#OSJUBA – Open Sourcing a New Country

2012 – ongoing

r0g_ agency for open culture and critical transformation


Aqua, Water, Wai, To’


Ian Clothier



Online 3D computer game

Personal Cinema & Collaborators


Bijlmer Euro

Local currency

Christian Nold


Border Bumping

Custom built smartphone application

Julian Oliver


Cairo Refracted

User - generated mapping

Paolo Patelli

Picture 18




Emotions in Berlin; geo-coded visualization of emotions expressed on social networks in the city of Berlin over a 2 months period; color coded according to Plutchik's classification; height shows quantity of messages used to classify emotion.


P2P urban ecosystems
2008 - ongoing

Salvatore Iaconesi & Oriana Persico


Domest-OS: Defining Computational Media Within Domestic Environments

Ubiquitous Computing / Interactive Architecture

Stavros Didakis

Multiscreen-and-phones Phoenix


Interactive installation, interactive wall graphic, locative trail

Martin Rieser


Haptic City

Workshop based project

Afroditi Psarra & Artemis Papageorgiou


Indeterminate Hikes+

Mobile application
2011 - 2012

Leila Christine Nadir & Cary Peppermint


Mapping the Commons

Cartography workshop
2010 | 2012



Meantime in Greenwich

Augmented reality public art project

David Clark


Mobile Kitchen Lab: Hacking Angkringan

Lab – city intervention

Denisa Kera & Marc R. Dusseiller in collaboration with Sakar Pudasaini, Sachiko Kana, Urs Gaudenz, Andreas Siagian


My love for you, Egypt, increases by the day

Digitized Super-8 Film

Heba Amin



Independent, urban communication platform
2009 – ongoing

Danja Vasiliev



Urban simulation tool

Areti Markopoulou, Tomas Diez & Alex Posada


Oceans of Air

Installation – Performance - Documentation

Ramon Guardans, Tega Brain & Kirsty Boyle



Network traffic relocation device / sculpture

Gordan Savicic & Bengt Sjolen


Play Southend – a game to draw and play your future town

Collaborative platform game
2012 - ongoing

Ruth Catlow & Mary Flanagan



Interactive Media Platform / StudioLAB


REAL-TIME CITY: The City as an Ambient Interface


Achileas Psyllidis & Bastiaan Kalmeyer


Roger 10-4

Workshop based project / sniffing devices
2010 - ongoing

Sabrina Basten & Audrey Samson


SNUFF_ Wireless data sonification

Workshop based project / electromagnetic receiver
2009 - ongoing



Software Origami

Geovisualization tool

Anthi Tzakou


Sound Swallower

Sonic game / Application for iPhone/ iPad/ iPod

Aaron Oldenburg


Trash Track

Waste management tracking system

MIT’s SENSEable City Lab



Experiment - installation

Bosch & Simons


In many parts of the world, new governments and civic societies emerging from shattering conflict and revolution are facing the challenge to (re)construct nothing less than entirely new nations. Urgent calls to define political participation, state identity, economic development, self-determination and freedom to speak, learn, move and – very often- to reconcile among resolute opponents have transformed seemingly local conflicts into issues of global concern. Such is the scenario faced by South Sudan, the world’s newest country, which gained independence from Sudan in 2011 after more than four decades of brutal conflict, and the successful implementation of a peace agreement that was struck in 2005.

In the age of participatory and social networks, and powerful public domain technologies, #OSJUBA (Open Source City Juba) seeks to apply the methodologies of the world’s diverse open source communities in creating new forms of sustainable development. Harnessing South Sudan’s unique historical opportunity #OSJUBA proposes a South Sudan Open Systems Strategy, which could lead to the establishment of the world’s first Open Source Nation – a model of independence and collaboration in Africa and beyond.

Together with leading African and international open source and open knowledge specialists #OSJUBA explores how the emergence of a new ‘open systems culture’ in South Sudan could tackle the issues of post-conflict transformation, ICT innovation, education, resource management, policy transparency and economic development. A first memorandum for an South Sudan Open Systems ‘roadmap’, looking to South Sudan’s pastorial Warrap State as a model in which to implement open source and open data strategies, in support of open government principles has been drafted. For this first step ‘open sourcing’ step, r0g has teamed up with Warrap Governor Nyandeng Malek Dielic, the country’s first and only female governor, with the aim of fulfilling her vision of a prosperous and stable South Sudan, and overcoming the challenges she faces in helping her people in building their new country.

#OSJUBA is an initiative of r0g_ agency for open culture and critical transformation, initiated in Berlin in 2012 by Stephen Kovats, architect and former director of the transmediale, Berlin's festival for art and digital culture. A collaborative agency, it's team includes Ela Kagel, cultural producer, curator and founder of SUPERMARKT, Berlin’s center for creative resources, Jodi Rose, writer, artist and producer of mobile and cross-cultural collaborative practices, Amrit Naresh, researcher and writer for the transparency platform OpenOil.net, Lagu Stephen Samuel, South Sudanese medical student / film maker and Georgia Nicolau, international programs manager of Brazil's Festival Internacional CulturaDigital.Br

The agency supports sustainable and hybrid forms of cultural and societal development in regions undergoing rapid and fundamental transformation. Following a philosophy of „open source for open societies“ it acts to put into practice the mechanisms and methodologies of sustainable open source cultures and appropriate technologies. It sees these as tools for empowering citizens, where exchange, collaborative production and access to open knowledge are of fundamental importance in creating free and open societies.

It operates as a connector, initiator and producer within a global network of organizations and advocates that develop and implement projects and strategies in fields such as open source hard- and software, social media research, education, journalism, E-government, media arts, urbanism, cultural hacktivism, networked collaboration and digital forms of work. It runs workshops, seminars and conferences, developing its programming worldwide.


Στην εποχή των συμμετοχικών και κοινωνικών δικτύων αλλά και των ισχυρών τεχνολογιών δημοσίου τομέα, η #OSJUBA επιδιώκει να εφαρμόσει μεθοδολογίες ανοιχτού κώδικα για ένα πιο βιώσιμο μέλλον. Προτείνει στο Νότιο Σουδάν μια στρατηγική ανοιχτού συστήματος που θα μπορέσει να βοηθήσει στην εγκαθίδρυση του πρώτου κράτους ανοιχτού κώδικα, ενός μοντέλου ανεξαρτησίας και συνεργασίας για την Αφρική αλλά και πέρα από αυτή. Σε συνεργασία με άτομα εξειδικευμένα στο χώρο του ανοιχτού κώδικα και της ανοιχτής γνώσης το #OSJUBA διερευνά πώς η ανάδυση ενός νέου πολιτισμού που βασίζεται σε ένα ανοιχτό σύστημα μπορεί να αγγίξει ζητήματα πολιτικής, εκπαίδευσης, βιωσιμότητας, τεχνολογίας, διαφάνειας και οικονομίας.


