Mobile.art

De Movil Film Fest

Tabla de contenidos 1 Breve historia de la relación entre arte y teléfono 2 Breve catalogo de obras de arte y artistas 2.1 Toni Abad 2.2 Beatrice Valentine Amrhein 2.3 Banksy 2.4 Aram Bartholl 2.5 Kate Bauer 2.6 Liana Brazil, Russ Rive: SUPER UBER 2.7 Giselle Beiguelman 2.8 Bijarí 2.9 Blast Theory 2.10 Rebecca Cannon 2.11 Chaos Computer club 2.12 Thomas Charveriat 2.13 Taeyoon Choi (in collaboration with I&P media art team) 2.14 Jennifer Chowdhury 2.15 Jennifer Chowdhury and Ran Tao 2.16 Jonah Brucker Cohen 2.17 Counts Media 2.18 Tim Didymus 2.19 Yvonne Doll 2.20 Ricardo Domínguez 2.21 Sidney Fels, Sachiyo Takahashio y Chris Chung 2.22 Anaisa Franco 2.23 Mathew Gardiner 2.24 Jeff Gates 2.25 John Geraci 2.26 Usman Haque 2.27 Drew Hemment, John Evans, Theo Humphries y Mika Raento 2.28 Joege Hernández, Raimundo Hamilton y Guergana Tzatchkov 2.29 Rachel Jacobs, artista multimedia - pieza Hartlands 2.30 Adriene Jenik 2.31 Crispin Jones (con IDEO) 2.32 Ursula Lavrencic y Auke Towslaqer 2.33 Norene Leddy 2.34 Golan Levin, Scott Gibbons, Greg Shakar, Yasmin Sohrawardy, Joris Gruber, Erich Semlak, Gunther Schmidl 2.35 Jason Lewis 2.36 Ligna, in combination with Radioballett 2.37 Kati London 2.38 Lucas Longo 2.39 Jess Loseby 2.40 Rafael Lozano-Hemmer 2.41 Laurent Mignonneau y Christa Sommerer 2.42 Paul Notzold 2.43 Pacmanhattan Team 2.44 Tristan Perich 2.45 Giles Perring 2.46 Stefan Plessner & Christian Wiener: project MESHES 2.47 Shoshana Polanco 2.48 Maribel Pozo y Matteo Sisti Sette 2.49 Marcin Ramocki 2.50 Nagore Salaberria 2.51 Fernando Sánchez-Castillo 2.52 Gabe Sawhney 2.53 Marc Shepard 2.54 Pip Stafford 2.55 Tobias Trier 2.56 James Tunick 2.57 Nuno Valerio 2.58 Angie Waller 2.59 Junu Joseph Yang 2.60 Jody Zellen 3 referencias 3.1 Digital Performance - Blog 3.2 Interactive Telecommunications Program en New York @ TISH New York 3.3 Jonah Brucker Cohen 3.4 Golan Levin and Collaborators: An Informal Catalogue of Mobile Phone Performances, Installations and Artwork 3.5 Lucas Longo 3.6 Media Art Net 3.7 Mobile Active: A resource for activists using mobile technology worldwide. 3.8 Howard Rheingold 3.9 Rhizome 3.10 Textually 3.11 We Make Money Not Art 4 Bibliografía & Further reading

Breve historia de la relación entre arte y teléfono

En la actualidad sigue suponiendo para muchos una gran novedad encontrarse con una obra de arte en la que se utilice, de una forma u otra, la telefonía móvil, a pesar de que en el transcurso de esta década son ya muchos los artistas que la vienen empleando, bien como inspiración, como soporte físico, como tema en torno al que reflexionar o como herramienta para la creación…etc.

Pero realmente debemos retroceder hasta los primeros años del siglo XX para ver experiencias artísticas relacionadas con este medio de comunicación. Así que hagamos memoria y miremos hacia atrás para encontrar las primeras andanzas del teléfono en el mundo del Arte.

Moholy-Nagy, artista vinculado a la Bauhaus, en el año 1922 dictó por teléfono las instrucciones para crear una obra, separando así el trabajo manual del intelectual y convirtiendo la obra en pura información. Pero a lo largo del siglo XX fueron más los artistas que se sintieron fascinados por este artilugio, como fue el caso de Dalí, que lo utilizó en muchas de sus obras aunque quizás Teléfono Langosta (1936) y Beach with Telephone (1938) sean las más conocidas.

Esta atracción que el artista sentía por el teléfono respondía a un interés por un objeto cotidiano y símbolo de modernidad en aquellos años, más que por su condición de objeto comunicativo y tecnológico.

Pasados unos años y en un contexto más influenciado por McLuhan y por sus reflexiones a cerca del poder de los medios y de la influencia que éstos ejercen, John Giorno creó en 1968 Dial-A-Poem, proyecto mediante el cual se ofrecía poesía a través del teléfono para poder así difundirla de forma masiva. En esta misma década artistas conceptuales y ligados a Fluxus utilizaron este medio en actividades artísticas para crear nuevas formas de contacto y centrarse en la comunicación, en el intercambio y en la creación de redes.

Como consecuencia del interés que despertó el teléfono en muchos artistas de esta época y retomando quizás la idea de Moholy-Nagy, en 1969 el Museo de Arte Contemporáneo de Chicago organizó la mítica exposición Art By Telephone, en la que los artistas llamaban al museo y daban las instrucciones necesarias para crear sus obras. Y es que retomando ideas de Duchamp y sus ready-made, a mediados de la década de los sesenta el arte conceptual empieza a tomar gran relevancia en el panorama artístico y la tecnología y en concreto los medios de comunicación se convirtieron en un paradigma para estos artistas. Si en el arte conceptual la idea predomina ante cualquier otro aspecto, en Art By Telephone más que nunca la obra era una idea que se podía transmitir por ejemplo por teléfono.

En 1994 el artista Heath Bunting hizo sonar los teléfonos públicos de la estación de King´s Cross de Londres en un determinado momento. Para llevar a cabo esta obra, el artista mezcla distintos medios ya que informó de los números de teléfono que había que marcar mediante una convocatoria vía mail. Y es que Internet adquiere una importancia vital en muchas de las obras que hoy en día se realizan con teléfonos móviles, ya que es la plataforma ideal para mostrarlas, para buscar información a cerca de ellas o para crearlas. Como ejemplo de ello podemos fijarnos en obras como AudioBored o SimpleText del artista y teórico Jonah Brucker-Cohen. Sus obras son un ejemplo de interacción y de la relevancia de Internet pero en general se podría decir que este tipo de obras que nos ocupa son muy dispares y es que el teléfono móvil adquiere muy distintas funciones dependiendo de la obra-artista. Social Mobiles (2003) de Crispin Jones, por ejemplo, nos traslada de forma ingeniosa cómo para algunos creadores el teléfono móvil es un tema sobre el que debemos reflexionar por la repercusión social que han tenido y los cambios que en nuestro comportamiento han creado. Mobile Feelings (2002) de Christa Sommerer y Laurent Mignonneau también nos hace pensar en la comunicación que mantenemos a través de este aparato y nos invita a realizarla no mediante la voz sino a través de sensaciones corporales virtuales.

Existen obras que intervienen en el espacio urbano gracias a la interacción de las personas logrando así resultados espectaculares como son Amodal Suspension (2003) de Rafael Lozano-Hemmer y Skay Ear (2003-2004) de Usman Haque. Y sin dejar de lado los escenarios urbanos se podrían nombrar gran cantidad de obras que realizan recorridos por las ciudades utilizando la tecnología GPS implantada en muchos teléfonos.

De manera que aunque todas estas obras compartan el uso de la tecnología móvil, como ya he comentado, existen grandes diferencias conceptuales y estéticas entre ellas. Cell Phone: the Art of the mobile phone fue una exposición que se llevó a cabo en el Museo de Arte Contemporáneo de Baltimore en el 2007 donde se daban cita obras de más de treinta artistas y colectivos de artistas creadas con o para el teléfono móvil. Esta muestra es un claro ejemplo de lo diferentes que llegan a ser las obras realizadas con esta tecnología. Y no hay que olvidar que desde que los teléfonos móviles llevan incorporada cámara de fotos y video están adquiriendo cada vez más presencia en el ámbito artístico y cinematográfico. De hecho, ya se habla del móvil como de “la cuarta pantalla” y posiblemente se esté acercando una nueva forma de ver el cine, de realizarlo y percibirlo.

Pero estos son sólo algunos ejemplos de las muchas obras y eventos que se están realizando en torno a la telefonía móvil y posiblemente la punta de un iceberg que aumenta de forma paralela a la relevancia que este medio de comunicación está adquiriendo en la sociedad actual. De hecho, no debemos olvidar que se está convirtiendo en el objeto tecnológico de fácil portabilidad que aglutina otras tecnologías como es el ordenador, el reproductor musical, la agenda electrónica o la cámara de fotos y video. Más que nunca el teléfono se está convirtiendo en una “extensión de nuestro cuerpo, mente o ser”.

sección a cargo de Lorea Iglesias.

