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Arte urbano que roba de google maps

El concepto me parece interesantisimo sobre la sincronía de momentos digitales y análogos excelente idea

Street Art That Steals Back From Google Maps

PAOLO CIRIO CREATES REAL-LIFE REPLICAS OF PEOPLE CAPTURED BY GOOGLE’S STREET VIEW CARS, THEN PASTES THEM INTO THE LOCATIONS THEY WERE PHOTOGRAPHED.

Since it launched in 2009, Google Street View has captured tens of millions of photos and covered 5 million miles. The Street View car’s all-seeing 15-lens camera has also photographed thousands of unwitting bystanders, turning them into blurry-faced witnesses to the Google Maps universe.

With a new project called Street Ghosts, net-artist Paolo Cirio is reversing that process. The Italian artist prints images of people he finds in Street View, then visits the precise spot they were captured by the Street View car. Using wheat paste, he glues their life-sized likenesses to where they appear on Google Maps, creating an ephemeral feedback loop between the on- and offline world.

By practicing what Google preaches, Cirio wants to draw attention to unanswered questions about Google user privacy. “I took the pictures of individuals without Google’s permission and posted them on public walls,” the 32-year-old artist writes in a statement. “By remixing and reusing this material, I explore the boundaries of ownership and exposure of this publicly displayed, privately-held information about our personal lives.” He calls his subjects “casualties of the info-war in the city,” evidence of collateral damage in “the battle between corporations, governments, civilians, and algorithms.”

Street Ghosts was funded by a residency at New York’s Eyebeam Centerthis September. But dozens of the “ghosts” are appearing on walls in Berlin and London, too, and Cirio tells Co.Design he plans to continue expanding the project. Residents of Brooklyn should look out for their own ghosts later this week, while Parisians will get their series over the next few months. You can even suggest a location on the website, where he keeps an interactive database of all known ghosts.

This isn’t the first time Cirio has examined Google through art. In 2005, he launched a performance called Google Will Eat Itself, in which he hosted dozens of Google Ads on a network of “hidden” websites. Then, he used the proceeds to buy Google stock, ultimately distributing the shares to the public. “By establishing this auto-cannibalistic model we deconstructed the new global advertising mechanisms,” he explains, calling out Google for their “monopoly” on information.

[H/T The Verge]

KELSEY CAMPBELL-DOLLAGHAN

Kelsey is a designer, illustrator, and cyclist based in Greenpoint, Brooklyn. Previously, she was the editor of Architizer. 

Cartografías Contemporaneas, interesante idea

Cartografías contemporáneas

18 de septiembre de 2012

por Miquel Adrià | @miqadria

El ser humano cartografía el mundo en un intento por captar la realidad en que vive. Desde siempre, los mapas han representado, traducido y codificado todo tipo de territorios físicos, mentales y emocionales. La representación del mundo ha evolucionado en los últimos siglos y, ahora, con la globalización e Internet, se han transformado definitivamente los conceptos tradicionales de tiempo y espacio, así como los métodos de representación del mundo y el conocimiento. Con este cambio de paradigma, los artistas contemporáneos se cuestionan los sistemas de representación y ofrecen  nuevas  fórmulas para clasificar la realidad. 

Cartografías contemporáneas. Dibujando el pensamiento —que se expone en el Museo Caixa Forum de Barcelona hasta el 28 de octubre— propone un mapa de las cartografías elaboradas por artistas de los siglos 20 y 21, con el objetivo último de invitar a interrogarse sobre las nociones subyacentes de las representaciones. La exposición está constituida por más de 140 obras —desde mapas y dibujos hasta videoinstalaciones y arte digital— procedentes de los principales museos de arte contemporáneo, donde conviven nombres esenciales como Salvador Dalí, Paul Klee, Marcel Duchamp, Yves Klein, Gordon Matta- Clark o Richard Long; artistas actuales que han subvertido el lenguaje cartográfico, como On Kawara, Alighiero Boetti y Francis Alÿs; junto a documentos reveladores de figuras de otros campos como Lewis Carroll y Carl Gustav Jung.

El ser humano siempre ha necesitado proyectar y construir estructuras para entender el caos de la vida. Los mapas fragmentan la realidad y nos permiten presentarla en forma de tablas. De esta manera, traducimos y codificamos el espacio físico, pero también el conocimiento, los sentimientos, los deseos y las experiencias vitales. Representar la tierra en un plano, proyectar un objeto tridimensional en dos dimensiones,  constituyó  una  formidable  transformación. En el siglo 17 empiezan a dibujarse sobre un plano clasificaciones y fenómenos. Los conocimientos cartográficos se combinan con las habilidades estadísticas. De este modo surgen los mapas de datos, que ayudan a visualizar el conocimiento y lo transforman en ciencia.