Humanity and Earth are at an important juncture: the intersection of past unsustainable approaches to the environment and the potential for a sustainable future. An important factor in these issues is listening to the voice of indigenous people on the subject of environment. It is quite clear that the West will not by its own means resolve climate change issues.

Dr Te Huirangi Waikerepuru, a highly respected Māori Kaumatua (elder) from Aotearoa New Zealand has provided the core concept and ideological underpinning for Wai (which means water or flow). The project was selected for exhibition at 516Arts as part of ISEA 2012 Albuquerque Machine Wilderness.

Wai is an integrating element – embracing rain and snow in the mountains, rolling downward via rivers to the beach and into the human body via breath. The Māori worldview involves seeing reality as an integrated whole, with humans in direct relationship with nature.

Notions of integrated systems will be familiar to many, and the connection to electronic art is found in the words of Associate Professor of Zoology Mike Paulin “Scientists, artists and others are transforming the environment into an organism, as Māori and indigenous peoples have always known it to be” [from the call for projects for SCANZ2013, see intercreate.org]. Wai consists of data sensors based around a tree in Aotearoa New Zealand, integrated with audio, visual and installed objects by Māori, New Zealand, Australian, Indian and Navajo/Dine artists in an electronic art installation.

Ian M Clothier (NZ) is an electronic artist, a member of the ISEA International Advisory Committee, Senior Academic at Western Institute of Technology at Taranaki (WITT), Executive Director of Intercreate Research Centre (intercreate.org) and founding Director with Trudy Lane and Nina Czegledy of SCANZ (Solar Circuit Aotearoa New Zealand). His projects have been selected five times for International Symposium on Electronic Art exhibitions (2004, 2006, 2009, 2011 and 2012) and he has held twenty international exhibitions. A hybrid Polynesian, thematically his projects involve cultural hybridity and nonlinearity, and more recently this is combined into integrated systems while working with indigenous people. Projects have involved data sensors and web applications, robotics, socio-political data visualisation, micronation creation, augmented reality, motion sensors, online survey data collection and installation. His written work has been published in Leonardo, Convergence and Digital Creativity and he has given many conference presentations including to Technoetic telos, Media Art Histories and The International Conference on Thinking.


H ανθρωπότητα και η γη βρίσκονται σε ένα σημαντικό σταυροδρόμι: αυτό των παλαιότερων προσεγγίσεων που δεν λάμβαναν υπόψη το περιβάλλον και αυτό των νέων δυνατοτήτων για ένα βιώσιμο μέλλον. Σημαντικό ρόλο σε αυτά τα ζητήματα μπορούν να παίξουν  οι φωνές ιθαγενών καθώς είναι πια σαφές ότι η Δύση δε μπορεί να λύσει μόνη της ότι σχετίζεται με την κλιματική αλλαγή. Το έργο αποτελείται από δεδομένα που προκύπτουν από αισθητήρες οι οποίοι συνυπάρχουν με ηχητικά, οπτικά και άλλα στοιχεία που τοποθετήθηκαν από Μαόρι, Νεοζηλανδούς, Αυστραλούς, Ινδούς και Ναβάχο καλλιτέχνες στην Αοτεαροα στη Νέα Ζηλανδία για μια ηλεκτρονική εγκατάσταση.


Banoptikon is an online  3D computer game created by the media arts collective Personal Cinema addressing the issue of migration in Europe. Taking the city of Athens as an example, Banoptikon critically examines different aspects of current migrational politics and comments on the power relationships that are being formed between migrants, “local” citizens and the authorities on today’s European ground.

The game is based on a storyline connecting various migrant movements. It demonstrates in a visual manner the experiences that migrants encounter as Europe’s non citizens, while also emphasizing how these movements may have a positive effect on European societies – transforming power hierarchies of gender, nation, race and class.

Banoptikon simulates different urban or non-urban environments, such as the city center, the harbor, the detention camp or the border zone and presents their interconnection and continuous de-terriorialisation and re-terriorilisation process.
The player is invited to experience this fluid yet intense reality while interacting within the game and viewing  videos, sound recordings, web pages, images and texts that have been integrated in the environment.

Banoptikon shows the passage from the city, conceptualized as a cell being invaded by “alien and hostile forces” to an interconnected network of mobilities. It examines how migration in the city is not anymore centered, but distributed and diffused just like technology itself is.

The game is part of the broader E.U research program MIG@NET (http://www.mignetproject.eu/). It is the outcome of intercultural collaboration between researchers specialising in different fields of social sciences and origination from different EU european states.

Personal Cinema (GR) is a network active in the field of media arts. It plans and organizes projects and activities that encourage the critical stance toward the new forms of production, presentation and distribution of audiovisual products; the forms that at the very end, define the kind of social, cultural and political conditions, which in their turn, connect the multitude to the power structures.

Personal Cinema anticipates cooperation with social and artistic networks, groups and individuals that take a similar stance and consider necessary the creation of a visible space of debate. The collective connects people who are engaged in constant inventions to render explicit and clear the 'signal' from 'noise', that is to say, the two unequal parts that compose the current pseudo-dialectic of information. The working team of Banopticon was: Yannis Skoulidas (artist-programmer), Ilias Marmaras (media artist), Xenia Koliofoti ( scriptco-writer and editor) Daphne Dragona (New Media curator) and the collaborators, Dimitris Fotiou (sculptor-3D designer) and Alex Salapatas (programmer).


To Banoptikon είναι ένα διαδικτυακό τρισδιάστατο παιχνίδι που ασχολείται με το ζήτημα της μετανάστευσης στην Ευρώπη. Έχοντας την Αθήνα σαν αφετηρία και σαν παράδειγμα, το παιχνίδι διερευνά διαφορετικές εκφάνσεις της σύγχρονης μεταναστευτικής πολιτικής και σχολιάζει τις σχέσεις εξουσίας που διαμορφώνονται ανάμεσα στους μετανάστες, τους «κανονικούς» πολίτες, και τις αρχές στο Ευρωπαϊκό έδαφος. Παρουσιάζει το πέρασμα από την πόλη που νοείται ως ένας πυρήνας στο οποίο έχουν εισβάλει “ξένες και εχθρικές δυνάμεις”, στην πόλη που μπορεί να γίνει κατανοητή μόνο σαν ένα διασυνδεδεμένο δίκτυο κινητικότητας. Εξετάζει τη μετανάστευση σαν κάτι που διαχέεται και κατανέμεται στο αστικό περιβάλλον όπως και η τεχνολογία η ίδια.