Breve catalogo de obras de arte y artistas

Toni Abad

Zexe Net Un proyecto de comunicación audiovisual celular para colectivos sin presencia activa en los medios de comunicación preponderantes

MEXICO DF marzo/abril 2004

Gitanos De LLeida 2005

Gitanos de León 2005

Prostitutas de Madrid 2005 Personas discapacitadas - Barcelona 2006

Migrantes nicaragüenses transmiten desde celulares en San José de Costa Rica 2006

Motoboys de Sao Paulo 2007

Personas con mobilidad reducida en Geneve 2008

Beatrice Valentine Amrhein

Videos Lustre (2006) [1]

which features dozens of cell phones hanging from the ceiling like a chandelier, each running a short film on the cell phone’s screen. The Videos Lustre installation gathered 100 new generation mobile phones broadcasting 100 of Beatrice's videos. Embodying the form of a chandelier (Lustre) each mobile phone hangs at a sight level so as to allow the public to appreciate every single video... These videos present different moves and outlines observed by the "camera eye". The process peculiarity lies in its ability to sound the subject very closely. By focusing on an eye, the camera, organic extension of the artist's body, aims to unveil its line, light and texture. The low quality of the records deeply modifies our own perception and no limit appears any more in this strange body-map. Through Videos Lustre, BVA creates new emotions and original sights among our common bodies.

Banksy

Street art

Este graffitero británico ha dibujado un código QR en una de sus pinturas, la cual se encuentra en el túnel de la estación de Waterloo. Este graffiti es la carta de representación del artista pero en este caso lo que hay que hacer es fotografiarlo con el teléfono móvil y mediante una aplicación que lee el dibujo y descarga en nuestro teléfono un enlace que nos lleva a la entrada de Banksy en la Wikipedia.

Aram Bartholl

Silver cell (2004) [2]

The “Silver Cell” cell phone carrying case works like a Faraday cage. A cell phone placed inside this case can neither transmit nor receive. The material it’s made of, a completely silver-coated polyamide fabric, remains transparent, so a modern cell phone’s display can be read through it.

“Silver Cell” makes it possible to evade any positioning or tracking activity by the telecommunications service provider. The user’s own personal dead-zone assures that he/she is the one who decides whether to leave behind a trace in any spatial data model.

Kate Bauer

OVU

- 2007 EEUU-

Ovü is made up of a lace arm band, with a highly sensitive thermistor attached inside that picks up changes in the Basal Body Temperature (BBT) of a woman to detect fertility.

Liana Brazil, Russ Rive: SUPER UBER

- Brasil - South Africa

Graffiti SMS

Russ Rive and Liana Brazil founded the company SuperUber, in Rio de Janeiro, Brazil. They work where art, technology and design converge, acting as curators, interactive designers, art and technology directors. They have participated in exhibitions and events throughout the world such as: PeléStation at World Cup 2006 Germany / Spring Dance in Holland / Open Air in Portugal / CCBB, Paço Imperial, Portuguese Language Museum and Tomie Ohtake Institute in Brazil. Their interactive and multimedia installations have different goals. They make installations for culture, education, entertainment and advertising.

Liana Brazil worked in New York, in companies like HBOKids, Eyebeam Atelier, Ehollywood, Pixel Press and Picture Projects, graduated in Interactive Telecommunications from NYU and participated in festivals like NY International Children’s Film Festival and NY Film Festival. She's an editor, animator and designer. Back in Brasil, she creates and develops installations for exhibitions and events in major culture venues. She is the editor of Interface, weekly column about Art and Technology at JB Online newspaper.

Russ Rive focuses on creative ways to merge art and technology. He researches the latest technologies, creating and reinventing ways of interacting with the artistic content of each installation. Before SuperUber, Russ founded Everdream, the market leader in on-demand Desktop Management services. Everdream manages over 140,000 systems throughout 60+ countries. Before Everdream Russ was part of the initial team at Zip2, a leading provider of enterprise software and services to the media industry, with investments from the New York Times Co., KnightRider, MDV, SoftBank, and the Hearst Corp. Zip2 was later acquired by Compaq. Russ holds three technology patents and an Electrical Engineering degree from Tshwane University of Technology, South Africa.

Giselle Beiguelman

Giselle Beiguelman is a new media artist and multimedia essayist who teaches Digital Culture at the Graduation Program in Communication and Semiotics of PUC-SP (São Paulo, Brazil). Her work includes the award-winnings "The Book after the Book" "egoscópio" and Landscape0 (with Marcus Bastos and Rafael Marchetti). She has been developing art projects for mobile phones ("Wop Art", 2001), praised by many media sites and the international press, including The Guardian (UK) and Neural (Italy), and art involving public-access, by the web, SMS and MMS to electronic billboards like "Leste o Leste?" and "egoscópio" (2002), released by /The New York Times/, "Poétrica" (2003) and "esc for escape" (2004). Beiguelman's work appears in important anthologies and guides devoted to digital arts including Yale University Library Research Guide for Mass Media and has been presented in international venues such as Net_Condition (ZKM, Germany), el final del eclipse (Fundación Telefonica, Madrid), Desk Topping - Computer Disasters (Smart Project Space, Amsterdan) Arte/Cidade (São Paulo), The 25th São Paulo Biennial and Algorithmic Revolution (ZKM).

Esc for escape (2004) [3]

esc for escape is a cross media project by Giselle Beiguelman developed at desvirtual.com for Art.ficial Emotion exhibition, produced by Itaú Cultural, under the curatorship of Arlindo Machado and Gilbertto Prado.The project has different outputs a DVD, this website and an urban teleintervention and worked with the following teams.

Bijarí

Brasil Guerrilla art

Entrevista en We Make Money Not Art

Blast Theory

Uncle Roy All Around You (2003) [4]

Uncle Roy All Around You is a game played online in a virtual city and on the streets of an actual city. Online Players and Street Players collaborate to find Uncle Roy's office before being invited to make a year long commitment to a total stranger. The city is an arena where the unfamiliar flourishes, where the disjointed and the disrupted are constantly threatening to overwhelm us. It is also a zone of possibility; new encounters. Building on Can You See Me Now? the game investigates some of the social changes brought about by ubiquitous mobile devices, persistent access to a network and location aware technologies. The following text describes the work in June 2003 at the world premiere at the Institute of Contemporary Arts, London. The work was changed significantly in subsequent presentations . Street Players buy a ticket and then are shown to the registration desk. They have their photo taken and hand over all their possessions: phone, purse, bag, loose change, etc. The Street Player receives a unique code, which they enter into their handheld computer thus triggering the 60 minute countdown to begin.

Can you see me now? (2001-2005) [5]

Can You See Me Now? is a game that happens simultaneously online and on the streets. Players from anywhere in the world can play online in a virtual city against members of Blast Theory. Tracked by satellites, Blast Theory's runners appear online next to your player on a map of the city. On the streets, handheld computers showing the positions of online players guide the runners in tracking you down. With up to 20 people playing online at a time, players can exchange tactics and send messages to Blast Theory. An audio stream from Blast Theory's walkie talkies allowed you to eavesdrop on your pursuers: getting lost, cold and out of breath on the streets of the city.

Rebecca Cannon

Kill yourself (2005)

Kill yoursef es un juego Java para plataforma móvil dedicado a personas que no se “soporten” a sí mismas. Para iniciar el juego hay que seleccionar un personaje y después tu propio nivel de auto odio y matarte de distintas formas. El juego termina cuando el programa “decide” que la persecución a uno mismo ha cumplido su ciclo. Encargado por DLUX Media Arts para “Mobile Journeys” 2005, jornadas celebradas en la Opera House de Sydney en las cuales el público asistente era invitado a descargarse este juego de forma gratuita en su móvil a través de bluetooth.

Chaos Computer club

Blinkenlights Interactive (2001) [6]

Para celebrar su vigésimo aniversario Chaos Computer Club realizó una presentación especial en el edificio de oficinas "Haus des Lehrers" en Berlín. La Alexanderplatz se ha transformado en el display interactivo más grande del mundo: Blinkenlights. Los ocho pisos superiores del edificio fueron transformados en una pantalla gigante construida con 144 lámparas detrás de los ventanales. Un ordenador controlaba cada una de las lámparas de forma independiente para producir una imagen monocromática. Un número creciente de animaciones podía ser visto durante la noche. Pero además se sumaba un componente interactivo: las personas podían jugar al Arcade Classic PONG sobre el edificio utilizando el teléfono móvil.

Thomas Charveriat

F2T (“Free to Talk?”) (2004) [7]

F2T es una escultura musical interactiva sobre el argot y sus diferentes utilizaciones contemporáneas. el argot es la conjunción de un fenómeno literario y una consecuencia social. El lenguaje SMS (Short Message Service) habría sorprendido a Víctor Hugo: “Llgo+ trde. Kdms a ls 6?” (“Llego más tarde. ¿Quedamos a las seis?”). Casi ocho millones y medio de mensajes como éste circulan al día por los teléfonos móviles españoles. Las nuevas tecnologías imponen su lenguaje. Ahora, un torrente de letras y signos, un argot jeroglífico a medio camino entre el telegrama y la taquigrafía domina en los habitáculos virtuales. Las “A2” (“Adiós”), “xdon” (“perdón”) “Bss” (“Besos”), “Ktl” (“¿Qué tal?”) llegan con fuerza. El objetivo del proyecto F2T es de comunicar la analogía que existe entre el argot de la calle y el nacido del uso de las nuevas tecnologías. El usuario puede mandar un SMS a la escultura, que lo traduce en una canción de rap. Una multitud de lírica pregrabada se activa cada vez que se recibe un SMS. La escultura está hecha con dibujos de hierro en toda su estructura física, posee un receptor para los SMS, un microcontrolador BS2X para la búsqueda de las letras de las canciones más apropiadas según el SMS recibido dentro de la base de datos, y un lector mp3 para la reproducción de las letras de rap. Además diferentes motores proporcionan movimientos a la estructura de metal.

