Indicate ankara12-ivani

Dra. Ivani Santana INDICATE Final Conference
i.santana@qub.ac.uk, ivani@ufba.br Ankara/Turkey15th,16th October 2012

Post Doctorate Sonic Arts Research Centre
Queen’s Univesity Belfast
(auspices CAPES,Brazil)
NetworkedArt:
Federal University of Bahia
Master and Ph.D. Program of Scenic Arts
Brazilianexperiencesofthe
Institute of Humanities, Arts and Sciences Technological Poetics
Research Group of Technological Poetics:
Research Group
corpoaudiovisual
www.poeticatecnologica.ufba.br

Map and Program of Digital Dance
www.mapad2.ufba.br

choreographer, dancer,
researcher in dance -technology
Master and Ph.D Communication and Semiotics
(Catolic Univerity, PUC SP, Brazil)

INDICATE Final Conference NetworkedArt: Brazilian experiencesofthe Technological PoeticsResearchGroup
Ankara/Turkey, 15th,16th October 2012 Ivani Santana SARC (Support CAPES 9495-11)

Research Group of
Technological Poetics

University of Bahia
Brazil
www.poeticatecnologica.ufba.br

{please play the video}


Julio Plaza (apud Prado, 2003):
Communication-Art: Aesthetical of Communication.
“it doesn’t produce objects; it thematizes the space-time”.

{automatic transition}


“The intimate space of the subject has been invaded in
various ways in the digital culture. Globalization, through
telecommunication devices, has promoted telematics
exchanges in many spheres: the artistic, the social, the
economic and the personal. Binary data are exchanged
through robust routes on the information
superhighway, whether monetary, medical, theoretical or
conceptual information in the various areas of
knowledge, entertainment, art or of a strictly personal and
intimate nature (which may also be for monetary and
professional purposes). The reconfigured intimacy of the
subject fosters a new understanding of
presence, proximity, and interpersonal relationships.
Telematics is directly responsible for this
reconfiguration, since it promotes technological mediation
of a remote presence.”
(Santana, 2010)



"I think there is something expansive about this term, this
metaphor for an imaginary space that exists in, on and
between ‘computational devices’. I like to corral all kinds of
things together in cyberspace; not just computers and
software, but also digital devices such as MP3 players, or
BlackBerrys, or new medical imaging
technologies, cyberpets, digital animations and
simulations of all kinds – and so the list goes on. All these
things, and many more besides, are connected together, in
some way or another."
(David Bell, 2007)



Technological Poetics at/into the Network
Cyberspace. A consensual
hallucination experienced Different names used in Art field:
daily by millions of legiti-
mate operators. ... A • Telematic Art;
graphic representation of
• Telematic Dance;
data abstracted from the
banks of every computer in • Telepresence Art;
the human system. • Comunication Art;
Unthinkable complexity. • CyberArt;
Lines of light ranged in the • Net Art;
nonspace of the • Networked Art;
mind, clusters and • Networked Performance;
constellations of data. Like • Web Dance;
city lights, receding.
• etc.
(Gibson 1984: 67)



Network and the Tecnologies of
information and communication give new
potentiality for artistis interested in the
articulation of art and technology.

My trajectory...

{wait until request}


Corpo Aberto
Open Body
2002

8


“Close-circuit” - circuito fechado de câmera



Casa de Nina (2004) Ivani Santana

11


12


e fez o homem sua diferença (2005) Ivani Santana / GDC



“Break” with italian theater.
Stage as “environment” for dancers and audience.

15
{automatic transition} e fez o homem sua diferença (2005) Ivani Santana / GDC


2001 The first contact with Telematic
Performance in USA, ADaPT: the Association
for Dance and Performance Telematics

In 2005 the Brazilian Network – RNP –
invited me to create a telematic dance
piece to open the Ipê Network

{wait my request}

INDICATE Final Conference
NetworkedArt: Brazilian experiencesofthe Technological PoeticsResearchGroup
Ankara/Turkey, 15th,16th October 2012

This backbone is designed
to ensure not only the
bandwidth required for
usual internet traffic (web
Ipê Network is browsing, email, file
the first transfer) but also the use
national optical of advanced applications
network and services and
experimentation. The
academic Latin infrastructure
America, inaug encompasses 27 Points of
urated in 2005 Presence (PoPs), one in
by RNP. each state, plus branches
to serve more than 500
educational and research
institutions across the
country, benefiting more
than 3.5 million users.



In 2010, the Ipê network has undergone a
qualitative leap, reaching the aggregate
capacity of 233.2 Gbps, an increase of 280%
compared to the previous aggregate capacity.
This new network, which is the sixth
generation of backbone operated by
RNP, multigigabits speeds (up to 1 Gbps) are
available for 24 of the 27 PoPs.

This is a cooperation between RNP and "Oi”
telecommunications companyfor non-
commercial use and Research &
Developmentprojects (R & D) of common
interest.