The Bijlmer Euro is an complimentary local currency for South East of Amsterdam which creates economic benefits for local people, inspires social connections and builds a complex network identity for the Bijlmer. The model for this unique community trust system was developed together with the local community of Bijlmer. The project was inspired by other local currency systems of which there are tens of thousands of functioning money systems across the world, which all function to support community development and representation. The Bijlmer Euro is a standard Euro banknote, which has a special Bijlmer Euro sticker attached to its surface. The stickers contain a unique electronic RFID-tag that communicates with the technical system created by Christian Nold for each of the participating shops. When scanned by a reader in one of the participating shops, the RFID-tag responds with a signal to identify that this unique note has been used at that time in this shop. Using the special sticker on the Bijlmer Euro, one can trace the route that the money is traveling through the Bijlmer from shop to shop. These movements are translated into a real-time visualisation that can be found at www.graph.bijlmereuro.net. The numbers next to the shop names shows the number of notes that have been used at that shop.

Christian Nold (UK) is an artist, designer and researcher working to develop new participatory models and technologies for communal representation. He has written the books ‘Mobile Vulgus’ (2001) and ‘Internet of People for a Post-Oil World’ (2011) with Rob van Kranenburg and edited ‘Emotional Cartographies - Technologies of the Self’ (2009). He has led many large scale participatory mapping projects. In particular his ‘Bio Mapping’ project has been staged in many different countries across the globe with thousands of participants. He has developed experimental currencies, the 'Bijlmer Euro' (2010) and Suomenlinna Kuula (2012) and is releasing the book ‘The Participation Problem - Autopsy of an Island Currency’ this year. He is currently working on a PhD in the Extreme Citizen Science Group at UCL, where his research involves following a series of participatory sensing tools and their actor networks as they cross ontological & political boundaries.


Το Bijlmer euro είναι ένα συμπληρωματικό τοπικό νόμισμα για το νοτιοανατολικό Άμστερνταμ που δημιουργεί οικονομικά οφέλη για τους κατοίκους, εμπνέει νέες συνδέσεις και κατασκευάζει ένα νέο δίκτυο ταυτότητας για το Bijlmer. Το μοντέλο για αυτό το μοναδικό σύστημα βασίστηκε στην εμπιστοσύνη και την  συνεργασία με την εκεί κοινότητα και έχει εμπνευστεί από άλλα συστήματα τοπικών νομισμάτων ανά τον κόσμο. Ένα αυτοκόλλητο με ηλεκτρονικό RFID tag κολλημένο πάνω σε ένα απλό χαρτονόμισμα ευρώ επιτρέπει τον εντοπισμό της διαδρομής της χρήσης του και την οπτικοποίηση αυτής.


Border Bumping is a work of dislocative media that situates cellular telecommunications infrastructure as a disruptive force, challenging the integrity of national borders.

As we traverse borders, our cellular devices hop from network to network across neighbouring territories, often before or after we ourselves have arrived. These moments, of our device operating in one territory whilst our body continues in another, can be seen to produce a new and contradictory terrain for action.

Running a freely available, custom-built smartphone application, Border Bumping agents collect cell tower and location data as they traverse national borders in trains, cars, buses, boats or on foot. Moments of discrepancy at the edges are logged and uploaded to the central Border Bumping server, at the point of crossing.

For instance a user is in Germany but her device reports she is in France. The Border Bumping server will take this report literally and the French border is redrawn accordingly. The ongoing collection and rendering of these disparities results in an ever evolving record of infrastructurally antagonised territory, a tele-cartography.

Border Bumping is a work by Julian Oliver commissioned by the Abandon Normal Devices Festival as part of their 2012 Mobile Republic program. A mobile cartography bureau – destined for travel throughout the UK and later around the EU – was set up as part of the project presentation, inviting audiences to engage with the map of the project. The map – which is also available online – is designed and developed by Till Nagel and Christopher Pietsch. It displays the borders as they are continuously ‘bumped’ by border crossing events and shows information such as the cell tower ID, the signal strength, the country code and the mobile network code sent in from the users’ smartphone application.

The application can be directly downloaded from the project’s website. The source code for the Android Application can also be found online, available for use under the General Public License v3.

Julian Oliver  (NZ/DE) is a Critical Engineer and artist based in Berlin. His projects and the occasional paper have been presented at many museums, international electronic-art events and conferences, including the Tate Modern, Transmediale, Ars Electronica and the Japan Media Arts Festival. His work has received several awards, ranging from technical excellence to artistic invention and interaction design.  He has given numerous workshops and master classes in software art, augmented reality, creative hacking, data forensics, computer networking, object-oriented programming for artists, virtual architecture, artistic game-development, information visualisation, UNIX/Linux and open source development practices worldwide. He is a long-time advocate of the use of free software in artistic production, distribution and education.

Το Border Bumping είναι ένα έργο για τα μέσα δυσ-τοπισμού θέσης. Προσεγγίζει τις τηλεπικοινωνιακές υποδομές ως διασπαστική δύναμη και αμφισβητεί την ακεραιότητα των εθνικών συνόρων. Καθώς διασχίζουμε τα σύνορα, οι ηλεκτρονικές συσκευές μας περνάνε από δίκτυο σε δίκτυο στις γειτονικές περιοχές, πριν πολλές φορές εμείς οι ίδιοι να φτάσουμε σε αυτές. Αυτές οι στιγμές προσφέρουν ένα νέο και αντιφατικό έδαφος για δράση. Η εφαρμογή Border Bumping συλλέγει δεδομένα θέσης όταν τα σύνορα διασχίζονται και διαμορφώνει μια νέα συνεχώς εξελισσόμενη καταγραφή μίας τηλέ-χαρτογραφίας.


Cairo Refracted is an on-going experimental project, initiated by designers and researchers from the Politecnico di Milano and Cairo University, currently being developed with the community in Ard-el Lewa, Giza. The project consists in a community, multimedia and Internet-based mapping activity; it relies on a custom web and mobile application built with Locast, an open source platform developed by the MIT Mobile Experience Lab.

In Cairo, space is not a static concept. Almost all of today’s Greater Cairo is the product of informal processes: the structure of the physical space is dramatically weak, while the presence of subjective and collective bodies is extremely intense. The city is shaped by constant fluxes, which produce alternative hierarchies; space results from praxis, it can only be produced through social practices. An actionable understanding of such dynamics cannot result from cumulative observations of others only: we rely instead on mapping the inhabitants’ own recollections of their own activities.

Cairo Refracted adopts counter-mapping as a lens for interpreting the everyday life as it unfolds across Cairo and its inner borders between formal and informal developments. Enabling subjects and local communities to share individual and collective representations of their environment and situated practices, the project is also a tool for identity-building. Particular attention is paid to the uneven distribution, access and participation to the urban publics, whose related performances are mapped and documented through embedded digital media, such as video, images and audio.