Taeyoon Choi (in collaboration with I&P media art team)

Shoot me if you can (2005) [8]

Shoot me if you can is an urban game inspired by first person shooting online video game. Replace gun with fun, and shoot the opponent team with a cellular phone equipped with a digital camera. Participants; shooters are given team color and phone number printed on the sticker. Shooters are ought to take a picture of the opponent team. If successful, she/he sends the picture to the opponent team member, via multimedia SMS system. Different rules exist for variations in game. Tactics is important part as well as team work and understanding of the urban environment. This work is a commentary on abundance of digital image in our culture, desire to photograph and violence of surveillance camera. Active public participation in encouraged through website and the game.

Jennifer Chowdhury

The Cell Atlantic CellBooth (2006) [9]

The portable phone booth, which I call the "Cell Atlantic CellBooth", is a wearable object you can carry around with you and set up when you need a moment to talk. The project prompts people to take stock in how cell phone technology has altered the ways in which we communicate with each other and the environment surrounding us.

Jennifer Chowdhury and Ran Tao

Mobile Assassins (2006) [10]

the game Assassins, in which players use their cameraphones to take a picture of their target and score a "hit." Designers Jennifer Chowdhury and Ran Tao will unveil the game, called Mobile Assassins, at tomorrow's annual ITP Spring Show, after which it will be available for the public to use in controlled situations such as college orientations, trade conferences, and other events where you wouldn't be getting photographed by complete strangers. To enter a game, players must first take their own photo and MMS it to the MA server, after which they are sent a picture of their first target; if the first target is successfully "assassinated" without first snapping the assassin's picture, then the next hit on the target's own list is reassigned to the assassin. This all sounds a bit complicated, so if you're ever involved in one of these tournaments, your best bet is to lock yourself in a room for most of the game, only to reemerge just in time to counter-strike the other remaining player and claim your victory.

The Popularity Dialer (2007) [11]

Have you ever been in a situation where you wished your cell phone would ring? Maybe you wanted to look extra important or popular on that hot date. Or maybe you just needed an excuse to escape from an unpleasant meeting. With "The Popularity Dialer", you can plan ahead. Via a web interface, you can choose to have your phone called at a particular time (or several times). At the elected time, your phone will be dialed and you will hear a prerecorded message that's one half of a conversation. Thus, you will be prompted to have a fake conversation and will easily fool those around you.

Jonah Brucker Cohen

EEUU. Jonah Brucker-Cohen is a researcher, artist, and Ph.D. candidate as an HEA MMRP (Multimedia Research Programme) fellow in the Disruptive Design Team of the Networking and Telecommunications Research Group (NTRG), Trinity College Dublin. He is an adjunct assistant professor of communications at NYU's Interactive Telecommunications Program (ITP). He worked as an R&D OpenLab Fellow at Eyebeam in NYC from 2006/7. From 2001-4 he was a Research Fellow in the Human Connectedness Group at Media Lab Europe. He received a Masters from ITP in 1999 and was an Interval Research Fellow from 1999-2001. His work and thesis focuses on the theme of "Deconstructing Networks" which includes projects that attempt to critically challenge and subvert accepted perceptions of network interaction and experience. He is co-founder of the Dublin Art and Technology Association (DATA Group) and a recipient of the ARANEUM Prize sponsored by the Spanish Ministry of Art, Science and Technology and Fundacion ARCO. His writing has appeared in numerous international publications including WIRED Magazine, Make Magazine, Rhizome.org, and Gizmodo, and his work has been shown at events such as DEAF (03,04), Art Futura (04), SIGGRAPH (00,05), UBICOMP (02,03,04), CHI (04,06) Transmediale (02,04,08), NIME (07), ISEA (02,04,06), Institute of Contemporary Art in London (04), Whitney Museum of American Art's ArtPort (03), Ars Electronica (02,04), Chelsea Art Museum, ZKM Museum of Contemporary Art (04-5),Museum of Modern Art (MOMA - NYC)(2008), and the San Francisco Museum of Modern Art (SFMOMA) (2008).

Audiobored (2004) [12]

Jonah Brucker-Cohen and Stefan Agamanolis, AudioBored: a publicly accessible networked answering machine, Adjunct Proceedings, UbiComp 2003 Fifth International Conference on Ubiquitous Computing, Seattle, 12 - 15 October 2003. AudioBored is a public audio bulletin board that allows candid opinions, thoughts, ideas, and exclamations in the form of short audio messages to be posted live in a shared web space as well as a public audio installation. By calling a toll-free number on any telephone, anyone can leave a message on this bd share it with the world. These messages are organized by various themes and threads, and once posted they cannot be deleted.

Musical/Devices (2002) [13]

The artist writes: "Musical/Devices allows you to collaborate in a musical composition with other people using any telephone. The project allows for multiple users to participate in one experience through a mobile device. Users call up and connect to the program and can select a high or low pitch note. Once they choose a tone, the tone is released into the main screen and when the bouncing ball collides with it, it produces the appropriate high or low pitch sound. The system uses VoiceXML (a subset of XML) through TellMe and speech recognition to decipher user input in the form of voice or DTMF tones. Once the user connects, they are prompted to say "high" to generate a high pitch sound or to say "low" to generate a low pitch sound. Once the VXML gets an answer it recognizes it writes to a CGI script and relays that message to the movie."

Phonetic Faces (2003) [14]

Phonetic Faces is an interactive mobile visual installation in public space that allows people to both contribute their image to a shared display and collaborate with others to create a collage of images using their mobile phones. While in front of the installation, visitors call a free 1-890 number which prompts them to choose images to collage together and allows them to take a new picture of themselves to add the archive. The installation allows up to four people to simultaneously call in and chose photographs to add to the evolving collage. The result is a visual composition of visitors over time to the installation. Ideally, the project would be installed in a public space such as a bus stop or another "waiting" point to allow for a constant influx of new images and collages to collect over time. Phonetic Faces exists on a screen embedded into the wall of an inhabited public space. A small video camera sits above the screen and is activated by visitors through their mobile phones. When you walk up to the screen, you call a free 1-890 number and a voice guides you through two options: 1) Paint with a picture to add to the animating collage 2) Take a new picture of yourself that others can use in the collage by activating the camera. The system uses VoiceXML (a subset of XML) through Voxpilot and speech recognition to decipher voice input in the form of voice or DTMF tones.

Future versions of Phonetic Faces will have a networked component to connect imaging stations situated in public spaces throughout the world. Once a new image is taken it will be sent to the other stations along with information on its origin, time, and location. The project is a hybrid of my projects My_Faces, an autobigraphic image manipulation tool and Musical/Devices , a mobile-phone based, public collaborative music project.

Simple Text (2004)

Simple text es una performance colaborativa audiovisual que requiere la participación de la audiencia y emplea desde la telefonía móvil hasta el ordenador. En este proyecto, los participantes van entrando y saliendo de forma dinámica y se crea un diálogo entre los participantes que dejan mensajes y los que controlan la parte audiovisual de la instalación. Los mensajes se analizan sintácticamente de acuerdo a un código que dicta como convertirlo en música, luego lo sintetiza rítmicamente y se crea un diseño para crear una performance audiovisual contundente y colaborativa. Se crean feedback entre todos estos sistemas para permitir la interacción entre la audiencia para provocar inesperados encuentros. Es un trabajo basado en la telefonía móvil y supone un puente entre la Web, interfaces y espacio público. A través de una gran pantalla vemos la entrada y salida de mensajes.

Counts Media

Yellow Arrow (2004-2006)

Yellow Arrow es una obra que proporciona una nueva manera de mirar las ciudades. Es un viaje creado localmente para ser utilizado a nivel global. Cada persona interesada en participar debe colocar una flecha amarilla en un sitio sobre el cual quiera dejar un mensaje. Cualquier otra persona que encuentre esa flecha puede enviar el código que este indicador contiene y recibirá el mensaje que ha sido grabado. Estos mensajes pueden contener desde un detalle pequeño, una historia divertida hasta una experiencia local. Para encontrar estas flechas en una determinada ciudad, el usuario puede descargarse un mapa de las mismas. De esta manera puede realizar un tour por un lugar conocido con una nueva mirada, convirtiéndolo de esta forma en un nuevo lugar.

Tim Didymus

Experimental live concert (2003) Ars Electronica Festival, Linz, Austria. Performer Tim Didymus conducted a live concert featuring music and sounds generated entirely on-the-fly from a mobile phone application. US-based Tao Group is behind the technology, called Intent Sound System (iSS), a suite of audio technologies that makes it possible to relay music composed live and in high quality through a mobile phone.

Yvonne Doll

Sleepyurbanite (2007) [15]

Sleepyurbanite is an art project that compiles photos of people sleeping on Chicago’s subway. Yvonne took all of the photos with her Motorola V577 camera phone; I guess it is discreet enough so as to not cause a scene, and I must say, it takes pretty good photos. Yvonne is drawn to this kind of art because she sees the subway as a place where people are brought together in mass, yet they (for the most part) remain disconnected from one another. To Yvonne, her Sleepyurbanite project is a way for her to use everyday technology to breathe a little connectedness to a place otherwise infused with anonymity. My hat goes off to Yvonne for her creative and positive photo quest.

