Mquinas simples Mecanismo de biela - manivela Cua Palanca Plano
inclinado Polea Tuerca husillo mquina. (Real academia espaola) (Del
lat. machna, y este del gr. drico ). 1. f. Artificio para
aprovechar, dirigir o regular la accin de una fuerza. 2. f.
Conjunto de aparatos combinados para recibir cierta forma de energa
y transformarla en otra ms adecuada, o para producir un efecto
determinado. 3. f. Agregado de diversas partes ordenadas entre s y
dirigidas a la formacin de un todo. 4. f. por antonom. Locomotora
del tren. 5. f. tramoya ( del teatro). 6. f. Traza, proyecto de
pura imaginacin.s 7. f. Intervencin de lo maravilloso o
sobrenatural en cualquier fbula potica. 8. f. coloq. Edificio
grande y suntuoso. La gran mquina de El Escorial. 9. f. coloq.
Multitud y abundancia. Tengo una mquina de libros. 10. f. Cuba.
coche ( vehculo automvil).
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-Autmatas- Jacques de Vaucanson Kempelen
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Leonardo da Vinci
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La ciencia es la observacin de las cosas posibles, ya sean
presentes o pasadas. La presciencia es el conocimiento de las cosas
que pueden ocurrir en el futuro, auque sea lentamente.
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Mquina de vapor
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Cubismo/Dad/Surrealismo -Marcel Duchamp-
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-Constructivismo Ruso- Vladimir Tatlin
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Jean Tinguely
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Videos de Tinguely
http://www.youtube.com/watch?v=d_Lsg0vr0t8&feature=PlayList&p=BFAEF376903D409B&index=0
http://www.youtube.com/watch?v=kO3slG1GaCU&feature=PlayList&p=BFAEF376903D409B&index=1http://www.youtube.com/watch?v=kO3slG1GaCU&feature=PlayList&p=BFAEF376903D409B&index=1
(para quien tira ptalos dentro del marco)
http://www.youtube.com/watch?v=hsfvsBxVxbk&feature=related
http://www.youtube.com/watch?v=Mocfm6FdWRo&feature=related
http://www.youtube.com/watch?v=Z4NU8FHf_5g&feature=related
http://www.youtube.com/watch?v=NUQpV_fx4jM&feature=related
http://www.youtube.com/watch?v=uDyxzlkXFPI&NR=1
http://www.youtube.com/watch?v=GMPLRm56_ZI&feature=related
http://www.youtube.com/watch?v=yxc4-Us_ogc&feature=related
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Frank Malina
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Diagram of the Lumidyne system
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Three stages in making a Lumidyne kinetic painting
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two figures VI
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kinetic column
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Billy Klver / EAT
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Nine Evenings (1966):Teatro e Ingeniera: una serie de
performances, realizados antes de constituirse el grupo, donde 10
artistas de Nueva York -John Cage, Lucinda Childs, Merce
Cunningham, yvind Fahlstrm, Alex Hay, Deborah Hay, Steve Paxton,
Robert Rauschenberg, David Tudor, y Robert Whitman- e ingenieros,
trataban de romper las barreras entre ambas disciplinas.
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Pepsi pavilion inside Pepsi Pavillion (Osaka, 1970): Se trataba
de un espacio teatral multimedia e interactivo, donde se haca uso
de los ltimos desarrollos electrnicos a fin de establecer una
relacin activa entre el usuario, los artistas y la obra.
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Tumblr kuddgokn
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Paik
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Robot K456
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Edward Ihnatowicz
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Norman White
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Four letter word generator 1974
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Menage
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The Helpless Robot 1974
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David Rokeby
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"Cloud" is a monumental kinetic installation hanging suspended
in the Great Hall at the Ontario Science Centre. One hundred
identical sculptural elements, arranged in ten by ten grid, are
rotated at slightly differing speeds by computer-controlled motors.
The elements slowly shift in and out of synchronization. When the
motors are just out of sync, huge waves ripple across the space.
When completely in sync, the work appears almost solid then
suddenly almost invisible. When far out of sync, the sculptural
elements float in apparent chaos. Cloud creates constantly shifting
fields and patterns in the space of the Great Hall, playing with
the tension between chaos and order, between scientific theory and
human experience, and between objectivity and subjectivity.
Installation Structure Cloud is large arrangement of identical
simple elements. - The smallest elements of the work are a pair of
thin acrylic planes 12" x 15" crossing each other perpendicularly
on their short side. One is clear, the other is a light blue grey.
- Six sets of these planes are arranged in identical orientation at
2.5' intervals along a 13' acrylic shaft. - A stepper motor slowly
rotates the shaft. - 100 of these motor shaft sets are set up in a
10 x 10 configuration at 4.5 foot intervals to create an open form
about 42' x 42' x 16' high. The bottom of the bottom-most planes
sets at a height of 11.5. - The 100 units are identical,
replaceable and interchangeable. They are attached to a 10 x 10
grid of aluminum. - All motors are connected to a computer which
maintains the desired relationship of rotations speeds and
positions.