Urban narratives emerge from subjective constellations of spatial practices and memories, documented and categorized (tagged) by subjective and everyday ontologies (work, education, nutrition, sacred, etc.). We see in this practice the possibility for a collective expression of shared values, the affirmation of ideas of engagement and of a sense of care about those publics and social spaces, where intimate relations are collectively situated.

Paolo Patelli (IT) is an architect and PhD candidate in the Department of Architecture and Urban Studies at the Politecnico di Milano; he teaches Design and Experimental Technologies at NABA Nuova Accademia di Belle Arti; he is a consultant for a EU-funded project he co-wrote in 2011, Urban Sensing. His research is a design-based investigation on the reciprocal adaptations shaping the conjunctions between urban space, inhabitation and (new) media. In 2011 Paolo was a visiting PhD student at the Massachusetts Institute of Technology in the Department of Urban Studies and Planning and a researcher at the MIT Senseable City Lab. He took part in projects that has been presented and exhibited, including at the MoMA in New York, Gwangju Design Biennale, MAXXI in Rome; he presented personal projects at the CCA in Montreal and at Punta della Dogana during the the XIII Venice Architecture Biennale. He contributed articles on international magazines and journals, including MONU, Visual Studies, Krisis.  Cairo Refracted is currently being developed at the Politecnico di Milano within the Measure and Scale research laboratory, coordinated by Prof. Antonella Contin.


Το Cairo Refracted είναι ένα εγχείρημα σε εξέλιξη σχεδιαστών και ερευνητών από τo Πολυτεχνείο του Μιλάνο και το Πανεπιστήμιο του Κάιρου που αναπτύσσεται σε συνεργασία με την κοινότητα στην Ard-el Lewa της Γίζα. Το έργο βασίζεται σε μια διαδικασία διαδικτυακής χαρτογράφησης που αναπτύχθηκε πάνω σε μία ανοιχτή πλατφόρμα του MIT Mobile Experience Lab. Υιοθετεί μια λογική αντι-χαρτογράφησης με στόχο την ερμηνεία της καθημερινής ζωής του πόλης και επιτρέπει  στα άτομα και στις κοινότητες να μοιραστούν τις συλλογικές αναπαραστάσεις του περιβάλλοντος και των κοινωνικών πρακτικών τους.

Picture 18

“Capacities Life In The Emergent City” captures the changes over time in the environment (city) and represents the changing life and complexity of space as an emergent artwork. Capacities goes beyond simple single user interaction to monitor and survey in real time the whole city and entirely represent the complexities of the real time city as a shifting morphing and complex system. What you see is a sculpture which represents the emergent properties of the environment where the sensor network is situated.

In the gallery.

The artwork called Capacities is installed.The gallery space becomes a live emergent sculpture to wander through. The changing life in the real time city creates all the changes one experiences in the gallery space. The leads, the wires,and cables are incorporated into the artwork to look like a city map.’ Capacities’ looks “designed” like a piece of urban design, a city surveyed and controlled.  The whole gallery space becomes one large artwork made from real time city information and data. The moving objects, fans,  changing  lights, motors, noises, that you encounter in the gallery are all responding to changes in temperature, light, pressure, noise, and the sound of the city outside. The aesthetic and feel of the space looks like an electronic city.  The city is made of units, grids, repetition, building blocks.

In The City.

The sensor network is laid out across the city (or gallery) to collect and monitor the data ie temperature, light, pressure, noise, and the sound of the city (or gallery) .


The artwork is a responsive installation with embedded interactive elements. It is responsive to the live environment via sensors and interactive with its embedded CCTV systems. The artwork gathers data from the city (environment) via a custom made wireless sensor network. This is then represented virtually and then this virtual city is represented as this artwork installation. The work becomes a manipulation of data, that ‘powers’ all the ‘events’ ‘actions’ and ‘processes’ in the installation.


The art of gathering environmental data. This project leverages the real time space using data gathered using new sensor technologies and connecting spaces. The artwork explores new ways of thinking about life, emergence and interaction within public space and how this affects the socialization of space. The project uses environmental monitoring technologies and security based technologies, to question audiences experiences of real time events and create visualizations of life as it unfolds. The interactions of all this data are re-formed and re-contextualised in real time artwork.

We understand the 20thc in terms of atoms, molecules and gases that move. Our world is now a world of numbers and changing data and information. This art installation manipulates these numbers and the data from the living real world; all of this affects the installation ie the artwork in the gallery space and all the changes occur in real time. The real world is made virtual and the virtual is made real again and exposed in the process. This whole piece is a living and breathing artwork. The project focuses on the micro-incidents of change, the vibrations and sounds of the environment using wireless sensor based technologies.

Stanza is an internationally recognised artist, who has been exhibiting worldwide since 1984. His artworks have won twenty international art prizes and art awards including:- Vidalife 6.0 First Prize. SeNef Grand Prix. Videobrasil First Prize. Stanzas art has also been rewarded with a prestigious Nesta Dreamtime Award, an Arts Humanities Creative Fellowship and a Clarks bursary award.


ConnectiCity is a family of projects whose aim is to understand the transformation of urban scenarios by using ethnographical and anthropological observation to gather information about the emergence of urban rituals, practices and processes which are related to the wide availability and accessibility of ubiquitous technologies and networks, and to use these insights to formulate actual hypotheses about possible new, next-step scenarios. These new scenarios often come under the form of a working prototype of a service, product or object in the city, or under the form of an artwork, whose main purpose is to enable a certain urban practice in a suggestive, visionary, thought provoking way.

ConnectiCity transforms our perception of cities by using ubiquitous publishing techniques to add new digital layers of information and interaction to urban spaces, mutating our perception of reality.

The objective is to enact new ways in which the visions, desires and emotions of people can be ubiquitously represented and made accessible in cities, redefining urban spaces, the idea of citizenship and the possibility to collaboratively plan and design public space.

Launched for the first time in Rome, at the Festa dell’Architettura organized by the city administration and the Order of the Architects under the form of the “Atlante di Roma”, ConnectiCity has been implemented in multiple versions, using urban screens, ubiquitous technologies, natural interaction schemes, information aesthetics and urban sensing platforms.

ConnectiCity includes the VersuS project which has been used to gather real-time information generated by city dwellers to create new forms of usable information landscapes for multiple scenarios of the Human Centered Smart City.

Salvatore Iaconesi (IT) is an interaction designer, robotics engineer, artist, hacker. TED Fellow 2012 and Eisenhower Fellow since 2013. He currently teaches Interaction Design and cross-media practices at the Faculty of Architecture of the “La Sapienza” University of Rome, at ISIA Design Florence, at the Rome University of Fine Arts and at the IED Design institute.