Ricardo Domínguez

The Transborder Immigrant Tool (2007) [16]

The border between the U.S. and Mexico has moved between the virtual and the all too real since before the birth of the two nation-states. This has allowed a deep archive of suspect movement across this border to be traced and tagged – specifically anchored to immigrants bodies moving north, while immigrant bodies moving south much less so. The danger of moving north across this border is not a question of politics, but vertiginous geography. Hundreds of people have died crossing the U.S./Mexico border due to not being able to tell where they are in relation to where they have been and which direction they need to go to reach their destination safely. Now with the rise of multiple distributed geospatial information systems (such as the Goggle Earth Project for example), GPS (Global Positioning System) and the developing Virtual Hiker Algorithm by artist Brett Stalbaum it is now possible to develop a Transborder Tools for Immigrants to be implemented and distributed on cracked Nextel cell phones. This will allow a virtual geography to mark new trails and potentially safer routes across this desert of the real. The technologies of Spatial Data Systems and GPS (Global Positioning System) have enabled an entirely new relationship with the landscape that takes form in applications for simulation, surveillance, resource allocation, management of cooperative networks and pre-movement pattern modeling (such as the Virtual Hiker Algorithm) an algorithm that maps out a potential or suggested trail for real a hiker/or hikers to follow. The Transborder Immigrant Tool would add a new layer of agency to this emerging virtual geography that would allow segments of global society that are usually outside of this emerging grid of hyper-geo-mapping-power to gain quick and simple access with to GPS system. The Transborder Immigrant Tool would not only offer access to this emerging total map economy – but, would add an intelligent agent algorithm that would parse out the best routes and trails on that day and hour for immigrants to cross this vertiginous landscape as safely as possible.

Sidney Fels, Sachiyo Takahashio y Chris Chung

Plesiophones series (2001) [17]

PlesioPhones es una serie de cuatro obras interactivas que exploran la evolución de la comunicación humana, utilizando como medio el teléfono y los móviles. Las piezas nos llevan a reflexionar sobre la pregunta: ¿Cómo será nuestra comunicación en el futuro? Existen cuatro modelos de Plesiophones: Airphone, PhysicalPhone, StringPhone, SMSPhone

Anaisa Franco

Connected Memories (2007)

Connected Memories es una “máquina” que funciona simbólicamente procesando y trayendo al plano consciente recuerdos almacenados. La obra, se estructura a partir de una base de datos en expansión que almacena recuerdos en forma de narraciones y audiovisuales. La instalación está conformada por dos esculturas (cabezas) luminosas que dialogan entre ellas, intercambiando memorias, sentimientos y recuerdos. Cada cabeza contiene un bluetooth, y los usuarios pueden interferir en lo diálogo enviando mensajes de texto, photos e videos usando su mobile. El sistema reproducirá inmediatamente el mensaje a través de una voz sintética, y el mismo pasará a formar parte de la base de datos de recuerdos, lo mismo con los videos y imagenes. Las cabezas también emiten sentimientos que se expressam atraves de la intensidad lumínica que emiten, sentindo la presencia de los usuarios en lo espacio.

Mathew Gardiner

Oribotics (2007) [18]

Oribotics [network] is a unique art and technology installation in the Atrium at Federation Square, drawing on cutting edge research in biology, computing, and scientific origami. Discover living biomimetic works attached to the glass panes of the Atrium’s Fracture Galleries. Seek out Oribotics [network] and you will find robots rooted to the architecture, surviving on solar power, with their faceted folded mechanical blossoms attracting data, moving in response to the physical audience and stimuli from online users at www.oribotics.net. In Oribotics [network] each robot is individually connected to the vastness of the internet, and to local mobile phone, Bluetooth and wifi networks, enabling interaction via mobile devices and the web. Bring your laptop, PDA, or mobile phone, start up your bluetooth and wifi connections and ‘network’ with the oribots. Or point your browser to www.oribotics.net and explore the virtual world of the oribots digestion. Oribotics [network] continues multimedia artist Matthew Gardiner's research into the hybrid art/science field that fuses the ancient art of origami with robotic technology. Witness the results of four years development of intricately folded designs integrated with robotic mechanisms.

Jeff Gates

Monodialogs (2003) [19]

Jeff Gates explores the vernacular language of mobile phone use, performing one-sided imaginary conversations in public places. Interestingly, Gates performs the absence of mobile phones. He writes: "Every month I perform a monodialog on the subway: a repertoire of mobile phone conversations culled from reality. Putting my finger to my ear (no one will look closely to discover I have no phone) I produce pithy and topical urbane conversations. When my audience ignores me I know I am a success."

John Geraci

Grafedia: hyperlinks para el paisaje urbano (2004-2005) [20]

Grafedia es un hipervinculo en el que se recopilan escritos realizados a mano en superficies físicas y se vinculan a los contenidos de los medios - imágenes, vídeo, archivos de sonido, etc. Se puede escribir en cualquier lugar - en las paredes, en las calles, en las aceras, en una pizarra en un espejo…. Grafedia también puede ser escrito en papel, en el cuerpo como tatuajes, o en el lugar que se quiera. Los partícipes vinculan los hyperlinks con las imágenes enviando desde sus teléfonos móviles un mensaje con el “nombre del hyperlink @grafedia.net” y el adjunto.

Usman Haque

Skay Ear (2003-2004)

Los campos electromagnéticos (CEM) existen por toda nuestra atmósfera. Las ciudades, en particular, tienen una diversa y vibrante cultura hertziana, con las llamadas de los teléfonos móviles, las emisiones de televisión, las puertas de garaje que interfieren con las transmisiones de radio y las conexiones inalámbricas de los ordenadores portátiles…etc. Usman Haque nos hace conscientes de su existencia mediante este proyecto.

Sky Ear es una estructura no-rígida de fibra de carbono-"nube", formada por mil globos de helio y varias docenas de teléfonos móviles. Los globos contienen circuitos de sensores en miniatura que respondan a los campos electromagnéticos, en particular los de los teléfonos móviles. Esta gigante “nube” escanea las transmisiones de datos y las convierte en luz.

Japanese Whispers (2000)

About 10-20 cellphones are laid nose-to-toe in a circle. Ambient sound and the voices of the participants are input into the cellphone mouthpieces. Sound is propagated through the phones, becoming delayed and distorted in the resulting feedback loop. Calls may be initiated in a variety of patterns (neighbour to neighbour or across the circle) with different results.

Drew Hemment, John Evans, Theo Humphries y Mika Raento

Loca: Location Oriented Critical Arts (2005) [21]

Loca is an interdisciplinary project on mobile media and grass-roots, pervasive surveillance. A person walking through the city centre hears a beep on their phone, glances at the screen and sees a message reading: "We are currently experiencing difficulties monitoring your position: please wave you network device in the air." Or "Our server suggests that you may be late. You haven't been charged for this advice." Loca looks at what happens when everyone can track everyone, when surveillance can be effected by consumer level technology within peer-to-peer networks without being routed through a central point. The idea is to enable anyone with a device that has Bluetooth set to discoverable to be tracked. As the project develops inferences based on analysis of the data (sever-side) will guide communication with the Bluetooth users. People should be able to participate to the project through their own mobile phone without any additional technology, and without their device needing to be modified in any way.

Joege Hernández, Raimundo Hamilton y Guergana Tzatchkov

Mobile – mobile (2006) [22]

Mobile-mobile consiste en una escultura móvil colgante, cuyos principales elementos son una serie de teléfonos móviles, algunos de ellos activos en la red GSM. Lo que el público encuentra es la posibilidad de interactuar con el objeto usando su propio teléfono, ya que cada llamada altera la forma de la escultura. Mobile-mobile nos despoja por un momento de las funciones comunes de un medio de comunicación personal, dándole un sentido distinto. Los usuarios activan un juego colectivo en el que mientras más llamadas hagan a la escultura, más dinámico son su movimiento y forma. Un juego ocioso en el que no hay puntaje ni ganadores y perdedores.

Rachel Jacobs, artista multimedia - pieza Hartlands

Adriene Jenik

EE.UU. artista multimedia.

Su proyecto es SPECFLIC, un trabajo sobre nuevas formas narrativa que incluyen los new media y como estos últimos influencian la primera. SPECFLIC is an ongoing creative research project (2003-present) in a new storytelling form called Distributed Social Cinema. Usually, in a performance or cinema experience, the audience is admonished to turn off their cell phones and cease conversation. With SPECFLIC, I seek to integrate these gadgets (cell phones, laptops, mp3players, etc) with live tele-matic performance, pre-recorded media elements, street performers and the audience's own social activity to create a multi-modal story event. Each iteration of the series is held in an iconic public space and is free and open to the public. SPECFLIC stories are all set in 2030, and arise from research-based speculations about the near future of that particular public institution.

Crispin Jones (con IDEO)

Social Mobiles (2003)

Crispin Jons encuentra el equilibrio perfecto entre arte, diseño, tecnología y humor en sus Social Mobiles, conjunto de varias piezas diseñadas para hacernos reflexionar y debatir acerca de los cambios en el comportamiento social a la hora de utilizar nuestro teléfono móvil. Junto con IDEO C. Jones crea cinco “móviles” que ayudarán a cambiar nuestra forma de actuar para que resulte menos molesto para los que nos rodean. SoMo1 nos transmite una pequeña descarga eléctrica en función de lo alto que hablemos. SoMo2 nos permite conversar en silencio utilizando otros sonidos de nuestro cuerpo. SoMo3 es el móvil musical con el que tendremos que tocar una melodía cuando realicemos una llamada. SoMo4 comunica, mediante el mismo sonido que al golpear una puerta, a quien vamos a llamar que nuestra llamada es urgente y es el receptor el que decide si podemos hablar. SoMo5 es el teléfono que lanza sonidos que interrumpen la conversación cuando el volumen de nuestra charla es demasiado elevado y molesto para el resto.

Ursula Lavrencic y Auke Towslaqer

Cell Phone Disco (2006) [23]

Cell Phone Disco es una instalación formada por un gran panel interactivo en el que gran cantidad de LEDs y de sensores reaccionan a las radiaciones electromagnéticas del teléfono móvil iluminándose. El panel se activa cuando nos acercamos a menos de un metro de la pared.