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Stelarc http://www.stelarc.va.com.au
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Ken Rinaldo
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Autopoiesis, la escultura robtica interconectada de Ken
Rinaldo, hace participar a los espectadores en una sutil y fluida
interaccin que deja ver un ballet ciberntico, formado por quince
esculturas robticas cuya forma ha sido obtenida a partir de ramas
de vid, y que responden a la presencia del pblico en sus
movimientos y a travs del sonido. Un sistema de sensores
inteligentes detectan la ubicacin del espectador, que afecta
primero al comportamiento de las esculturas ms cercanas y despus
modifica tambin al grupo entero debido al intercambio de datos en
serie que tiene lugar, en un proceso de comportamiento colectivo en
constante evolucin. Con la colocacin de cmaras diminutas en los
extremos de los robots se introduce un elemento voyeurstico, al
proyectar su imaginera en las paredes de la sala. La interfaz y la
evolucin del sistema son claramente comprensibles y contribuyen a
una poderosa esttica escultrica. Al mismo tiempo, la "arquitectura
de subcin" (subsumption architecture) que subyace en la obra, clave
en la creacin robtica de la Vida Artificial, est utilizada aqu de
manera innovadora para estructurar el comportamiento de todo el
sistema, en sus partes individuales y en conjunto.
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Jim Campbell
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A matrix of 32 x 24 (768) pixels made out of red LEDs
displaying a pedestrian and auto traffic scene in NY from an off
street perspective. There is a sheet of diffusing plexiglass angled
in front of the grid. As the pedestrians move from left to right
the figures gradually go from a discrete representation to a
continuous one (or metaphorically from a digital representation to
an analog one)
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Motion and Rest is an ongoing series in which each work
displays the abstracted walking movement of a disabled person.
Using techniques of very low resolution, the gait of each person is
distilled from other personal traits. (One starting point for these
works was Muybridge, but unlike Muybridge, the clothes and
hairstyles and gender et cetera of these figures are gone. Only the
gait remains.)
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The Memory Works (1994-1998) are a series in which each work is
based upon a digitally recorded memory of an event. Some of these
electronic records represent a personal memory and others represent
a collective memory. These electronic memories are manipulated and
then used to transform an associated object mounted on the wall.
Avoiding the usual notions of what a memory is, none of the
original memories is an image or a sound. These works explore the
characteristic of hiddenness common to both human and computer
memory. Memories are hidden and have to be transformed to be
represented.
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Photo Of My Mother Portrait Of My Father
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The memory is at the rate of a person breathing, as recorded
for one hour. The clock's second hand moves at the rate of the
breathing from the memory. The clock is metering the
breathing.
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Illuminated Averages are a series of images displayed in light
boxes in which each image is created by averaging all of the frames
of a moving sequence. For example the first one created was an
average of all the frames of the film Psycho. In that work almost 2
hours are collapsed to create one single image.
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Art +com (video)
http://www.artcom.de/index.php?option=com_acproj
ects&page=6&id=29&Itemid=144&details=0&lang=en
http://www.artcom.de/index.php?option=com_acproj
ects&page=6&id=29&Itemid=144&details=0&lang=en
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The goal of the project was the enhancement of the traditional
static stage setting into a reactive and dynamic stage design that
plays its own vital role in the narration. On the stage, large
planes were arranged onto which architecture, generated in
real-time, was projected. The projection screens formed clipping
planes through an imaginary virtual architecture positioned on
stage. Machiavellis the operas protagonists movements and gestures
were camera-tracked, and the virtual architecture moved according
to his movements and gestures. This concept allowed linking the
staged action and the architecture closely: Machiavelli, as a
powerful and dominant character in the play, has power over the
stage (and consequently over his co-actors) through the
possibilities of interaction given to him. In addition to the
architecture, the costumes of the actors were also augmented with
digital media. Via a tracking system developed especially for this
opera, digital masks were generated in real-time, according to the
silhouettes of the actors. Textures were then pasted onto these
masks, and the ensuing media costumes were projected to fit exactly
onto the singers. This way, it was possible to depict the
characters conditions and feelings with dynamic textures on their
bodies. Despite the complexity of the software and hardware
developed for this project, technology was never at the forefront.
The exclusive aim was to generate new ways of expression for the
director and the actors. The project was commissioned by the Opera
Biennale Munich in 1999 and premiered in 2002. Composer: Andr
Werner, libretto based on the novel by Christopher Marlowe. The
project is a co-production between ART+COM and bureau+staubach,
supported by ZKM Karlsruhe. Co- authors and developers: Nils
Krueger, Bernd Lintermann, Andre Bernhardt, Jan Schroeder, Andeas
Kratky.
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Daniel Palacios
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Un largo trozo de cuerda representa tridimensionalmente una
serie de ondas flotando en el espacio, a la par que estas producen
sonido por la propia fsica de su movimiento: la cuerda que crea el
volumen, crea simultneamente el sonido al cortar el aire,
conformando un nico elemento. Segn nos comportemos frente a l, segn
la cantidad de observadores y sus movimientos pasar de una lnea
estable sin sonido a formas caticas de sonidos irregulares (cuanto
ms movimiento haya en torno a la instalacin) a travs de diferentes
estadios de ondas sinusoidales y sonidos armnicos.
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Shih Chieh Huang
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Shih Chieh Huang writes of his new work Twilight will look
strange and sound blueish white Many creatures sparkeling, beeping,
moving. About his work in general, he writes: My work focuses on
exploring the unusual evolutionary adaptations undertaken by
creatures that reside in inhospitable conditions. I create
analogous ecosystems in my installations and populate them with
organic living things made from common, everyday objects. I source
my wholly synthetic materials from the mundane objects that
comprise our modern existence: household appliances, zip ties,
water tubes, lights, computer parts, cheap motorized toys and the
like. The objects are dissected and disassembled as needed and
reconstructed into experimental primitive organisms that reside on
the fringes of evolutionary transformation: computer cooling fans
are repurposed for loco-motion, Tupperware serves as a skeletal
framework, guitar tuner rewired to detect sound, and automatic
night lights become a sensory input.