Oriana Persico (IT) holds a degree in Communication Sciences, is an expert in participatory policies and digital inclusion. She is an artist and writer. Oriana writes critical, scientific, philosophical and poetical texts that connects to technological innovation, and on its cultural, sociological, economic and political impacts. She is an expert on the formal analysis of cultural and social trends, with specific focus on social networks.

They have formed the basis for Art is Open Source's current structure in 2007. Their artworks and performances have been featured worldwide in exhibits, at festivals and conferences.


To ConnectiCity είναι ένα σύνολο έργων που στόχο έχουν τη μελέτη και κατανόηση των νέων αστικών σεναρίων κάνοντας χρήση εθνογραφικής και ανθρωπολογικής παρατήρησης. Για το λόγο αυτό, συγκεντρώνονται στοιχεία για αστικές πρακτικές και διαδικασίες που σχετίζονται με την ευρεία διαθεσιμότητα και προσβασιμότητα των δικτύων και της διάχυτης υπολογιστικής και αξιοποιούνται για να διαμορφωθούν υποθέσεις για πιθανά επερχόμενα σενάρια. Τα σενάρια αυτά παίρνουν τη μορφή ενός μοντέλου, ενός προϊόντος, ενός αντικείμενου ή και ενός έργου τέχνης για την πόλη και ενθαρρύνουν νέες αστικές πρακτικές, συχνά με οραματιστικό και ανατρεπτικό χαρακτήρα. Το ConnectiCity δίνει έμφαση στις απόψεις και τις επιθυμίες των κατοίκων. Αναπαριστώντας τες και δίνοντας πρόσβαση σε αυτές, επαναπροσεγγίζει τον αστικό χώρο και τη δυνατότητα του συνεργατικού σχεδιασμού του.


In this project, computational media and sensor technologies are used to measure, analyze, and control aspects of the domestic environment. Reading the measurable world from macro to micro, a large number of possibilities may create unexpected, flexible, and personalized spaces that enhance living qualities of inhabitants, providing added layers of information, affectivity, and aesthetics with the use of calm technologies and ubiquitous computing. Fundamental consideration in this case is to construct sensate spaces that may establish the domestication of computational media with prior interest to elevate aspects of the inhabitants’ well-being, such as mood, emotion, experience, and perception.

Environmental conditions, spatial information, circulation, virtual and physical navigation, social media, or biosensors can collectively define quantitative or qualitative information that is used to properly adjust and personalize each environment and closely match taste and preferences. With the development of middleware applications it becomes even more feasible to approach this goal, providing necessary tools to create links between incoming data and outgoing processes, establish important automations, or suggest new creative and imaginative interactions. Therefore, it is possible to instantly create connections between an isolated sensor reading and projected visualizations, or use a number of similar sensors to control the overall interior lighting. Extracting specific keywords from social media messages or using sentiment analysis methods to define mood and emotion, it becomes possible to directly configure properties of a personal space as a multi-layered canvas. The final result of the configured space can provide a single pixel in the larger screen of the Hybrid City so as the overall well-being may be mirrored, provoke self-consciousness, and define a cartography of lifestyles and living conditions

Stavros Didakis (GR/UK) is a PhD researcher at i-DAT, Plymouth University, with a full scholarship from Alexander S. Onasis Public Benefit Foundation. Stavros’ primary research is focused on the development of digital media and interactive systems for architectural and interior spaces. In particular he is interested in applying creative, sensate, and affective interactions in domestic environments, and he is looking for new methods of developing software and hardware solutions to accomplish these goals. Stavros also works as an installation artist, programmer, and installation engineer and directs a digital media laboratory in Greece.


Σε αυτό το έργο, τα υπολογιστικά μέσα και οι τεχνολογίες ηλεκτρονικών αισθητήρων χρησιμοποιούνται για να μετρήσουν, να αναλύσουν, και να ελέγξουν εκφάνσεις του οικιακού μας περιβάλλοντος. Διαβάζοντας τον μετρήσιμο κόσμο από "μάκρο" σε "μίκρο" κλίμακα, βρίσκουμε ένα μεγάλο αριθμό πιθανοτήτων να μπορεί να δημιουργήσει απροσδόκητους, ευέλικτους, και προσωποποιημένους χώρους που βελτιώνουν την ποιότητα ζωής των κατοίκων και προσφέρουν ένα νέο επίπεδο πληροφορίας, συναισθηματικότητας, αλλά και αισθητικής με τη χρήση "ήρεμων τεχνολογιών" (calm technologies) και διάχυτης υπολογιστικής (ubiquitous computing). Πρωταρχικός στόχος είναι η δημιουργία χώρων με αισθητικές δυνατότητες που να έχουν τη δυνατότητα “εξημέρωσης” των υπολογιστικών μέσων με κύριο ενδιαφέρον την ανύψωση και ανάδειξη πτυχών της ευημερίας των κατοίκων, και πιο αναλυτικά ιδιότητες όπως διάθεση, συναίσθημα, εμπειρία, ή και αντίληψη.

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The expulsion of Asians from Uganda by Idi Amin in 1972 happened inside sixty days. Their stories are told in an interactive audio-visual experience. Their stories of expulsion, migration, resettlement and their lives in the East Midlands are told in their own words. Using personal testimony from Leicester’s Ugandan Asian community, the installation revisits the dramatic events in 1972 and shares memories about arrival in the UK and settling in Leicester in the 1970s, while celebrating the community’s continued cultural and economic impact on the UK.

The installation uses multiscreen selection of video clips based on close up video ‘transits’ of filmed communal fabric narratives, filmed in slow motion, with added voices. The audience were able to select colour-coded previews on a large flat screen, using their mobile phone plugged into an audio jack.

The public can participate through interactive selections.

Exodus was part of a series of events and exhibitions marking the 40th anniversary of the expulsion from Uganda and connected with the exhibition From Kampala to Leicester at the New Walk Museum and Art Gallery, shown throughout August and September 2012. The selection software for this was developed by Cuttlefish Multimedia in Leicester.

Apart from the installation, the project also featured an interactive wall of QR codes and an Empedia audio trail from the New Walk Museum to Phoenix Square in Leicester, inviting users to scan the QR codes and listen to the audio.

Martin Rieser (UK) has worked in the field of interactive arts for many years. He is research Professor in the Institute of Creative Technologies in The Faculty of Art Design and Humanities at De Montfort University, Leicester. His art practice in internet art and interactive narrative installations has been seen around the world including New York; Xian, China; Cannes; Paris; Holland; Vienna; Thessaloniki; London; Germany; Milan and Melbourne. He has published numerous essays and books on digital art including New Screen Media: Cinema/Art/Narrative (BFI/ZKM, 2002), and has recently edited The Mobile Audience, a book on mobile and locative technology and art from Rodopi.


