic

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EMOTIONAL SOUND By Leor Wellington and Laia Gregori

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Sound/Speech/Noise

For the second year, we continue our collaboration between Paris College of Art and ESAT - Escuela Superior de Arte y Tecnologia. 

Speech/Noise (Social and language) How does language define us? What is the challenge coming across a different culture with different codes and language? How do we communicate to each other and transmit a message and possible effects correctly? This axe focuses on how language facilitates social interaction and human experience.

The objective of this workshop will be to question all kind of communications that produce a language, a code, a vocabulary to deliver a message. Participants will imagine a recording object that symbolizes possibilities of communication with sound/speech/noise as the meaning of transmission.

The outcome will be a collective repository where participants will include all kind of creative ideas and tools to image a group exhibition. The rationale behind is to create a new conceptual object able to communicate with sound/speech/noise.

The result can take the form of a sculpture, a drawing, a performance, any kind of representation that questions the use of low technology. To achieve this we will use an audio tape recorder (a.k.a. tape deck or tape machine), an analog audio storage device that records and plays back sounds, including articulated voices, using only a cassette for storage. This will allow us to listen to the recorded information many times over in order to understand the message and to interpret the subjective understanding of each project.  

Audio recordings will include transmedia processes, participants will use and mix different sources of sound - that can come from the real environment or from the digital/virtual one. The final result will be displayed in a cassette taking into consideration the group’s conceptual and logical order of their collected artworks.

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Opening of Low Tech in Communications at Espace F15 (May 2017)

Pictures by www.thomasgavin.com

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7 Virtues

Form An installation involving an analog slide show projected, lights and a screen ( made of paper/material), simulated within a “closed” environment. Arduino and a distance sensor are placed onto the projector, which speeds up the projection as the person comes closer.

A submerging installation, where the audience will be confronted by a window filled with semi-transparent acetate images. The images are printed in 3 colors, ( Red, Blue, and Black) to attempt to create a 3D Anaglyph effect

Function An investigation into a non-linear relationship between interactive media and analog projection, and how perspectives can be altered through manipulating visual elements.

7 Chapters, representing each of the “virtues” ( when in fact its a satire representation of the 7 sins of Christianity). These “virtues” are a satirical reflection in our modern 21st-century society, through politics, socio-economic problems (“First world problems”), anthropological and sociological conflicts.

The development of technology is an accurate case of a modern social issue. Our over-reliance and abuse towards high-end technology have gone out of hand, creating an unnecessary waste cycle. We are becoming slaves to the need of wanting to be connected, without evaluating the risk of being manipulated.

We are slowly losing our individuality by conforming to the powers of high-end technology and these images a metaphor reminder of what has become.

Tool Archive.org, Adobe Creative Suite, Java, Google

Audience Everyone who is interested in a moment of reflection.

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L00P

Form An art installation that refers to obsolete technology, e-commence and its ways of interaction. The installation questions the fact of selling one-to-one obsolete technologies and the interaction pretending to create a dialogue between the buyer and the artists, showing the first of the added value of the product that is about to sell.

Function Focuses on the interface Wallapop. The app offers the ability to buy or post items to sell to people within an allotted one-mile area. This mobile application and website helps people to sell the stuff they no longer need and let them to buy the stuff they do want at reasonable prices. The visual content of the installation is based on the user interface of the App that serves as a space of tests and graphics resources.

Tools The installation uses a local free classified ads platform (https://www.wallapop.com/), and a slide projector. Through the interaction with Twitter and the hashtags #obsolescence #obsolete #lowtech, the installation has an Arduino and Raspberry system that goes to the next slide, using Processing, also open source, as main software to manage the Twitter API.

The installation is accompanied of the chat locutions sound.

Audience Designed for a large audience in an exhibition space, the visitor will interact with the piece by twitting in order to interact with the machine.

Meaning Social media has played a critical role in the evolution of online shopping, as well as a significant transformation in the way we communicate online.  The installation questions the relationships that this kind of platforms create with an obsolete (lowtech) object, which becomes a hinge of communication between the  artist and the audience. It is also intended to value these objects through the association with art, and granting them a second opportunity to increase their value in the online market, as Duchamp did with the industrial objects.

