My name is Caroline Bernard, and I am here to represent the Boston Cyberarts Festival and the artists collective Manifest.AR. (NOTE: Introduce your self, your work and your relationship with the group. Add images as needed).
Metro-NeXt is a follow up to Martin Kippenberger’s Metro-Net, but rather than the entrance leading to nowhere, it leads to a virtual dimension, an augmented and mixed reality portal, linking cities together. Merto-NeXt is a collaboration between French artist Caroline Bernard, American artist John Craig Freeman and Swiss artists Lalie Schewadron Pascual.
The Boston Cyberarts Festival is the first and largest celebration of artists working in new technologies in all media. It is an international biennial Festival encompassing visual arts, dance, music, electronic literature, web art, and public art.
The Festival takes place at over fifty arts and educational organizations within the greater Boston, Massachusetts area for two weeks. In this performance, dancers in Boston danced in real time with dancers in Los Angeles, California through the monitors. NOTE: Please check title translation, “Seekers, A Bi-Coastal Dance Improvisation“
In 2011, the seventh Boston Cyberarts Festival presented eight electronic music performances, three dance and technology performances, twenty six exhibitions of new media as well as public art, symposiums and programs for youth. In this performance the New England Conservatory of Music showcased their electronic Music studio with numerous guests. NOTE: Please check translation on title: ElectroNEC presents ElectroAcoustic showcase
This year, the festival hosted an exhibition of virtual art by Manifest.AR at the Institute of Contemporary Art.
Manifest.AR @ ICA: Manifest.AR is an international artists collective working with emergent forms of augmented reality as interventionist public art. The audience can simply download and launch an Augmented Reality Browser app on their iPhone or Android and aim the devices’ camera to view the world around them. The application uses geolocation software to superimpose computer generated three-dimensional art objects, enabling the public to see the work integrated into the physical location as if it existed in the real world. This year the group produced a virtual exhibition titled, Manifest.AR @ ICA, at Boston’s Institute of Contemporary Art, during the 2011 Boston Cyberarts Festival.
Tiananmen SquARed, by 4Gentelmen: “Tiananmen SquARed” is a two part augmented reality public art project and memorial, dedicated human rights and democracy worldwide. The project includes virtual replicas of the Goddess of Democracy and Tank Man from the 1989 student uprising in Tiananmen Square. Both augmentations have been placed in Beijing at the precise GPS coordinates where the original incidents took place and at the ICA for the Manifest.AR @ ICA exhibition.
Parade to Hope, by Mark Skwarek: The “Parade to Hope” is an augmented reality parade which will keep going indefinitely in the search of “hope”. The parade is able to determine where people’s hope is the strongest geographically at any given time. This keeps the parade on a never ending journey searching for hope.
Jasmine Rain (birdcage), by Tamiko Thiel: The viewer is enclosed in a golden birdcage while a soft rain of jasmine flowers falls all around. The confinement of the cage contrasts with the expansiveness of the space, while the rain of jasmine asks why. Versions of this work are geopositioned in several places around the world, for instance in Tahrir Square in Cairo and Tienanmen Square in Beijing.
Art Critic Face Matrix Reloaded, by Tamiko Thiel: “You call this ARt!?!?” Varying from skepticism to outrage, a matrix of faces hovers inside the ICA. This is an animated version of the original “Art Critic Face Matrix” that is on permanent exhibit in the atrium of MoMA New York.
Butterfly Lovers, by Lily & Honglei: The painted figures in traditional costumes are derived from a popular Chinese folktale Butterfly Lovers regarded as the equivalent of Romeo and Juliet. The Augment Reality installation addresses issues of cultural displacement and Diaspora, and visualizes the restless, roaming cultural spirit of the East hidden in western metropolis.
The original version of Butterfly Lovers is located at the Ruby Red Steps in Time Square, New York City, the location that inspired the project.
Archie, aka Architeuthis, by Nathan Shafer: Archie, aka Architeuthis Is a project using one of the descriptions of locative media art from William Gibson’s novel “Spook Country.”
Core Sample, by Christopher Manzione: The Core Sample is a square section of earth that has been slide out vertically, and hovers above the crater from which it came. By virtually displacing a section of earth Manzione asks the viewer to question what is beneath virtually and physically.
Sky Pavilions, by John Cleater: Sky Pavilions are virtual cloudbursts filled with nonsensical and practical guidance. They cause disturbances in the atmosphere and may jump out of bounds without notice. These hovering vessels are prepared to carry you as far out or as deep within as you need to be.
Mao Wants His Money!, by Geoffrey Alan Rhodes. Mao Wants His Money! includes two augmented reality installations. The first is a set of augments hovering in space above banks and ATMs near the ICA, Boston. The second will convert users’ dollar bills into Mao Dollars.
33 1/3 RPM Sunset Colony, Will Pappenheimer/Virta-Flaneurazine: 33 1/3 RPM Sunset Colony is a genetically programmed virtual bufo toads which thrive in the presence of the highest forms and locations of art. Because the toads maintain a psychotropic drug secreted from their skin, viewers that come in contact with group arrangements of the toads will experience triggered “hallucinations” populated by cascading internet information and imagery.
The Return of the Mooninites, by Patrick Lichty: In response to the late 2000′s panic regarding the guerrilla marketing campaign about thee Aqua Teen Hunger Force movie, this installation heralds the return of the pesky moon men to Boston.
1px, by Sander Veenhof: “1px” is a conceptual augmented reality piece by Sander Veenhof of the Netherlands, who previously explored the infiniteness of augmented reality dimensions by creating works such as “Biggar”, worlds’ largest work of art. The one dimensional “1px” work is an attempt to discover the limits of AR in the opposite, minimalistic direction. Never before was it possible to actually create a truly one dimensional piece for real.
The Border Memorial: Frontera de los Muertos, ICA , by John Craig Freeman and Mark Skwarek: The Border Memorial: Frontera de los Muertos, is an augmented reality public art project and memorial, dedicated to the thousands of migrant workers who have died along the U.S./Mexico border in recent years trying to cross the desert southwest in search of work and a better life. The larger project uses geolocation software to superimpose individual augments at the precise GPS coordinates of each recorded death. For the ManifestAR @ ICA exhibition, hundreds of the calaca augments were distributed across Boston Harbor.
Occupation Forces, by Mark Skwarek and Joseph Hocking: Occupation Forces allows the public to experience the invasion of the public space around them by aliens. These invaders can only be seen with the use of a smart phone, equipping with a special alien detection app. Otherwise, the invasion takes place undetected by an unsuspecting population.
Virtual landscapes: Boston Globe.
In June, 2011, the international artist collective Manifest.AR created the Venice Biennial 2011 AR Intervention in the main pavilion complex of the Biennial and in the Piazza San Marco.
Boston Cyberarts Festival http://bostoncyberarts.org/festival/
Caroline Bernard http://www.lilirangelechat.com/