Ο διωγμός των Ασιατών από την Ουγκάντα του Ιντι Αμίν το 1972 έγινε σε 60 μέρες. Οι ιστορίες τους ακούγονται στο έργο αυτό σε μια αλληλεπιδραστική οπτικο-ακουστική εμπειρία. Ο διωγμός, η μετανάστευση, η επανεγκατάσταση και η ζωή τους στο East Midlans ακούγονται από άτομα της ασιατικής κοινότητας από την Ουγκάντα στο Λέσεστερ. Το έργο αποτελείται από μία εγκατάσταση με οθόνες όπου προβάλλονται οι μετακινήσεις κοινοτήτων σε αργή κίνηση. Οι επισκέπτες μπορούν να επιλέξουν τι θα δουν συνδέοντας το κινητό τους με την εγκατάσταση. Επίσης, υπάρχει η δυνατότητα παρακολούθησης της αφήγησης μέσω ενός τοίχου ειδικά διαμορφωμένου με QR codes  καθώς και μέσω μίας διαδρομής στην πόλη όπου οι συμμετέχοντες καλούνταν να εντοπίσουν τα QR codes για να ακούσουν τις αφηγήσεις.


Haptic City is an abstract city map, which responds to touch by emitting sound and light through its embroidered sensors and actuators. The project is realised in a series of workshops. The participants engage in the process of prototyping and building DIY electronics on textiles using various components, in order to learn how to trigger a primitive digital soundscape.

There are four layers of codification. We transfer on fabric the most prevalent cultural landmarks, public and green spaces, main avenues and railway. Then we codify the embroidery. Green symbolises green spaces, grey public space, black private space, and dashed black overground railway. The third codification comes with the input of the workshop participants.  They place LEDs, LDRs, speakers, buttons and potentiometers, according to where there is -or should be- light, sound, and public input respectively. The next layering of the map is the design of the interaction between the twelve pieces of fabric, joined in a single map.  We are looking to connect local interaction, e.g. pressing a button in a public space, with overall interaction, e.g. the sound of the railway throughout the map.

Haptic City aims to question how cities function, which areas are important and why, what needs change, how does it all connect. Participants are invited to subvert the collective and personal memory of the city and get emotionally and playfully involved, thus opening up a dialogue. We aim to initialise this project in different cities around the world. We wish to create offline exhibitions and discussions, as well as an open archive online, in order to document the map-making  and to gather questions about urban identity and functionality.

Afroditi Psarra (GR) is a multidisciplinary artist and a PhD candidate at the School of Fine Arts in Madrid. Her academic research Cyberpunk and New Media Art focuses in the relationship between science fiction, performance and digital art, and offers a philosophical, sociological and aesthetic analysis of the influence of new technologies in art. Her artistic interest focuses on concepts such as the body as an interface, the identity crisis, folk tradition and the role of women in contemporary culture. Her artworks include a wide variety of media and techniques that extend from embroidery, soft circuits, hacking and programming, to interactive installation and performances.

Artemis Papageorgiou (GR) is an architect and multimedia artist, working with innovative technologies. Her inspiration derives from nature, technology and architectural theory. Through the design and fabrication of responsive installations, she explores the possibilities of simulation, systems thinking and interactivity within natural and urban settings. Her artistic work spans from large-scale immersive environments to enhanced objects, with a focus on participatory design. Artemis also works as a freelance architect, on residential projects and furniture, following several years of collaboration with design agencies in Athens and London. Alongside, she runs Athens Plaython, a street games festival hosting big games, design and technology workshops in Athens.

To Haptic City είναι ένα εικαστικό έργο  που εξερευνά τη δημιουργία ενός νέου υποκειμενικού απτικού Αθήνας, μέσα από τον ηχητικό πειραματισμό με μικροεπεξεργαστές και ηλεκτρονικά. Πρόκειται για μια αφαιρετική αποτύπωση της Αθήνας σε ύφασμα, για ένα κεντητό χάρτη που κατοικείται από αισθητήρες πίεσης, φωτός, ποτενσιόμετρα, διακόπτες, LEDs, και οκτάμπιτες συχνότητες. Το έργο πραγματοποιείται κατά τη διάρκεια μιας σειράς εργαστηρίων με τη συμμετοχή του κοινού. Το εργαστήρι έχει σκοπό να φέρει το κοινό κοντά στη δημιουργική διαδικασία, μέσα από την κατασκευή ηλεκτρονικών κυκλωμάτων σε ύφασμα και την εξοικείωση με την πλατφόρμα Arduino. Κατά τη διάρκεια των εργαστηρίων, οι δημιουργοί μαζί με τους συμμετέχοντες κατασκευάζουν μέρη του χάρτη δημιουργώντας ο καθένας τις δικές του διαδραστικές - ηχητικές συνθέσεις. Στο τέλος συντίθενται τα προσωπικά εργόχειρα σε ένα συλλογικό ηχητικό χάρτη.


Indeterminate Hikes+ is a mobile media app that transforms everyday landscapes into sites of bio-cultural diversity and wild happenings. Generally devices of rapid communication and consumerism, smartphones are re-appropriated by IH+ as tools of environmental imagination and meditative wonder, renewing awareness of intertwining biological, cultural, and media ecologies and slows its hiker-participants down at the same time. The app works by importing the rhetoric of wilderness into virtually any place accessible by Google Maps and encouraging its users to treat these locales as spaces worthy of the attention accorded to sublime landscapes, such as canyons and waterfalls.

Leila Christine Nadir and Cary Peppermint (US) work as a postdisciplinary collaborative whose work spans art, music, performance, theory, criticism, and creative writing. Much, but not all, of their work together explores experiences and philosophies of modern ecological life within networked environments, from biological systems to industrial grids and digital networks. Merging primitive with emergent technologies, their projects investigate the overlapping terrain between “nature,” built environments, mobility, and electronic spaces. Leila and Cary’s research has received awards from the New York Foundation for the Arts, the New York State Council on the Arts, the Andrew W. Mellon Foundation, and Franklin Furnace, as well as numerous university fellowships. Their performances, exhibitions, and lectures have taken place at the Whitney Museum of American Art, Postmasters Gallery, 319 Scholes, Smackmellon Gallery, Exit Art, U.C.L.A., M.I.T. Media Lab, ISEA 2012, Banff New Media Institute, European Media Art Festival, Parsons The New School for Design, and the Neuberger Museum of Art. And their work is in the collections of the Whitney Museum, the Walker Art Center, Rhizome.org at the New Museum, Turbulence.org of New Radio & Performing Arts, Inc., and the Cornell University Rose Goldsen Archive of New Media Art. Leila earned her PhD in literature from Columbia University and was Mellon Post-Doctoral Fellow of Environmental Humanities at Wellesley College in 2010-2011. Cary is Assistant Professor of Digital Art at the University of Rochester, where Leila also teaches humanities courses in the sustainability and digital studies programs.