Un siglo más tarde, vinculada a la expansión colonial de los países europeos, se desarrolla la cartografía científica. Al mismo tiempo, en los salones franceses —regidos por mujeres— aparecen las cartografías sobre sentimientos. Desde entonces, los mapas representan y hacen visibles todo tipo de territorios físicos, mentales y emocionales. Ya en el siglo 20, la representación del mundo cambió con los adelantos técnicos, como el avión y la fotografía, con lo que se reprodujo la realidad con exactitud. Por otro lado, la comunicación inmaterial —el telégrafo y el teléfono— produjo la crisis del espacio, que también reflejó el cubismo. Con Internet se anulan definitivamente los conceptos tradicionales de tiempo y espacio.

El espacio contemporáneo es heterogéneo: vivimos dentro de una red de relaciones y flujos materiales e inmateriales, pero todavía no tenemos un modelo que represente esa articulación invisible y en red. Vivimos entre lo que fuimos y podemos pensar y lo nuevo que no sabemos representar. Esta exposición presenta un tema de ramificaciones inabarcables. El arte replantea los modelos de conocimiento y propone un mapa —subjetivo e incompleto como todos— de las cartografías elaboradas por artistas del siglo 20 y de la actualidad que nos invita a interrogarnos sobre los sistemas de representación que usamos y las nociones que subyacen en ellos.

© Museo Caixa Forum

892 maneras de dividir una retícula de 3 x 4.

The 892 unique ways to partition a 3 x 4 grid

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Designed by Thomas Gaskin. Creative direction by Hugh Dubberly. Algorithms by Patrick Kessler. Patent belongs to William Drenttel + Jessica Helfand.

This poster illustrates a change in design practice. Computation-based design—that is, the use of algorithms to compute options—is becoming more practical and more common. Design tools are becoming more computation-based; designers are working more closely with programmers; and designers are taking up programming.

Above, you see the 892 unique ways to partition a 3 × 4 grid into unit rectangles. For many years, designers have used grids to unify diverse sets of content in books, magazines, screens, and other environments. The 3 × 4 grid is a common example. Yet even in this simple case, generating all the options has—until now—been almost impossible.

 

Patch Kessler designed algorithms to generate all the possible variations, identify unique ones, and sort them—not only for 3 × 4 grids but also for any n × m grid. He instantiated the algorithms in a MATLAB program, which output PDFs, which Thomas Gaskin imported into Adobe Illustrator to design the poster.

Rules for generating variations
The rule system that generated the variations in the poster was suggested by Bill Drenttel and Jessica Helfand who noted its relationship to the tatami mat system used in Japanese buildings for 1300 years or more. In 2006, Drenttel and Helfand obtained U.S. Patent 7124360 on this grid system—“Method and system for computer screen layout based on recombinant geometric modular structure”.

The tatami system uses 1 × 2 rectangles. Within a 3 × 4 grid, 1 × 2 rectangles can be arranged in 5 ways. They appear at the end of section 6.

Unit rectangles (1 × 1, 1 × 2, 1 × 3, 1 × 4; 2 × 2, 2 × 3, 2 × 4; 3 × 3, 3 × 4) can be arranged in a 3 × 4 grid in 3,164 ways. Many are almost the same—mirrored or rotated versions of the same configuration. The poster includes only unique variations—one version from each mirror or rotation group. Colors indicate the type and number of related non-unique variations. The variations shown in black have 3 related versions; blue, green, and orange have 1 related version; and magenta variations are unique, because mirroring and rotating yields the original, thus no other versions. (See the table to the lower right of the poster for examples.)

Rules for sorting
The poster groups variations according to the number of non-overlapping rectangles. The large figures indicate the beginning of each group. The sequence begins in the upper left and proceeds from left to right and top to bottom. Each group is further divided into sub-groups sharing the same set of elements. The sub-groups are arranged according to the size of their largest element from largest to smallest. Squares precede rectangles of the same area; horizontals precede verticals of the same dimensions. Within sub-groups, variations are arranged according to the position of the largest element, preceding from left to right and top to bottom. Variations themselves are oriented so that the largest rectangle is in the top left. Black dots separate groups by size. Gray dots separate groups by orientation.

Where to learn more
Grids have been described in design literature for at least 50 years. French architect Le Corbusier describes grid systems in his 1946 book, Le Modulor. Swiss graphic designer Karl Gerstner describes a number of grid systems or “programmes” in his 1964 book, Designing Programmes. The classic work on grids for graphic designers is Josef Muller-Brockman’s 1981 book, Grid Systems.

Thomas Gaskin and Sean Durham have created an interactive tool for viewing variations and generating HTML. www.3x4grid.com

Download PDF

Patch Kessler explores the mathematical underpinnings of grid generation in his paper “Arranging Rectangles”.

The 892 ways to partition a 3×4 grid from thomas gaskin on Vimeo.

 

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