Norene Leddy

the aphrodite project Platforms, the latest series of work in the ongoing Aphrodite Project, is a social sculpture: an interactive, wearable device that is a conceptual homage to the cult of the Greek goddess of love, Aphrodite, a practical object for contemporary sex workers, and a vehicle for public dialogue. An integrated system of shoes and online services, Platforms draws on innovations made by venerated courtesans from antiquity to improve conditions of 21st century women who, despite advances in culture and technology, are now perceived to be outlaws by trade and are vulnerable to surveillance and violence. Platforms empowers people by providing tools they need to stay safe.

The Aphrodite Project is a series of new media artworks inspired by the cult of Aphrodite. Started by Norene Leddy in 2000, The Aphrodite Project consists of three multi-media artworks: Sanctuary, Platforms, and Kestos Imas, a work in progress.

Golan Levin, Scott Gibbons, Greg Shakar, Yasmin Sohrawardy, Joris Gruber, Erich Semlak, Gunther Schmidl

Dialtones (A Telesymphony) (2001)

02 September 2001: Ars Electronica Festival, Linz, Austria A 28-minute concert was produced through the ringing of 200 visitors' phones. Before the concert, participants registered their personal phone numbers into a database, and automatically received new ringtones and printed seating assignments. During the concert, the participants' phones were dialed in various patterns by two live performers, who used custom software that allowed any combination of up to 60 phones to be dialed simultaneously. The orchestra of participants was accompanied by a soloist who performed live on six amplified but unmodified phones.

Jason Lewis

EE.UU. cityspeak - citywide artista que trabaja con el envío de SMS en pantallas gigantes en las ciudades. Cityspeak is ephemeral graffiti, an exploration into using private modes of communication to drive transient public displays of commentary about a particular location. Participants use their SMS- and web-enabled cellphones or wireless PDAs to send text to a common server. The text is processed using the NextText text visualization software. NextText references real-time data from the location to specify the visual behaviors of the text. The resulting stream of text is layered back onto the location in the form of large-scale projections. Participants can use the display to leave commentary, tell stories, conduct conversations or simply to play with the visual characteristics of text.

Cityspeak is an example p2P (private-to-public) communication which allows participants to use communication technologies we tend to think of as private--cell phones and Personal Digital Assistants--to create public displays.

Cityspeak is a partner in the Mobile Digital Commons Network , a group of artists, university and industry researchers and policy activists that is experimenting with ways in which to bring the ideas of a creative commons to the wireless environment in Canada .

Ligna, in combination with Radioballett

Wählt die Signale! Ein Radiokonzert für 144 Handys (2003) Dial the Signals!“ was a temporary installation of a radio station, 144 mobile phones, numerous radios and the listeners of the free radio FSK, being all part of a complex instrument. The radio transmitter, die phones, the radios of the listeners and die spaces of the Hamburger Kunsthalle (as junction and resonator) are the technical elements of an equipment, that developed public-collective aleatory acoustics.

The radio concert had an explicit beginning and ending. The audience could take in the concert part via phone from any place. During 12 hours, from Saturday evening 20pm to Sunday morning 8am 144 mobil phones could be reached via 144 phone numbers. The temporal extension of 12 hours should avoid the compression of sound like in common concerts. On the other hand the concert should change in relation to the listeners’ situation of reception. The aim was to make evident that the radio concert is not received dispersively, but also played dispersively. The caller could produce a spontane and complex music, audible on the radio: the calling person was composing at the same time. The phone numbers of the mobile phones had been published before, so that the listeners could directly address the mobiles and enable the concert and also navigate the concert. It consisted exclusively of the ring tone of the calling mobiles. There was no other superior entity, having direct access to the creation of sounds.

Kati London

I design, develop and build opportunities for interacting with others— whether that be for people and plants, residents of Baghdad and New York City or an international conference of mobile game developers. My varied interests have led me from individual work to exciting collaborative peer groups, and on up to large public program events. A background in botany led me to curate large scale cultural programs at one of New York City’s botanical gardens. I produced online art auctions for artnet.com. Some of my collaborative projects have been featured in the Come Out & Play Festival, New York; and Conflux: Festival of Psychogeography. The project Urban Sonar has been featured in Wired; and Botanicalls: the plants have your number, has been featured on the BBC, and will be included in an upcoming documentary for German and French public television. I currently work as a producer and game designer for the big game design company, area/code. I recently finished a Masters at NYU’s Interactive Telecommunications Program. I've exhibited art works and installations in New York, Los Angeles, Germany, Italy and Providence, Rhode Island. In a former life I tended several greenhouses filled with rare plants. últimos proyectos.

Botanicalls Botanicalls: The Plants Have Your Number Botanicalls opens a new channel of communication between plants and humans, in an effort to promote successful inter-species understanding.

Botanicalls allows plants to place phone calls for human help. When a plant on the Botanicalls network needs water, it can call a person and ask for exactly what it needs. When people phone the plants, the plants orient callers to their botanical characteristics. Call 212.202.8348 to hear more about each of the plants.

Urban Sonar Urban Sonar is a personal space monitoring system that senses an individual's experience as they move through the urban environment and records that information for review at a later time. Turning the gaze both outward and inward, negative space surrounding the individual and their heart rate are used to visualize a lived experience through quantitative data.

The sensing system is integrated into a wearable device. Ultrasonic range finders are mounted in the front, back, and shoulders of a jacket, measuring the empty space or proximity to solid forms on all sides of the body. Conductive fabric strips are strapped around the fingers and serve as the contact leads for a heart rate monitor that registers pulse. The remaining electronic components are housed in a pocket inside the jacket. Sensor data is fed into a microcontroller that interprets the values and transmits them serially via Bluetooth. The data is received and recorded by a Bluetooth-enabled mobile phone. Once the session is complete, the log file is uploaded from the mobile phone to a server where it is interpreted as a time-based visualization. This visualization displays an accelerated, aerial view that simulates the ebb and flow of the user's personal space and heart rate as the values fluctuate during the period of data logging.

Considering both the body and its movement through space, Urban Sonar is a mobile, wearable, logging system that uses objective data to map a subjective experience.

Lucas Longo

A Brasilian Graduate student at the Interactive Telecommunications Program, NYU. I have been working on interactive visualizations, programming, eye-tracking, interface workflow optimization, and mobile applications.

Jess Loseby

Doc_u (2005) [24]

Doc_u, an interactive installation made up of visual self-documentation. The project exploits user-friendly technology (mobile phone cams and Macromedia Flash) to allow multiple images to be shown simultaneously. Jess Loseby and the Babylon Gallery have been holding workshops with schools and community groups local to the gallery using 5 mobile camera phones. The participants were asked to randomly document themselves and their environment in a set time.They were encouraged not to delete or alter any images, as part of the aesthetic of the installation was to highlight the beautiful 'accidents' and to dismiss attempts to 'make art'. The project is now open across the Internet to everyone.

Rafael Lozano-Hemmer

Amodal Suspension (2003)

Se trata de una instalación interactiva en la que el artista relaciona la participación del público (que deberá interactuar con la obra), el entorno urbano y la tecnología. El público debía de enviar mensajes de texto con su teléfono móvil o con Internet y éstos se codificaban en luces que se proyectaban en el cielo. Las luces después se traducían de nuevo en los mensajes enviados por el público y podían verse proyectados en la fachada de un edificio. Todos los mensajes se archivaron en la página Web del proyecto. Esta pieza se inauguró en noviembre del año 2003 en Yamaguchi Center for Arts and Media.

Laurent Mignonneau y Christa Sommerer

Mobile Feelings I-II (2002) [25]

Esta obra nos transmite la reflexión de sus creadores a cerca de la privacidad de nuestras conversaciones en el espacio público a partir de la utilización del teléfono móvil, y nos ofertan una ingeniosa alternativa como es Mobile Feelings I y II. Mobile Feelings es un proyecto de arte móvil en el que los usuarios pueden enviar y recibir datos corporales a través de una red de comunicación inalámbrica. Una serie de dispositivos especialmente diseñados permiten a los usuarios remotos sentir a distancia las señales emitidas por los latidos de su corazón o su respiración. El sistema explora formas innovadoras de comunicación intuitiva y no-verbal que van más allá de la convencional transmisión de voz, sonidos e imágenes que se da en las comunicaciones entre teléfonos móviles. La idea de los artistas es que realicemos esta comunicación con desconocidos, creando así una comunicación muy diferente a la que nos estamos acostumbrando. Conectividad y movilidad a cambio de la disminución de nuestra privacidad.

Paul Notzold

TXTual healing (2006) [26]

Street art interactivo. Con un ordenador, un móvil y una pantalla Paul Notzol crea esta obra interactiva. Se trata recibir los SMS enviados a un determinado número de teléfono para después ver el SMS proyectado en la pared de un edificio en forma de graffiti (al estilo del grafitero Jesus Saves ). Divertida e interesante mezcla entre arte urbano, interactivo y mobile art.