Το Indeterminate Hikes είναι μια εφαρμογή για κινητά τηλέφωνα που μεταμορφώνει τα καθημερινά τοπία σε χώρους βιο-πολιτισμικής διαφορετικότητας με έντονα δρώμενα. Ως συσκευές γρήγορης επικοινωνίας και κατανάλωσης,  το έργο επαναοικειοποίεται τα smartphones ως εργαλεία οικολογικής αφύπνισης.  Η εφαρμογή μπορεί να εισάγει μια διαφορετική ένταση σε οποιοδήποτε μέρος είναι προσβάσιμο από τα Google Maps και να ενθαρρύνει τους χρήσεις να αντιμετωπίσουν τα τοπία που βλέπουν μπροστά τους ως τοπία φύσης άξια προσοχής και θαυμασμού.


Mapping the Commons is a collective study, a contemporary reading and an open cartography of commonwealth for the urban environment. In times in which the contemporary metropoleis seem restless and vulnerable, the Hackitectura collective in collaboration with  interdisciplinary groups of young researchers and students seeked for, examined and documented the points of Athens and Istanbul respectively, where a new form of common wealth could be located.

Seeing beyond the “public” and the “private”, new types of commons were mapped which were based on collectivity, sociability, open and free access, gift economy or peer to peer practices. During two approximately ten days workshop In Athens in 2010 and in Istanbul in 2012, a different image for these cities was formed which was full of promises, but yet fluid and unstable. Although the new common resources and places that were located within the urban environment are outcomes of the knowledge and the ideas that the multitude of the metropolis possesses and shares, at the same time it was noted that the new common wealth can not easily escape cases of exploitation and appropriation. Contradictions and questions occurred while examining and processing the material of the workshop: How can the commons be secured? Why do they sometimes serve the interests of a new “creative” city? What role do they really play in times of a global financial crisis? How can the citizens re-appropriate the commons, and form through them a new type of resistance?

The online collaborative maps that were created and the audiovisual material accompanying them, aimed through representative examples and case studies to comment on such issues, making clear the need for a re-invention of a new common experience and memory, which can only be born through collaboration and sharing.

Workshop organization for Athens:

Concept, workshop and project development
José Pérez de Lama de Lama & Pablo de Soto (Hackitectura) in collaboration with Jaime Díez and Carla Boserman

With the support of cartografiaciudadana.net

Curated by: Daphne Dragona

Participants: Efi Avrami, Elena Antonopoulou, Mariana Bisti, Maya Bontzou, Dimitris Delinikolas, Eleni Giannari, Aliki Gkika, Anastasia Gravani, Alexis Hatzigianis, Dimitris Hatzopoulos, Melina Flippou, Zaharias Ioannidis, Angela Kouveli, Veroniki Korakidou, Daphne Lada, Olga Lafazani, Natalie Michailidou, Yiannis Orfanos, Stratis Papastratis, Maria Dimitra Papoulia, Yorgos Pasisis, Carolin Philipp, Maria Pitsiladi, Manos Saratsis, Athina Staurides, Iouliani Theona, Eleana Tsoukia, Sonia Tzimopoulou, Antonis Tzortzis, Dimitris Psychogios

Scientific Advisors: Nelli Kabouri (Political Sciences, Panteion University), Dimitris Papalexopoulos (Architect, Associate Professor NTUA), Dimitris Parsanoglou (Sociologist, Panteion University), Dimitris Charitos (Assistant Professor, Department of Communication and Mass Media, University of Athens)

Workshop organization for Istanbul

Pablo de Soto (hackitectura.net, Federal University of Rio de Janeiro) in collaboration with Demitris Delinikolas (empty film, University of Athens).

Event organizers
Ekmel Ertan (Amber Platform art director) and Aslihan Senel (Istanbul Technical University). Participants:
Gizem Ağırbaş, Burcu Nimet Dumlu, Ecem Ergin, Onur Karadeniz, Fikret Can Kuşadalı, Marco Magnani, Zümra Okursoy, İpek Oskay, Sibel Saraç, Jale Sarı, Yağız Söylev, Ceren Sözer, Neşe Ceren Tosun, Ece Üstün, Wolke Vandenberghe, Daniele Volante, Volazs.
The Project was co-organised by amberPlatform and ITU Faculty of Architecture, Department of Architecture between 1-8 November 2012.


Το Mapping the Commons είναι ένα εγχείρημα για μία συλλογική μελέτη, μία σύγχρονη ανάγνωση και μία ανοιχτή και εξελισσόμενη αποτύπωση δύο διαφορετικών πόλεων, της Αθήνας και της Κωνσταντινούπολης. Σε μία εποχή που η σύγχρονη μητρόπολη μοιάζει ανήσυχη και ευάλωτη, η ομάδα Hackitectura σε συνεργασία με διεπιστημονικές ομάδες νέων ερευνητών και σπουδαστών αναζήτησε, εξέτασε και κατέγραψε τα σημεία των δύο αυτών πόλεων όπου διαφαίνεται μία νέα μορφή κοινού πλούτου που βρίσκεται πέρα από το “δημόσιο” και το “ιδιωτικό”. Νέες μορφές κοινών αγαθών που βασίζονται σε στοιχεία όπως η συλλογικότητα, η κοινωνικότητα, η ανοικτή και ελεύθερη πρόσβαση, η ανταλλακτική αξία ή οι ομότιμες πρακτικές χαρτογραφήθηκαν, αποτυπώνοντας μια νέα ιδιαίτερη και ανερχόμενη δυναμική για τις δυο αυτές πόλεις που ακόμα όμως είναι ασταθής και ευάλωτη.


‘Meantime in Greenwich’ is a public art project by David Clark uses an augmented reality iPhone application to reveal a web of historical narratives related to a park in Halifax, Canada.

The piece consists of twenty-four custom designed sundials installed throughout Sir Sandford Fleming Park in Halifax in Canada. Each of these sundials is the focal point for one of twenty-four stories about the mysterious nature of time (that can be played on an mp3 player or iPhone). Additionally each of the sundials acts as a trigger for one of twenty-four virtual sculptures that can be accessed through a free iPhone app using the augmented reality browser ‘Layar’.

