Tag Archives: locative media

Artistic residency in Netherlands

Impakt has selected the Brazilian artist Lucas Bambozzi for the residency in Utrecht, NL.

The residency foresees the development of a project related to the theme “The Right to Know”, along July and August 2011.

About Impakt:

The Impakt Foundation focuses on presenting and stimulating innovative audiovisual artsin an interdisciplinary context. To this end Impakt organises the annual Impakt Festival and year-round Impakt Events; short projects centering a certain theme, movement, or artist. It also launches annual net.art projects on its webgallery Impakt Online (www.impaktonline.nl). Beside this, Impakt runs the production house and residency programme Impakt Works. Raising Impakt is the educational programme for schoolkids and students.

The Media City, workshop in Amsterdam

From March 22 – April 3, 2010, the Netherlands Media Art Institute and Time Frame will host ‘The Media City’ workshop, dedicated to the exploration of narrative architecture and social interaction on public spaces.

The Media City is a specialized project development workshop for urban projections, taking place in Amsterdam. From March 22 to April 3, eight international artists from Sao Paulo, Lima, Durban, Douala and the Netherlands will be given the opportunity to explore the possibilities of visual programming interfaces for urban facades, and develop their own site specific concept.

The Media City investigates architecture as narrative and social interaction in public space. It is investigating how these specific languages, spaces of cultural meaning, can be translated into media art projects, in which similarities from African and Latin American cities can be found and re-interpreted in Amsterdam.

Architecture plays an important part in the formation of national identities and, hence, the project holds a great potential of allowing artistic examinations into national boundaries, similarities and trans-national visions.


Participants artists:

Lucas Bambozzi (BR), Gloria Arteaga (PE), Goody Leye (CM), Doung Jahangeer (ZA), Mayura Subhedar (IN/NL), Marnix de Nijs (NL), Edwin van der Heide (NL) and Walter Langelaar (NL). The tutor is: Alexis Anastasiou (BR), Director / VJ of Visualfarm, Brazil

The event includes 3 semi-public lectures. These three evening sessions with artists presentation will try to bring in as much expertise and viewpoints as possible and will foster discussions about the workshop theme among artists, theoreticians, cultural workers and audience. The sessions are interlinked and designed to initiate an ongoing discussion among the participants. The conference language is English.

– Tuesday, March 23, 20:00 – 22:00 : Edwin van der Heide ,Gloria Arteaga, and Doeng Jahangeer.

– Monday, March 29, 20:00 – 22:00: Mayura Subhedar, Goody Leye and Alexis Anastasieu.

– Thursday, April 1, 20:00 – 22:00 : Marnix de Nijs, Lucas Bambozzi and Walter Langelaar.


more info: http://nimk.nl/nl/the-media-city-workshop


3rd Inclusiva-net meeting: NET.ART (SECOND EPOCH). The Evolution of Artistic Creation in the Net-system

place: Centro Cultural de España en Buenos Aires

inclusiva:net: live streaming

The third meeting of the Inclusiva-net plattform, takes place on March 2 through 6, 2009, at the Centro Cultural de España (Cultural Centre of Spain) in Buenos Aires (Paraná 1159). It comprises a set of seminars, a series of communications chosen from a public call for proposals, and debate sessions, aiming to develop an analysis of the current situation of artistic practices on the Web from various theoretical and critical perspectives.

The encounter is directed by Juan Martin Prada. With the participation of  Josephine BosmaSteve DietzGustavo RomanoBrian Mackern, Arcángel Constantini, Lucas BambozziDaniel García Andújar, Franz Thalmair (cont3xt.net)Marisa Olson, Michael Mandiberg, Guadalupe Aguiar MasuelliLila PagolaCurt Cloninger and Patricia Gouveia.

> See selected papers
> Seminar Program
> Sign up for the discussion group

March 2 through 6, 2009

Venue: Centro Cultural de España en Buenos Aires [Paraná 1159, Buenos Aires]

Organized by Medialab-Prado and the Centro Cultural de España (Cultural Centre of Spain) in Buenos Aires.