The user who wants to sell the object has a need to get rid of it, for functional, aesthetic or simply economic reasons, reasons that through conversation with both artists must be distorted and updated. The installations also questions object deprecation and the need to possess that object, feeling that are often present with new technologies.

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In silence we speak

A collaborative video project shot with a Super 8 | Canon camera

Kalina Lukanova // Javier Cillero

The Super 8mm format by Kodak is a revolutionary film format that was introduced in the spring of 1965. It allowed for home movies to become accessible to the masses much the same way that the Brownie camera made still photography available.

The original Super 8 film release was a silent system only. The images shot with Super 8 are souvenirs of time, blocks of movement and space that are open to interpretation as they are unable to “speak” for themselves.

The length of each short film is limited to three minutes.

Javier Cillero and Kalina Lukanova decided to play with the limitations of this obsolete technology and exchange 3’ silent Super 8 videos in an attempt to lock their visual memory and offer it for interpretation. They recorded moments from their quotidian. Based on the exchanged films each one of them drew a written portrait of the other. A portrait based on images, fleeting moments and feelings, a portrait without words because sometimes our minds need silence for our souls to meet.

Initial sketch describing the visual components of the installation

Screenshot of the Super 8 film by Javier Cillero

Portrait of an unknown man Written by Kalina, based on the Super 8 film by Javier

A sense of tranquility and freedom. Your face is made up of the images you see. You’ve safely locked your memories, they don’t belong to you anymore. You’ve liberated yourself from the burden to decipher and explain. These moving images, these blocks of space and time speak for themselves. You don’t belong to any narrative and no narrative belongs to you.Years from now you’ll find this film. You’ll probably be in the same familiar space, your hometown. The objects and spaces you’ve shot will still be there but you won’t be able to capture them in the same way. Your shadow will be different. I will be nothing but a distant memory you’ll smile at. You’ll smile because you never heard my voice, you were never a prisoner of my words. Minelli once said that as soon as someone dreams there is a danger. People’s dreams are always devouring and threatening to engulf us. Each of us is a victim of the other’s dreams. Even the most gracious and serene. Even those who hide in solitude. But I was never a victim of yours, you were never a victim of mine. We never put words into our dreams. You’ll never read this letter. And thus we are forgiven.

Screenshot of the Super 8 film by Kalina Lukanova

Portrait of an unknown woman

Written by Javier, based on the Super 8 film by Kalina

She observes the water floating down the canal. She is trying to trace its path, perhaps it will give her a new direction. Or at least a moment of quiet serenity, a moment absent of questions. Her other escape are people. She turns down the volume and secretly observes them. There is no need to talk. There is no need to explain. All feelings are locked in that fleeting moment when the gaze is fixed and the lips are numb.

She steps on her shadow and runs after the light. No one is following behind. Even if they were she wouldn’t see them because she is blinded by her endless pursuit. There are always new questions to uncover, there is always the same question that steps on her toes. The question that results in that endless, perpetual movement back and forth. A movement without direction. A fluctuation of the soul.

Form Video Installation investigating the Canon Super 8 camera.

Function Drawing attention to the importance of the Super 8 as a historical object of cinematic discourse

Discussing the absurdity of contemporary image-taking and it’s self-centered nature

Demonstrating the power of the Super 8 to engage the outside world in a dialogue, to explore beyond oneself

Playing with the sound and “language” of the Super 8, a camera that “talks” to its object and thus actively tries to engage him/her in a dialogue

Tools Canon Zoom 518-2, Super 8 camera, MAC screen.

Audience The piece will be installed on a wall in Espace F15, the gallery space of the Paris College of Art. 

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BEEEEP

Mary Saisselin // Alba Abellán

Form Interactive Multi-Media Art Installation following the evolution of the pager (beeper).

Formalización Instalación de Arte Multi-Media mediante el seguimiento de la evolución del busca (buscapersonas).

Function Description of the original purpose of pager for contacting doctors, hospitals, firemen, and emergency workers. Highlighting the prestige originally associated with using a pager for those outside their intended market of emergency and medical workers. The absurdity of selling “peace of mind” by using this product.