{automatic transition} VERSUS - 2005

VERSUS (2005)
Brasília/Salvador
João Pessoa

First Telematic
Dance piece in
Brazil through
academin network
- RNP

21

VERSUS (2005)

22

NetworkedArt:
Brazilian experiencesofth
e Technological PoeticsResearchGroup

Ivani Santana SARC (Support CAPES 9495-11)

VERSUS (2005)

23


VERSUS
(2005)

24


{wait my request}

NetworkedArt: Brazilian experiencesofthe Technological PoeticsResearchGroup
Ivani Santana SARC (Support CAPES 9495-11)

USA

3 simultaneous images
Spain

Brazil

2006/2007
Proyecto Paso

Nukonen, Paso ao Chile
Brasil, Chile, EUA, Espanha



Proyecto Paso

Nukonen, Paso ao Chile
Brazil, Chile, EUA, Spain

Layout and web
design exploration



Interaction Simultaneity

Salvador

Brasíia

VERSUS Proyecto Paso
(2005) (2006)
29
{wait my request}


Por Onde Cruzam Alamedas (2006)

Space 1
Layer 2
Dancers in foreground

Layer 1
Videoscenography
Dancer in background

Space 2
Layer 3
Dancer on stage



Por Onde Cruzam Alamedas (2006) Space 1

Internet

Space 2



Space 1
Layer 1 - videoscenography
Layer 2 – dancer background
Layer 3 – dancer foreground

Space 2

layer 4 – dancer on stage

Por Onde Cruzam Alamedas



(In)TOQue – 2008
Telematic Dance between São Paulo, Rio de Janeiro and Salvador
Body as screen!



Telematic experience (re)
transfered to stage

Le moi, Le cristal etL’eau
(2007)

Centre
NationalChoreografica
Aix-enProvence, France



35


Telematic
experience
(re) transfered
to stage.

“EU”(2008)
International Theater Festival, Salvador, Brazil
36


Telematic experience (re) transfered
to stage.

“EU”(2008)
International Theater
Festival, Salvador, Brazil

37


WORK GROUP
ARTHRON OF DIGITAL MEDIA AND ARTS
Support RNP
Using Arthron for
managing networked
dance performances

{wait my request}


• Facilitate the set up of the infrastructure needed for
supporting distributed performances;
– Set up of connections between video sources and
projectors;
– Support for dynamic change of infrastructure
Arthron configuration, that is, live change of video sources and
destinations;
– Monitoring the components of the infrastructure;
- Adapt video formats and rates for different network
conditionsSupport for dynamic change of
infrastructure configuration, that is, live change of
video sources and destinations;
– We developed a tool called "scenario maker" that
allows the definition of the scenarios transition graph;
– Arthron runs the graph in the sense it shows what is
happening and triggers the scene transitions for
changing the infrastructure configuration in an
automatic or manual way.
39
{wait my request}


“PELE”
(2002)

Ferramenta computacional “ARTHRON” (GTMDA/RNP, 2009-10)

40
{wait my request}


41
{wait my request}


42


Technical Support: RNP, i2Cat 43


44


Presence Body Space-time

“e_Pormundos Afeto” (2009,10,11)

45


e_Pormundos Afeto (2010, Argentina/Spain)

46


FRAGIL
Laboratorium MAPA D2 (2011)

Telematic Dance with
Dance
Theater
Music
Robot
Visual Arts
Interactivity
Urban intervention
Sensors
Tele Dramaturgy

47
{wait my request}


FRAGIL – Laboratorium MAPA D2 (2011)

48


FRAGIL – Laboratorium MAPA D2 (2011)

49


LABORATORIUM MAPA D2
DE ARTE TELEMÁTICA

50


TELE SONOROUS BODY
• The goal: investigate
the possible
relationships between
“sonoridades” produced
by remote bodies – the
tele-sonorous bodies –
into sensible
environments in order to
construct a Telematic
Dramaturgy.

51
{wait my request}


TELE SONOROUS BODY
Targets:
• To find Telematic Dramaturgies
through sonorities generated by the
remote bodies (at rather than work
with the body image).
• The idea is not to see, but to hear
the other body in the other space.
• Promote an “aural dance” through
networked performance (sound
visualization, at rather than body
visualization)
52
{wait my request}


TELEMATIC DRAMATURGY
“(In)TOQue” (2008)

• Other
corporalities;

• Other time-space
experiences;

• Layers as “Por Onde Cruzam Alamedas (2006)
components
• of the creation.

53
{wait my request}


TELEMATIC DRAMATURGY FRAGIL (2011)

54
{wait my request}

Ankara/Turkey15th,16th October 2012 NetworkedArt:
Brazilianexperiencesofthe
Research Group
Ivani Santana UFBA/SARC (Support CAPES 9495-11)

CONCLUSION:
_ Art promotes new demands,
give new ideas;
_ The networked performance has a specifi way to create
narratives, dramaturgies;
_ It’s important to understand Art not just an aesthetical product
by new technology, but a knowledge in itself that can contribute
to improve the technology (Art or Artists as not a “final users”);
_ We need more interdisciplinary project to promote new
possibilities of art-science-technology, but understanding the
potential of each area.

{wait my request}

Ankara/Turkey15th,16th October 2012

Thank You!

Ivani Santana
i.santana@qub.ac.uk

Research Group

UFBA/SARC (Support CAPES 9495-11)

Indicate ankara12-ivani

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