Statement (the organizers)

This third meeting of the Inclusiva-net platform aims to develop an analysis of the current situation of artistic practices on the web from various theoretical and critical perspectives. It will comprise a set of seminars, a series of communications chosen from a public call for proposals, and debate sessions. Throughout the meeting, many topics will be addressed including questions such as: Can we speak of a second epoch in net.art? What do the new art forms based on on/off-line hybridization contribute? What critical reflection do new manifestations of digital creations in networks offer us? What are the new relations between creation and dissention?

Themes for the meeting

  • The evolution of artistic creation on the Internet, seen from the perspectives of Art History and Criticism, Aesthetics, Anthropology and Communication Theory.
  • Net.art in the Latin American context.
  • Net.art: criticism and curatorship. Recent initiatives and fundamental paths in the development of curatorship.
  • New orientations related to institutions that manage the world of art and online artistic practices. The phenomenon of their disappearance from biennales and major international contemporary art exhibits.
  • Beyond the Internet. From “net.art” to the new hybrid forms of “networked art”. From the computer screen to new portable networked devices.
  • Developments in software art on Web 2.0.
  • Artistic approaches related to the semantic web.
  • “Amateur” audiovisual creativity in social networks.
  • Blog-art. Artistic thought in experimental appropriation of blogs.
  • Artistic proposals and metaverses. 3D social networks as new spaces for artistic intervention.
  • The social and critical dimension of artistic practices on the Web. New developments in the relationship between art and online activism.
  • The creative dimension of new social organizational behaviour through networks: from “flash mobs” to politicized “swarming”.

Mediated Life


by lucas bambozzi




Veridiana Zurita with Pharmakon performance group in front of the squatted building at Prestes Maia Avenue, in São Paulo (2004). It was one of several attempts to bring attention to the condition of 468 families being evicted due to a process of gentrification conducted in the city centre.

Veridiana Zurita with Pharmakon performance group in front of the squatted building at Prestes Maia Avenue, in São Paulo (2004). It was one of several attempts to bring attention to the condition of 468 families being evicted due to a process of gentrification conducted in the city centre.



The recent proliferation of tiny cameras, now embedded in mobile phones have been

leading to massive collections of supposed ‘warm moments’ that one would be likely

to forget, feeding a sort of obsession on intimacy aesthetics. Like camera-enabled

mobile phones, wearable computers, tactile media, location-based devices, instant

messengers and voice over IP technologies (VoIP), they all attempt to offer an idea

of comfort, a sort of ‘everywhere-privacy’ that can also be interpreted as intimacy.

Rather than describing the technological instance (cellular), mobile phones

encapsulate a notion of mobility, described as portable ‘temporary intimate zones’

(TIZ) by Matt Locke.1 The term TIZ borrows references from TAZ (Temporary

Autonomous Zone), coined by Hakim Bey referring to poetic events and actions that

suggest subtle changes in the social reality aiming to a ‘more intense mode of

existence’. But can we still think about intimacy as a terrain of intensity, pleasure,

proximity, fruition or appreciation?


Not only privacy but intimacy spheres are going public. The emergence of the so

called ‘intimate technologies’ has blurred even more the concepts related to intimacy,

privacy and reality. Sara Diamond says: ‘The new technologies we use to enhance

intimacy are also the very same ones being used to open up the social arena of

discovery around once-private affairs’ (2002: 3). The current flood of seductive

gadgets, loaded with promises of eliminating the distances between real life and its

representational possibilities, they all bring in an ‘ideal’ notion of privacy, which would

be the open door for an easy and ‘secure intimacy’. Devices designed for

representation purposes, like cameras, also serve the purpose of attaching to our

memory all those small details and warm moments that we are likely to forget.

A recent announcement by Microsoft emphasizes the extent to which the observation

of the context of mediating technologies implies the focusing on technologies that

affect our notions of intimacy and privacy.