Función Descripción del propósito original del busca para la comunicación entre doctores, hospitales, bomberos y trabajadores de emergencias. Destacar el prestigio original asociado al uso del busca para aquellas personas fuera del mercado destinado de sector médico y emergencias. El absurdo de vender “tranquilidad” con el uso de este producto.

Tools Pager Motorola Bravo NumericPodium and spotlight with a description of the original purpose of pagerStills taken from original 1980’s and 1990’s television advertisement|.Drawn G.I.F. gestures (his and hers) (projected?)Sound wall made of thin gage metal with small vibrators hanging against it. Using Arduino and a proximity sensor to detect the viewer's distance to the metal wall will trigger a number of vibrators moving.

Herramientas

Pager Motorola Bravo Numeric

Peana y foco con la descripción del propósito original del busca

Robados extraídos de los anuncios de televisión originales de los 80’ y los 90’

GIF de gestos animados (modelo femenino y masculino) (proyectado?)

Pared sonora hecha de metal fino con pequeños vibradores colgando delante de ella.

Utilizando Arduino y un sensor de proximidad para detectar la distancia de los espectadores a la pieza metálica, la cual encenderá un número de vibradores en movimiento.

Audience Viewers experience the installation from left to right in a linear fashion. Beginning at the podium featuring the Motorola Bravo pager, the viewer can read about the original purpose of the pager. As the viewer moves along the installation each successive piece highlights the evolution away from it’s original use as an emergency device to casual communication tool used by friends and family (predecessor to the cell phone) and finally the interactive wall. Thus, the original pager device has been reduced to its iconic vibrating sound. Audiencia Los espectadores experimentarán la instalación de izquierda a derecha de forma lineal. Empezando por la peana que presenta el busca Motorola Bravo, el espectador puede leer sobre el propósito original del busca. Mientras el espectador se mueve por la instalación, cada pieza resaltará sucesivamente la evolución desde su uso original como aparato de emergencia, hasta una herramienta de comunicación casual utilizada por amigos y familias (es el predecesor al teléfono móvil) y finalmente la pieza interactiva. De esta forma, el busca original ha sido reducido a un sonido a su icónico sonido vibratorio.

Meaning The installation asks the spectators to question the relationship between technology and communication. The final piece, the vibrating wall, is interactive. The proximity of the viewer changes the number of vibrators that are moving thus increasing and decreasing the sound produced. The closer a viewer is to the wall the louder the sound. Does more communication lead to more noise thus discommunication?

Significado La instalación pretende que el espectador se cuestione la relación entre tecnología y comunicación. La pieza final, el muro vibratorio, es interactivo. La proximidad del espectador cambiará el número de vibradores en movimiento, los cuales aumentarán o disminuirán el sonido producido. Contra más cerca esté el espectador de la pieza, más fuerte será el sonido. Podrá significar que más comunicación conlleve más ruido y esto nos dirija a la descomunicación?

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BEEEEP Project

The installation asks the spectators to question the relationship between technology and communication. The final piece, the vibrating wall, is interactive. The proximity of the viewer changes the number of vibrators that are moving thus increasing and decreasing the sound. The closer a viewer is to the wall the louder the sound. Does more communication lead to more noise thus less communication?

https://www.youtube.com/watch?v=uAGVUCetbVE

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The project is a part a social experiment of co-creating with found materials, and part an exploration of repairing unwanted furniture in an irreverent way. By one creator sourcing found furniture with small imperfections, the other with reaction with a solution to this imperfection with a “repair” that elevates and transforms the formerly unwanted piece into something with a second life. There is an implied trust between the creators in that, one must trust the finder of the pieces and one must trust the interventionist. We will focus on 3 found pieces that have repair materials small enough to transport across geographical boarders. It will be combined and installed by both artists, as a pair for a singular result.  The 3 objects have been broken down into categories but are not limited to the initial ideas being that the found furniture is varied by chance. The 1st being a small stool or table, bookshelf or shelf (surface.) The 2nd will be an object; a children’s toy, a pitcher, a vase, a lamp. The third will be some sort of wall “art”; a ripped tapestry, a half finished painting, a water-damaged family photo. The will be displayed together in a clean white space as a vignette but as separate objects. There will also be a book and images of the data documenting the social experience of the trust it takes to co-creating the art, internationally. It will detail our communications, where we found the furniture as a well as why it was intervened with to create what result.