Pacmanhattan Team

Pacmanhattan (2004) [27]

Pacmanhattan es un juego a gran escala, en el cual la cuadricula de la ciudad de New York recrea la sensación de un videojuego de la década de los ochenta. La versión análoga de Pac-man está siendo desarrollada en un programa interactivo en telecomunicaciones neoyorquino, ordenado para explorar que ocurre cuando los juegos son extrapolados del mundo de la televisión, computadoras y son traspasados al mundo real: a las ciudades, a las calles. El jugador vestido como un Pac-man tendrá que desplazarse por la esquina de Washinton Square, mientras intenta recoger todos los “puntos virtuales” los cuales se localizan a lo largo de la calle. Cuatro jugadores vestidos como fantasmas Inky, Blinky, Pinky y Clyde, intentaran coger a Pac-man antes de que este recoja todos los puntos. Usando el teléfono móvil como contacto, las conexiones de Internet Wi-fi y el software diseñado por el equipo de Pac-Manhattan, Pac-man y los fantasmas serán rastreados desde una central de localización y sus progresos serán transmitidos a través de Internet para que sean visto a lo largo del planeta.

Tristan Perich

Portable Telephone (2005)

El artista modifica el viejo teléfono fijo de su cocina para convertirlo en un teléfono móvil. Sin agenda, sin mensajes y sin cámara de fotos pero con la agradable sensación de volver al pasado sin renunciar a la movilidad. Este trabajo nos hace pensar en los grandes cambios que han sufrido los teléfonos en los últimos años, no sólo a nivel tecnológico sino también en el diseño. Imposible no sonreír al imaginarnos por la calle con un teléfono móvil de estas características.

Giles Perring

The Exchange (2001) [28]

The Exchange is the name of an ongoing series of performance and multimedia work by Giles Perring. The Exchange combines live performance with the potential of mobile phones. It is about chance, communication, technology and emotion. In the piece, which is a strictly timed musical improvisation, one live performer on stage interacts with telephone calls from other performers and artists who can be anywhere on the planet. They call at specific moments with specific contributions. Meanwhile, other artists send images of these performers and their performances, as they happen, by phone. Giles Perring has been exploring the piece since 2001 and this website gives coverage and extended examples from each performance, as well as details of the wide range of other performers and artists that he has involved in its various performances. For more about the individual events in the series go to the page on performances.Exchange collaborator John Cayley offered these notes on the piece after taking part in its first performance in 2001.

Stefan Plessner & Christian Wiener: project MESHES

Stefan Plessner Christian Wiener

Project Description (as set up in Berlin 2004) During the “Long Night of the Museums” in Berlin, visitors can send in photographs by MMS, which are then sorted by image-comparison software. The software immediately creates a film which is displayed on monitors or projectors.

In the space and time of a night at the museum, we invite the public and their own photography-capable mobile phones to photograph the evening, and to send the pictures to a central telephone number. These photographs of groups, individuals, street scenes, passers-by, events, performances, objects, buildings, etc. are collected in a database. A highly advanced software image-recognition program, the competitor to a CIA-developed program, orders these pictures according to resemblance. The software compares the images in real-time according to formal criteria such as colour, colour shading, and contrast. The software then shows the ordered images to viewers as a film at 12 images per second.

This film can be followed/shown at different locations in Berlin. When the film reaches the last image, it starts anew, reordering and incorporating any newly-added pictures. This becomes in effect a public film project, whose content is determined by the number and kind of submitted photos. A constantly developing and newly-ordered loop, the film can be seen, as well as newly-influenced, throughout the event.

Shoshana Polanco

Pedestrian. A Walking Tour for Multiple Voices and Portable Phones (2005) [29]

Pedestrian: A Walking Tour for Multiple Voices and Portable Phones is an outdoor, site-specific, performance piece, which explores this public airing of private, even intimate speech. The project, which is intended for performance in international metropolitan areas, had it’s world premiere at the HOWL! Festival in New York City’s East Village on August 27th, 2005. Because each city has its own unique historical and contemporary connotations, the text of the piece necessarily takes up different themes to reflect the location. The theme for New York City’s performance was loss, appropriate for a city that has held tightly to the loss of the twin towers and the myriad losses borne from that initial tragedy. Pedestrian’s fragmented text is a confessional cobbled together from the personal stories of the performers about losses past, present and possible, from the loss of a lover or a sentimental object to the loss of identity.

Maribel Pozo y Matteo Sisti Sette

Interferentes (2005) [30]

Interferences es una instalación audiovisual que reacciona a las radiaciones electromagnéticas emitidas por los móviles de los visitantes. Consiste en una retroproyección en una pantalla de aproximadamente dos metros de ancho, con sonido estereofónico. En su estado 'natural', la imagen y el sonido tienen vida propia: cambian, crecen, evolucionan. Las radiaciones electromagnéticas provocan alteraciones en esta evolución. Las alteraciones son más evidentes en los puntos del espacio donde la radiación es más fuerte.

La instalación pretende despertar el interés sobre un fenómeno cuya materialidad física tendemos a ignorar. Se sabe muy poco sobre los efectos que estas radiaciones pueden tener sobre el organismo humano. Puede que no sean peligrosas. Muchos elementos de nuestro entorno no lo son, y sin embargo huimos de ellos porque nos atacan con su aspecto, su ruido, su olor. Si pudiéramos ver u oir la energía que sale de nuestro móvil y atraviesa nuestro cuerpo, ¿actuaríamos de la misma manera?

Marcin Ramocki

Cell phone piano (2007)

The cell phone piano. Each key on the keyboard is wired into a key on a cell phone - as you play, you are also dialing. The channels are mixed together and amplified through speakers. Every sound the piano makes is generated by one of the four phones. The white keys play notes and the black keys are people saying the number out loud - English on the left hand and Spanish on the right. Some white keys were left over and I made those percussion instruments (the "*", "END", and "#" keys).

Nagore Salaberria

M.Pleasure (2004)

M.pleasure es un mecanismo que funciona a través de la tecnología Bluetooth del teléfono móvil, está compuesto por diferentes piezas que se colocan en las zonas más sensibles de nuestro cuerpo, de esta forma, traduce un mensaje digital etéreo en algo físico, nos permite sentir la comunicación. Como en todas las relaciones existe un donante y un receptor. Cuando el donante nos envíe un mensage estará proporcionándonos altruistamente un momento de placer. Por otro lado, recibir este mensage se convierte en un acto egoista y carnal, en un acto de placer físico que experimentamos en nuestro cuerpo.

Fernando Sánchez-Castillo

Arriba-abajo (2006)

Recreación de un monumento ecuestre de Franco que hace referencia al secretismo con el que se han ido eliminando los restos de su figura a lo largo de los años de la democracia. El artista, mediante la utilización del teléfono móvil, da al espectador la posibilidad de ocultar o mostrar la figura de Franco enviando un sms con la palabra “arriba” o “abajo”. De esta manera, genera una supuesta democracia para el dictador que se la negó a España durante cuarenta años.

Gabe Sawhney

murmur

[murmur] is a documentary oral history project that records stories and memories told about specific geographic locations. We collect and make accessible people's personal histories and anecdotes about the places in their neighborhoods that are important to them. In each of these locations we install a [murmur] sign with a telephone number on it that anyone can call with a mobile phone to listen to that story while standing in that exact spot, and engaging in the physical experience of being right where the story takes place. Some stories suggest that the listener walk around, following a certain path through a place, while others allow a person to wander with both their feet and their gaze.

The stories we record range from personal recollections to more "historic" stories, or sometimes both -- but always are told from a personal point of view, as if the storyteller is just out for a stroll and was casually talking about their neighbourhood to a friend.

It's history from the ground up, told by the voices that are often overlooked when the stories of cities are told. We know about the skyscrapers, sports stadiums and landmarks, but [murmur] looks for the intimate, neighbourhood-level voices that tell the day-to-day stories that make up a city. The smallest, greyest or most nondescript building can be transformed by the stories that live in it. Once heard, these stories can change the way people think about that place and the city at large.

All our stories are available on the [murmur] website, but their details truly come alive as the listener walks through, around, and into the narrative. By engaging with [murmur], people develop a new intimacy with places, and "history" acquires a multitude of new voices. The physical experience of hearing a story in its actual setting - of hearing the walls talk - brings uncommon knowledge to common space, and brings people closer to the real histories that make up their world.

The stories are as personal as the relationship people have with the spaces they inhabit. Secret histories are unearthed, private truths unveiled and tales as diverse as the city itself are discovered and shared. All members of a community are encouraged to participate and contribute, so that the "voice" of [murmur] reflects the diverse voices of the neighbourhood. These are the stories that make up the city's identity, but they're kept inside of the heads of the people who live here. [murmur] brings that important archive out onto the streets, for all to hear and experience, and is always looking for new stories to add to it's existing locations.

[murmur] was first established in Toronto's Kensington Market in 2003. That same year projects were launched in Vancouver's Chinatown and along St. Laurent Boulevard in Montreal, and over the past two years [murmur] has grown and expanded across other neighbourhoods in Toronto, Calgary, and San Jose, California. [murmur] Edinburgh launched in Leith in January 2007, and [murmur] Dublin Docklands launched in May 2007.

[murmur] was initially developed with the assistance of the CFC Media Lab, Toronto.

Concept: Shawn Micallef, James Roussel, Gabe Sawhney Creative director: Shawn Micallef Producer & technical director: Gabe Sawhney Signage design: Isako Shigekawa

Marc Shepard

Tactical Sound Garden [ TSG ] Toolkit (2007) [31]

Given the ubiquity of mobile devices and wireless networks, and their proliferation throughout increasingly diverse and sometimes unexpected urban sites, what opportunities - and dilemmas - emerge for the design of public space in contemporary cities? The Tactical Sound Garden [TSG] Toolkit is an open source software platform for cultivating public "sound gardens" within contemporary cities. It draws on the culture of urban community gardening to posit a participatory environment where new spatial practices for social interaction within technologically mediated environments can be explored and evaluated. Addressing the impact of mobile audio devices like the iPod, the project examines gradations of privacy and publicity within contemporary public space. The Toolkit enables anyone living within dense 802.11 wireless (WiFi) "hot zones" to install a "sound garden" for public use. Using a WiFi enabled mobile device (PDA, laptop, mobile phone), participants "plant" sounds within a positional audio environment. These plantings are mapped onto the coordinates of a physical location by a 3D audio engine common to gaming environments - overlaying a publicly constructed soundscape onto a specific urban space. Wearing headphones connected to a WiFi enabled device, participants drift though virtual sound gardens as they move throughout the city.

