We are all part of the landscape

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Last Photo - San Francisco is part of 'Last Photo', an ongoing video series made by Ivan Cash in different US cities, where the interactive artist asks random strangers about the last photo on their phone.

What I find interesting in this project is to show how mobiles can serve as a link with people in public spaces, whereas they are usuallly viewed as encapsulating people in their own private world.

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By Nuxuno Xän in Fort-de-France, Martinique (2013)

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 " Mon travail [c'est] de rendre visible le rapport entre l'homme et les autres éléments sans besoin de façonner ou déformer la nature" - Giuseppe Penone (2013)

Penone Versailles, exposition présentée principalement dans les jardins à la française ainsi que dans le Château. Du 11 juin au 31 octobre 2013.

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Emeka Ogboh, an artist from Lagos, Nigeria, created Lagos Soundscape, an on-going project aiming at reflecting the Nigerian capital's identity by accumulating sounds defining it.

In [dis]connect II, these sounds are set up in a hypnotic video.

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Mapping An Urban Future: Ali Onat Türker and Jesse Honsa at TEDxReset 2013 (par TEDxTalks) talking about Istanbul but also about openurban their exciting initiative.

We still need to invent a tool so that people can intervene at an upper level to choose the nature of urban projects so that they suit their needs and identities.

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Dédale est une agence dédiée à la culture, aux nouvelles technologies et à l'innovation sociale en Europe. 

Son champ d'activité recouvre la production artistique, l'événementiel, la recherche, le conseil aux collectivités publiques et aux institutions européennes. Elle s'intéresse tout particulièrement à l'innovation et aux nouveaux usages dans des domaines en mutation tels que l'urbanisme, les médias, la création artistique, le patrimoine culturel, l'environnement ou encore l'éducation.

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Figure 1. Images used in the study. A–D. Locations from which images were collected for: A Boston, B New York City, C Salzburg and D Linz.

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Figure 2. Data Collection Methods. A. The website used to collect votes. Participants were presented a random pair of images and voted by clicking on one in response to the question. B. Robustness of the urban perception metric (Q). B is the square of the Pearson correlation between two disjoint subsets of votes of size v containing the same number of images.

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Figure 4. Contrasts in urban perception. A. Scatter plot showing the Q-scores obtained for each image, city and question. Top and bottom whiskers represent one standard deviation. B. Moran’s I z-scores for each city and question (all p-values,0.01, see SM). C. Spatial correlograms showing the decay of spatial autocorrelation as a function of distance. D–F. Map of NYC showing statistically significant clusters of high -and low- Qscores for the perception of safety, class and uniqueness according to Getis Gi* statistic. Green shows clusters of positive perceptions (high Q-scores) and red shows clusters of negative perceptions (low Q-scores).

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"Until now (...) our ability to understand the effect of a city’s built environment on social and economic outcomes has been limited by the lack of quantitative data on urban perception. Here, we build on the intuition that inequality is partly conspicuous to create quantitative measure of a city’s contrasts. Using thousands of geo-tagged images, we measure the perception of safety, class and uniqueness; in the cities of Boston and New York in the United States, and Linz and Salzburg in Austria, finding that the range of perceptions elicited by the images of New York and Boston is larger than the range of perceptions elicited by images from Linz and Salzburg. We interpret this as evidence that the cityscapes of Boston and New York are more contrasting, or unequal, than those of Linz and Salzburg".

These maps and text are from The Collaborative Image of The City: Mapping the Inequality of Urban Perception

Philip Salesses, Katja Schechtner, César A. Hidalgo. PLOS ONE, In Press (2013)

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Metropolis II

Filmed in 2011 at the artist’s studio in Topanga, CA. Directed by Henry Joost & Ariel Schulman of Supermarché.

"It’s about to be over, the idea that the car runs free, those days are about to close." Conceptual artist Chris Burden created this kinetic sculpture to “provoke the energy of a city." Says Burden, “The noise, the continuous flow of the trains, and the speeding toy cars, produces in the viewer the stress of living in a dynamic, active and bustling 21st Century city."

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The Story of Sole Food Farms (par SoleFoodFarms)

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Madness, the first movement, opens with a wildly swarming mass of around 1,500 particles, emanating from the center of the screen and then careening outwards, bouncing off walls and reacting to the behavior of the mouse. Each particle represents a single feeling, posted by a single individual. The color of each particle corresponds to the tone of the feeling inside – happy positive feelings are bright yellow, sad negative feelings are dark blue, angry feelings are bright red, calm feelings are pale green, and so on. The size of each particle represents the length of the sentence contained within. Circular particles are sentences. Rectangular particles contain pictures.

Any particle can be clicked at any time, revealing the sentence and/or photograph inside, along with any information about the sentence's author. As the particles careen around the screen, they lose speed and eventually freeze as they approach the mouse cursor, allowing them to be captured and clicked. As the particles approach the We Feel Fine heart in the bottom left corner of the screen, they become attracted to the heart and swarm around it, drawing the eye. As the mouse passes over the heart, a menu appears, revealing access to the other five movements of We Feel Fine.

The Madness movement, with its network of many tiny colorful particles, was designed to echo the human world. Seen from afar, Madness presents a massive number of individual particles, each colored and sized uniquely, each flying wildly around the screen, proclaiming its own individuality. At this level, Madness presents a bird's eye view of humanity – like standing atop a skyscraper and peering down at the street. People bustle to and fro, darting in and out of shops, hailing taxis, falling in love, laughing, handling personal crises. From the skyscraper, the people below are like ants – their words cannot be heard, their facial features cannot be seen, and the notion of individuality is hard to recognize. At this level, each particle seems insignificant. Were one particle to disappear, one would hardly notice. However, once a particle is clicked, it explodes into its constituent letters, which then form its sentence, and that particle becomes the center of attention. At this moment, the viewer sees the open sentence as the only one that matters. Like people first seen from afar and then encountered in person, the open particles attain an individuality and depth of character that is striking when compared to their relative insignificance in the skyscraper view.

www.wefeelfine.org

Jonathan Harris & Sep Kamvar

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Guy Debord, Guide psychogéographique de Paris. Discours sur les passions de l'amour, 1957. Pentes psychogéographiques de la dérive et localisation d'unités d'ambiance. Lithographie, tirage sur papier 59.5 x 73.5 cm Collection FRAC Centre, Orléans

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Lee Jung Sub's Making Process of "complex tree"

"Each one of branches in a big tree seems to be disorderly spreaded with no rules, but when you see the whole tree, you can find it is in perfect harmony. Nature has a balance which we cannot see." 

This tree is constructed following patterns of roads spontaneously developed in Seoul (Korea).

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Juan Arredondo, Barrio Triste, Medellin (Columbia)

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Tree #2, Tree series by Myou Ho Lee (2006)