Cool stuff you don’t know you need yet
SenseCam, touted as a visual diary of sorts, is designed to be worn around
the neck. It can take images when there are abrupt movements, temperature
fluctuations, variations of light or even changes in the wearer’s heartbeat,
capturing moments of joy or tension of one’s life. Microsoft suggests that the
diary can also help people to reconstruct scenes, remembering where an
object was forgotten or special moments, such as a nice dinner. The diary is
capable to take about 2.000 pictures automatically and works 12 hours a day.
(USATODAY.com 04/03/2004) 2

Beyond its representation capabilities, the camera, which is still a prototype,

suggests that the boundaries between private and public life really tend to disappear.

The pervasive immersion of the camera in public environments would suggest the

individual as a sentient ‘cyborg’, replacing any active participation in public life with a

passive documentation about ordinary incidents. Is it good or bad?

Since personal information has become a valuable commodity, both privacy and

intimacy turn out to be the most essential and recognizable icons of such value. As

any commodity, intimacy features an aesthetically constructed significance, which

becomes clear when it is connected to the idea of proximity or is a result of

technological mediation processes (instant access to privacy).

Also, intimacy acquires new configurations and meanings according to the

technological systems it is attached to. Distinct levels and shades of intimacy can be

obtained differently by phone, by e-mail, through VoIP devices, by touching sensors

or through webcams.

Such technological communication devices bring together the common aspiration to

interface ‘realities’, not necessarily promoting any true participation or closer touch

regarding the ‘outside’ space, in the sense pointed by Zygmunt Bauman in City of

Fears, City of Hopes. They attempt to introduce the notion that reaching distant and

separated ‘realities’ – often in-between private spheres – is the same of sharing

experiences in public domains.


In North of Brazil some will believe that putting a bottle of water on the top of a electricity clock will drop
In North of Brazil some will believe that putting a bottle of water on the top of a electricity clock will drop













Nevertheless, far from providing any legitimate experience of involvement in public

life, ‘the capability to connect’, or the feeling of participation suggested by

communication advertisements seem to be what best describes their ideologies

concerning the construction of realities.

As pointed by Maurizio Lazzarato, representation strategies play an important role in

contemporary alienating progression. Thus, intimacy aesthetics are related to how

separated domains are mediated, or as an effect of experiencing ‘reality’ as a mere

aesthetic understanding, an intangible occurrence. Moreover, the representation of

realities by means of its mediation, is already a fabrication, a form of replacement of

a given ‘reality’ with ‘media realities’. To accept fabricated worlds as a real

experience is to fall into the traps of representation, as the overwhelming abundance

of images produced by the media each day may compromise what we deem to be

‘real’. To participate in a fabricated world of signs described by Lazzarato as if

‘constructed through statement-arrangement’ is not as the same as engaging in

shared spaces of a city. Such technologies would not perforate the ‘bubble’ that

separates these different ‘realities’, preventing the private-to-private sphere from

reaching the city’s public spaces.



The project Cubo at Patriarca Square, in its first presentation weekend (2005)

The project Cubo at Patriarca Square, in its first presentation weekend (2005)



Bauman sees our current society as a dystopia that has emerged in lieu of a model

anchored somewhere between the totalitarian regimes of Orwell’s 1984 and Aldous

Huxley’s Brave New World. This new dystopia is configured in a world of flow, ‘where

social networks and collective action are irreversibly disintegrated as a side-effect to

the rise of an evasive and slippery kind of power’. Social disintegration is not only a

current condition but a result of such new power techniques.

As Brian Holmes affirms, new forms of power enforcements shape ‘societies that are

deeply sick and which cover their pathological conspiracies with deliberate lies’.3

Aspects once used to describe the end-of-the-century context still serve us to inquire

about our current state of affairs.


Perfomance by GAC - Grupo de Arte Callejero at Paulista Avenue in São Paulo (2004) throwing

Perfomance by GAC - Grupo de Arte Callejero at Paulista Avenue in São Paulo (2004) throwing










Networked lifestyle within a technological society, where time has been compressed

into a state of ‘eternal present’, have been pointed out by Trebor Scholz as

‘instruments of oppression and casualized labour that squeeze every last drop of

energy and creativity out of the worker’.4 A possible antidote against this scenario

would be a commitment for a better analysis of the world around us. We need to

think and feel’5, says Scholz.