Pip Stafford

I Wish I Could Show You (2007) [32]

Got something to confess? Have a precious moment to share? Visit www.iwishicouldshowyou.com to make all your private moments public. Pip Stafford wants you to open up online. She wants you to divulge your secrets, share your beautiful moments and expose a snapshot of your world. Pip, a Tasmanian based artist, is the creator of iwishicouldshowyou.com, an internet site that is seeking videos made using mobile telephones. iwishicouldshowyou.com is a database of anonymous video messages. These videos might be confessions, snippets of life, catharsis, love and hate letters, documentaries—anything you want them to be.

Tobias Trier

MobilSymfoni (2001) 25 August 2001: Aarhus Festuge, Aarhus, Denmark In a concert and sound installation, twenty mobile phones were suspended from a ceiling. These were caused to ring by a live performer, who dialed them up using another four phones below.

James Tunick

LifeForce (2006)

Cell phone as digital paintbrush. The work comes alive only when you participate, waving a cell phone to "paint" with light and sound. The phones seem to have magical powers, allowing multiple users to control the pulsing visuals, as well as to push sounds across the space.

Powered by Studio IMC's BlackBox media player and custom software, the installation invites viewers to collaborate utilizing a flatscreen, stereo sound, and cell phones. The work is a commentary on the need in contemporary museums for more participatory art forms. Converting one's cell phone into a paintbrush and musical instrument, this interactive piece strives to validate the mobile device as a tool for creative expression, especially in public spaces. LifeForce envisions a future in which such artistic tools are commonplace and city sidewalks and sides of buildings become our canvases.

James Tunick is the president and founder of Studio IMC, a new media agency. He is also founder of the IMC Expo, a new media art show and tradeshow. He has developed new media technologies for the Paley Center of Modern Art at PS1, Heineken (displayed at the Time Warner Center), Yale, and Diesel, and his artwork and multimedia events have been featured in Rolling Stone, the LA Times, NY1 News, the Discovery Channel, and Sony News Network.

Nuno Valerio

Fondos para móviles (2004) Fondos de pantalla para teléfonos móviles. Estos fondos fueron expuestos en la exposición META.morfosis :El museo y el arte en la era digital. MEIAC (Badajoz)[33]

Angie Waller

Clip-fm (2007) [ http://www.clip-fm.com/]

Angie Waller’s clip.fm expands the communicative possibilities of cell phones through a series of narrative animations that can be downloaded and sent to friends instead of a text message. Clip-fm's are simple clip art animations for the mobile phone that come in handy when you have some news to tell someone, but aren't brave enough to tell her to her face. Clip-fm's goal is to foster more honest and direct communication between "wired" people through the convenience of cellular devices . Clip-fm was started in 2000. At that time, only phones surfing the web could see images - so not many people were able to enjoy the service. Now clip-fm's coverage is more universal,(but not perfect.)

Junu Joseph Yang

Mobile Plasseges (2006) [34]

This is a blog documenting the process of Mobile Plassages–a final project by Junu Joseph Yang as an interaction design student at the Interaction Design Institute Ivrea/Domus in Milan. Mobile Plassages started from some ideas about how people can ‘stay in touch’ through play. After all, people do not communicate most of the time just to deliver important information. There is always something playful, silly, and amusing in social interactions. With the mobile phone being an inherently social object, Mobile Plassages hypothesizes and explores how digital communication mediums can be exploited into, rules for playfully staying in touch, in context of our everyday mobile landscapes. View Finder is a visual messaging lens that allows one to animate and discover hidden images from the environment.

Jody Zellen

Disemboided Voices (2006)

Desencarnado voces es una meditación sobre la naturaleza del espacio público. Es una representación visual de la forma en que los distintos órganos de comunicarse a través del espacio, utilizando teléfonos móviles, voces desencarnadas, vinculadas a través del espacio invisible - formando una red invisible de vagabundos, pero siempre al alcance de la mano, la nada a la vista. Ahora tenemos conversaciones privadas en público - y, al hacerlo, estas conversaciones, o por lo menos la mitad de ellas, se convierten en actos públicos, el medio-el diálogo que ya no entiende de privacidad. Este sitio muestra la colisión entre lo personal y privado y el espacio público. A medida que la línea entre lo público y lo privado se sigue desdibujando las conversaciones se han convertido en el sonido del aire. Dónde estamos, en cierto sentido, ya no importa, ya que estamos siempre conectados…

referencias

• Ars Electronica Festival, Linz, Austria
• V2 organisation and DEAF festival Rotterdam, The Netherlands
• InterCommunication Center Tokyo, Japan
• CITU New Media Art Research Center, Paris, France
• The Storytellers Inc - Interactive Art Education
• STRP art & technology festival, Eindhoven, The Netherlands

Digital Performance - Blog

The Digital Performance Institute (DPI) is a laboratory assisting artists in developing new dialogues between technology and performance. DPI’s programs are specifically designed to facilitate artist-driven investigation of technology’s role in multi-disciplinary performance works offering access to space, equipment and expert advice. The purpose is to encourage technology experimentation throughout a production’s entire development process.

Interactive Telecommunications Program en New York @ TISH New York

The Interactive Telecommunications Program is a pioneering graduate department focused on the study and design of new media, computational media and embedded computing under the umbrella of interactivity.

Founded in 1979, the origins of the program date back to 1971 when George Stoney and Red Burns created the Alternate Media Center (AMC). ITP grew out of the work of the AMC, and set the stage for the experimentation which would follow as well as the informing spirit of collaboration, and the ongoing emphasis on crafting social applications and putting the needs of the user first. A pioneering center for application development and field trials, the AMC initially focused on exploring the then-new tool of portable video made possible by Sony's introduction of the Portapak video camera.

Red Burns and her colleagues at the AMC came from backgrounds in documentary film and traditional media -- they shared a vision for a freely accessible, grass-roots technology which would enable users to create their own documentaries and distribute them widely. Their efforts led to many significant developments in the field, including lobbying Congress for the creation of what is now public-access television and significant field trials for two-way television in community settings, the use of teletext in major urban centers and communications technologies for the developmentally disabled.

Burns believed that a graduate course of study was needed to train creative, forward thinking, ethical new media developers for what she saw would be a new and growing field. The first 20 graduate students entered the program in 1979 -- and it grew quickly from there. In 1983 Burns turned her full attention from AMC to ITP and was appointed Chair of the department, a position she holds today. In 1996, she was awarded the Tokyo Broadcasting Systems Chair. Under her leadership the department has become an internationally renowned center for scholars and practitioners who are eager to engage the newest technologies and put them in the hands of media-makers.

Michael Mills, former full-time faculty member of ITP, went on to Apple Computer. His group developed the original prototypes that later became QuickTime. Current ITP professor Dan O'Sullivan, during his student years, served as an intern at Apple and created the prototype for the first navigable interactive movies. O'Sullivan also introduced the first widely used interactive television application in NYC, produced and broadcast directly from ITP by way of Manhattan Cable Public Access.

Industry leaders, artists and visionaries who have lectured at ITP over the years include Academy-Award winner, Chairman and CEO of R/Greenberg Associates Digital Studios Robert M. Greenberg, musician and pioneer of immersive virtual reality Jaron Lanier, multimedia artist Vito Acconci, multimedia artist & musician Laurie Anderson, Ethernet creator Bob Metcalfe, CEO of New York Times Digital Martin Nisenholtz, artist Toshio Iwai, and Masamichi Udagawa and Sigi Moeslinger of Antenna Design, to name but a few.

Current ITP faculty members are known for their contributions to the new media field -- Daniel Rozin, Chrysler Design Award-Winning Artist in Residence, has had his work shown in major museums around the world, most recently at the Israel Museum; Dan O'Sullivan and Tom Igoe have just published the authoritative text on physical computing; Jean-Marc Gauthier is the author of several books on interactive 3D applications, and his art installations have been seen internationally; Douglas Rushkoff and Clay Shirky are widely published critics, authors and journalists; Marianne Petit is an artist well known for her interactive stories as well as her work in assistive technologies and social applications; Red Burns has served on many boards and is regularly an invited speaker at industry events -- she is also the recipient of a Chrysler Design Award, for "Design Champion," a leadership award from the New York Hall of Science, the educator award from the Art Directors Club, Crain's All Star Award, the NYC Mayor's Award for science and technology and was the first recipient of the Matrix Award.

Jonah Brucker Cohen

Jonah Brucker-Cohen is a researcher, artist, and Ph.D. candidate as an HEA MMRP (Multimedia Research Programme) fellow in the Disruptive Design Team of the Networking and Telecommunications Research Group (NTRG), Trinity College Dublin. He is an adjunct assistant professor of communications at NYU's Interactive Telecommunications Program (ITP). He worked as an R&D OpenLab Fellow at Eyebeam in NYC from 2006/7. From 2001-4 he was a Research Fellow in the Human Connectedness Group at Media Lab Europe. He received a Masters from ITP in 1999 and was an Interval Research Fellow from 1999-2001. His work and thesis focuses on the theme of "Deconstructing Networks" which includes projects that attempt to critically challenge and subvert accepted perceptions of network interaction and experience. He is co-founder of the Dublin Art and Technology Association (DATA Group) and a recipient of the ARANEUM Prize sponsored by the Spanish Ministry of Art, Science and Technology and Fundacion ARCO. His writing has appeared in numerous international publications including WIRED Magazine, Make Magazine, Rhizome.org, and Gizmodo, and his work has been shown at events such as DEAF (03,04), Art Futura (04), SIGGRAPH (00,05), UBICOMP (02,03,04), CHI (04,06) Transmediale (02,04,08), NIME (07), ISEA (02,04,06), Institute of Contemporary Art in London (04), Whitney Museum of American Art's ArtPort (03), Ars Electronica (02,04), Chelsea Art Museum, ZKM Museum of Contemporary Art (04-5),Museum of Modern Art (MOMA - NYC)(2008), and the San Francisco Museum of Modern Art (SFMOMA) (2008).

Golan Levin and Collaborators: An Informal Catalogue of Mobile Phone Performances, Installations and Artwork

In the summer of 2001, while my colleagues and I were preparing the Dialtones mobile phone concert, I began to hear rumors and news items that other people were planning similar events. Given the astonishing growth of mobile telephony, one could hardly be surprised. Still, it's important to know the details of concurrent trends, and so I started collecting this list. Since that time, various folks (and in particular, Jonah Brucker-Cohen) have sent me information about other artworks that use mobile phones. Although I don't know if I'll ever do another mobile phone project, I also recognize that resources like this can be useful to other people who might. If you know of something that should be listed, please contact me (golan at this domain) and I'll gladly add it in.

Lucas Longo

A Brasilian Graduate student at the Interactive Telecommunications Program, NYU. I have been working on interactive visualizations, programming, eye-tracking, interface workflow optimization, and mobile applications.

Media Art Net

Media Art Net, una plataforma-archivo online, con más de 2.000 trabajos, que se propone reconstruir la historia de las expresiones artísticas vinculadas a los nuevos medios, relacionándolas con las principales corrientes del arte del siglo XX.

Mobile Active: A resource for activists using mobile technology worldwide.

citando desde su página (CC):

MobileActive is a global network of people (and their tools, projects, and resources) focused on the use of mobile phones in civil society. We:

   * expand access to knowledge, ideas and experience about the use of mobile technology;
   * reduce learning costs for civil society organizations;
   * accelerate the use of effective tactics in campaigns; and
   * provide a comprehensive platform for data on mobile projects and mobile use around the world.

The Time is Right for Mobile Activism: 3 Billion Mobiles Phones..and counting

Mobile phones are proliferating at astounding rates across socio-economic and cultural boundaries, revolutionizing the way we organize ourselves and do business. With close to 3 billion mobile phones expected at the end of 2007, they are found in every corner of the world, used by people to communicate with each other, and access and deliver information and services.

These trends are highly promising for NGOs and civil society organizations that can now engage people on issues that matter most through always-on, always-on-hand devices.

Examples of innovative campaigns and projects abound. Democracy organizations have used mobile phones to swing elections through innovative get-out-the-vote activities, ensured impartial voting through poll monitoring via SMS, developed ground-breaking new information services with vital civic or health information, documented abuses of political prisoners, and lobbied legislators to pass environmental laws.

Mobile phones have been used to mobilize hundreds of thousands of peaceful demonstrators in countries across the world with text messages and brilliant political ringtones. They are being used in environmental campaigns in Argentina, and to advocate for an independent judiciary in India, for support of emigrant and migrant communities in the Philippines, and for disease detection and prevention in Rwanda. Mobile phone services provide sexual health information in the UK, Australia, and the United States, and deliver aids drugs and services in South Africa. Mobiles are used to track financial transaction in microfinance groups in India, and are used to document and monitor fair trade practices in Mexico.

Mobile innovations abound with this new tool for use in social change work.

The global MobileActive community aggregates and builds upon the lessons learned from the pioneers in this field for the benefit of civil society organizations. Welcome to MobileActive.org.

Howard Rheingold

Howard Rheingold, autor de Smart Mobs.

Renombrado autor de la columna semanal Tomorrow, autor de los best-sellers Virtual Reality y The Virtual Community, Tools for Thought is available from MIT Press editor del best-seller The Millennium Whole Earth Catalog, Virtual Reality e Smart Mobs - The next social Revolution. aquí el catálogo completo de sus artículos 2001-2005

Executive Editor y fundador de HotWired la publicción online pioneira on line de la revista Wired. Participante-observador en el diseño de nuevas tecnologías, pionero, crítico e visionario de los impactos de la tecnología y conferenciante que acompaña su público en una gran aventura hacia el futuro.

Rhizome

Founded in 1999, the Rhizome ArtBase is an online archive of new media art containing some 2110 art works, and growing. The ArtBase encompasses a vast range of projects by artists all over the world that employ materials including software, code, websites, moving image, games and browsers to aesthetic and critical ends. We welcome submissions to the ArtBase; they are reviewed by our curatorial staff on a monthly basis.

Our system of classification consists of terms that artists assign to their work. Artists choose from Rhizome's vocabulary of new media terms as well as adding their own terms. When new terms reach a certain level of popularity they become part of Rhizome's vocabulary.

Rhizome also supports Creative Commons licenses, which allow creators to shift the terms of copyright from "All Rights Reserved" to "Some Rights Reserved," therefore enabling authors to mark their creative works with the cultural freedoms they abide by. Rhizome's hope is that through the use of these licenses, artists will have greater access to each others' work in furtherance of their goals.

Textually

textually.org is the entry point of three weblogs devoted to cell phones and mobile content, focusing on text messaging and cell phone usage around the world, tracking the latest news and social impact of these new technologies.

We Make Money Not Art

Lisa Parks @ Zemo 2008

RFID & ART: fuente We Make Money not art

Bibliografía & Further reading

• A minima, colección completa de las revistas de arte y nuevos medios, Espacio Publicaciones.
• Ascott, R. (2003). Telematic Embrace. (E.Shaken, ed.) Berkeley: University of California Press. ISBN 0-520-21803-5
• Barreto, Ricardo and Perissinotto, Paula “the_culture_of_immanence”, in Internet Art. Ricardo Barreto e Paula Perissinotto (orgs.). São Paulo, IMESP, 2002. ISBN: 85-7060-038-0.
• Baudrillard, Jean. Cultura y simulacro, Kairós, Barcelona, 1993.
• Baudrillard, Jean. El otro por sí mismo. Barcelona: Editorial Anagrama, 2001. ISBN 8433900900
• Beck, Ulrico. La sociedad del riesgo. Hacia una nueva modernidad. Barcelona: Paidós, 1998. ISBN: 978-84-323-1261-8
• Brea, José Luis. Net.artmadrid.net, Centro Cultural Conde Duque. Madrid, 2001.
• Bullivant, Lucy (2006). Responsive Environments: architecture, art and design (V&A Contemporaries). London:Victoria and Albert Museum. ISBN 1-85177-481-5
• Bullivant, Lucy (2005). 4dspace: Interactive Architecture (Architectural Design). London: John Wiley & Sons. ISBN 0-470-09092-8
• Carrillo, Jesús. Arte en la red Ensayos Arte Cátedra, Madrid, 2004. ISBN 84-376-2164-X
• Cerveira-Pinto, Antonio. Meta.morfosis: el museo y el arte en la era digital. Badajoz: MEIAC, 2006.
• Fleischmann, Monika and Reinhard, Ulrike (eds.). Digital Transformations - Media Art as at the Interface between Art, Science, Economy and Society online at netzspannung.org, 2004, ISBN 3-934013-38-4
• Fleischmann, Monika & Strauss, Wolfgang (eds.) (2001). Proceedings of »CAST01//Living in Mixed Realities« Intl. Conf. On Communication of Art, Science and Technology, Fraunhofer IMK 2001, 401. ISSN 1618–1379 (Print), ISSN 1618–1387 (Internet).
• Giannetti, Claudia. Estética digital : sintopía del arte, la ciencia y la tecnología Angelot. Barcelona, 2002. ISBN: 84-92226560
• Grau, Oliver, Virtual Art, from Illusion to Immersion, MIT Press 2004, pp. 237-240, ISBN 0262572230
• Marzo, Jorge Luis. Me, my cell and i : tecnología, movilidad y vida social Barcelona : Fundació Antoni Tàpies, 2003.-- 230 ; D.L. B 24326-2003.-- ISBN 84-88786-68-9
• Paul, Christiane (2003). Digital Art (World of Art series). London: Thames & Hudson. ISBN 0-500-20367-9
• Rheingold, Howard. Realidad Virtual. Gedisa, Barcelona, 1994. ISBN 978-84-7432-497-6
• Rheingold, Howard. Multitudes Inteligentes. La próxima revolución social. Barcelona: Gedisa, 2004. ISBN: 978-84-9784-062-0
• Virilio, Paul , El cibermundo : la política de lo peor , Cátedra, Madrid. 1999 (ISBN: 84-376-1574-7)
• Weibel, Peter and Shaw, Jeffrey, Future Cinema, MIT Press 2003, pp. 472,572-581, ISBN 0262692864
• Wilson, Steve Information Arts: Intersections of Art, Science, and Technology ISBN 0-262-23209-X

Esta sección se desarrolla en colaboración con Lorea iglesias.

Para los que quieran colaborar, pedir más información, o contratar un comisariado de exposiciones, poneros en contacto con Lorea o La dirección del MFF

--Admin 10:05 20 abr 2008 (CEST)