A consciously produced work of art offers analysis of the world around, it may lead

us to ‘think and feel’. But how can new media-based art fulfil these tasks without

being compromised by its own increasingly dependent structures on corporate

technologies? Are artists bound to hermetically and endlessly discuss artistic

authority and cultural politics, even when trying to break out of the bubble and inflict

social change with their art?


To which extent the gaps between private-to-private affairs and the need of

participation in public life is a typically socio-cultural syndrome? (related to cities

such as São Paulo, Lima or Johanesburg, where one can not afford raw realities due

to its wildly unequal class relations?) How much is it a typically reactionary position

to consider that real life experiences must necessarily include ‘physical references’?


The project Motoboy, implemented in São Paulo in 2007 by Antoni Abad was actually the starting point for the series Canales (2005-2006) at www.zexe.net.

The project Motoboy, implemented in São Paulo in 2007 by Antoni Abad was actually the starting point for the series Canales (2005-2006) at www.zexe.net.



The shifting boundaries between the private and public spheres, seen as a result of

the spread of pervasive technologies, is not preventing the raise of dichotomies such

as representation and mediation, ‘forged reality’ and social reality. As a challenging

responsibility for artists committed to social reality, can we foresee new networks that

would function as social interfaces, that would encourage individuals to re-enact

participation in the construction of public-life? Can we find in these new systems the

proper tools for producing awareness with regards to intrusive or alienating

procedures? Will it work out to perforate the ‘bubble’ that prevents one to better

grasp the world ‘outside’ of pervasive technologies?

Merging some of these questions it is possible to anticipate a common space for art

and politics,. Rather than drawing them closer or apart, one should explore the

existing hybrid and convergent zone: a politics contaminated by its neighbouring art,

and an art contaminated by its neighbouring politics.

Acoustic Head (1995) a work by artist Marepe.

Acoustic Head (1995) a work by artist Marepe.








It might be necessary to became aware of the art system’s contradictions and those

in our own artwork. We shall have let ourselves be transformed by convictions

constructed from experiencing the real spaces, mediation technologies and its traps.

Among contradictions and conflicts we must feel the urgency as individuals – in Brazil

or anywhere else – to put our ‘head and heart together’ (thanks Holmes!) in tune with

the other, with the outside space and its ‘raw-realities’ so as to create new

articulations, to generate empowerment, to stimulate actual collaborative and sharing



lucas bambozzi, 2006


Matt has referred to TIZ in his speech at Intimate Technologies Conference, held at the Banff
Centre in 2002.
Source: <http://www.usatoday.com/tech/news/techinnovations/2004-03-04-techfest_x.htm>
accessed: 06/12/2004 more info at Microsoft: <http://research.microsoft.com/hwsystems>


Source: Mailing list of the Institute for Distributed Creativity (iDC). Thread: Activism now and
Downtime. Source <http://collectivate.net/journalisms/2005/11/19/downtime.html>

5 Ibidem




Diamond, Sara (2002) Quintessence: Mobolized or Immobolized In The Mobile Era

HorizonZero: Banff


Bauman, Zygmunt (2001) Modernidade Líquida tr. Plinio Dentzien, Rio de Janeiro:


Bauman, Zygmunt (2003) City of Fears, City of Hopes London: Goldsmiths

College/University of London

Lazzarato (2003) Struggle, Event, Media Republicart.net

<http://www.republicart.net/disc/representations/lazzarato01_en.htm (translation


arte.mov 2007

Documentation of 2nd arte.mov, Festival Internacional de Arte em Mídias Móveis. A translated version will be posted soon.

3rd edition on the following dates:

_Belo Horizonte: 20 to 25 November, Palácio das Artes and Santa Tereza square
_São Paulo: 27 and 28 November, MUBE and 26 Nov. to 07 December at MIS.
more info: http://www.artemov.net