The work revolves around the Canadian Engineer Sir Sandford Fleming, called the ‘Father of Standard Time’ because of his contributions to the international agreements to create the time zones in the late 19th century. The park is where Fleming lived at the end of his life and also where he died. The twenty-four stories can be heard in any order as the viewer walks around this expansive park. A map on the app shows each sundial’s location. There is also a printed map available at the park or for download from the website. The stories are triggered by the phone’s GPS location next to the appropriate sundial. Pointing the phone’s camera at the icon on the surface of the sundial will show a virtual object on your iPhone screen.

This work was commissioned by the Halifax Regional Municipality as part of celebration of the 100th anniversary of ‘The Dingle’ tower that Sir Sandford Fleming built in 1912 as a commemoration of 150 years of representational government in Nova Scotia.

David Clark (CA) is a media artist, filmmaker, and writer interested in experimental narrative form and the cinematic use of the internet. He has produced work for the internet, narrative films, gallery installations, and public art commissions. Recent works include interactive narrative works for the web: 88 Constellations for Wittgenstein, Sign After the X, and A is for Apple as well as Meantime in Greenwich, an augmented reality public art commission. His work has been exhibited at festivals, museums and galleries around the world including the Sundance Film Festival, SIGGRAPH, European Media Arts Festival, Transmediale, the 2012 Winter Olympics, and the Museum of Moving Images in New York. His work has won First Prize at FILE2002, Sao Paulo and the ‘Best in Show’ at the 2003 SXSW Interactive Festival in Austin, Texas. 88 Constellations for Wittgenstein was included in the Electronic Literature Collection #2, and won the 2011 $25,000 Lieutenant Governor of Nova Scotia Masterworks Award. He is the Chair of Media Arts at NSCAD University in Halifax.
His work can be seen at www.chemicalpictures.net.

Το Meantime in Greenwich είναι ένα έργο για το δημόσιο χώρο που βασίζεται σε μία εφαρμογή επαυξημένης πραγματικότητας που αποκαλύπτει το δίκτυο διαφορετικών ιστορικών αφηγήσεων για ένα πάρκο στο Χάλιφαξ του Καναδά. 24 ειδικά σχεδιασμένα από τον καλλιτέχνη ηλιακά ρολόγια έχουν τοποθετηθεί στο πάρκο. Καθένα από αυτά είναι και το σημείο οπού μία από τις 24 ιστορίες μπορεί να ακουστεί από τον επισκέπτη. Ταυτόχρονα μέσω της εφαρμογής Layar 24 εικονικά γλυπτά αποκαλύπτονται.


With “Hacking Angkringan” we want to achieve a unique interaction between the kitchen, the lab, and the street. Kitchens are privileged spaces, where our research into what is the world made of and how matter relates to our stomach and body not only originated but also from where it developed into present day labs.

We want to fight the snobbish molecular gastronomy with DIY messy gastrohacks and let the kitchen converge with the lab on the streets of Yogyakarta, a source of our inspiration and model for the future science – society interactions. The mobile push carts, angkringans etc. omnipresent on the streets of Indonesia are the first and most elaborated mobile food laboratories connecting science, art, and food.

Angkringans are kitchen labs because they allow everyone to see and learn how to do something with food and various substances that doesn’t happen in nature, to modify matter by cooking and mixing various ingredients so they taste well, and then to offer it to various people to get feedback. They connect the whole city through tastebuds and food preferences for certain cooking style and meals. These science-food laboratories on the streets of Indonesia are keeping the idea of citizen science alive and tasty because they let everyone be part of the cooking and providing feedback on the process, an immediate and honest real peer review process. They also allow people to interact with each other while the meal is prepared and while they eat and discuss all important matters.

The DIY and DIWO approaches in citizen science projects are embodied in the street food culture of Indonesia, which we believe should serve as a model for all citizen science initiatives. Citizen science needs to go to the streets, it needs to taste and involve people in a very visceral and embodied way. We need mobile labs, wearable labs to bring the science experience back its roots which is curiosity about the world around and how we can digest it and transform all energy into something creative.

Denisa Kera (CZ/SG) is a philosopher and a designer. She builds design prototypes and critical probes to create tools for deliberation, reflection and public participation in science.  Currently, she works as an Assistant Professor at the National University of Singapore and Asia Research Institute fellow, where she is trying to bring together Science Technology Society (STS) studies with interactive media design.

Marc R. Dusseiller (CH) is a transdisciplinary scholar, lecturer for micro- and nanotechnology, cultural facilitator and artist. He works in an integral way to combine science, art and education. Currently he is developing means to perform biological science (Hackteria | Open Source Biological Art) in a DIY fashion in your kitchen or your atelier. http://www.dusseiller.ch/

The project was created in collaboration with Sakar Pudasaini (NP), Sachiko Kana (JP/ apan, CH), Urs Gaudenz (CH), Andreas Siagian (ID).

Το Hacking Angkringan στόχο έχει την επίτευξη μιας μοναδικής αλληλεπίδρασης μεταξύ της κουζίνας, του εργαστηρίου και του δρόμου. Αντιμάχεται τη σνομπ μοριακή γαστρονομία και παρακινεί την κουζίνα να βγει στους δρόμους, σαν πηγή έμπνευσης και σαν ένα μοντέλο επιστήμης που στρέφεται στην κοινωνική αλληλεπίδραση. Τα ιδιαίτερα οχήματα στα οποία βασίζεται το εγχείρημα, χαρακτηριστικά για την Ινδονησία είναι το πρώτα και σωστά μελετημένα κινητά εργαστήρια διατροφής που συνδέουν την επιστήμη με την τέχνη και το φαγητό. Τα εργαστήρια επιστήμης- φαγητού στους δρόμους της Ινδονησίας κρατάνε την εικόνα της επιστήμης των πολιτιών ζωντανή και εύγευστη καθώς επιτρέπουν στον καθένα να λάβει μέρος στη διαδικασία μαγειρέματος αλλά και αξιολόγησης.


On January 27th, 2011 Egyptian authorities succeeded in shutting down the country’s international Internet access points in response to growing protests. Over one weekend, a group of programmers developed a platform called Speak2Tweet that would allow Egyptians to post their breaking news on Twitter via voicemail despite Internet cuts. The result was thousands of heartfelt messages from Egyptians recording their emotions by phone.

This experimental film presents a selected Speak2Tweet message of a man professing his love to Egypt on February 8, 2011 prior to the fall of the Mubarak regime and juxtaposes it with the abandoned structures that represented the long-lasting effects of a corrupt dictatorship. It attempts to depict the harsh reality of the physical state of the city and addresses the role that the urban infrastructure plays in instigating unrest amongst its inhabitants. The film reveals the hopes and fears of a people who have yet to discover the outcome of their revolution within the context of their crumbling surroundings.

Speak2Tweet played a very special role that was particular to the time it was launched. While it didn’t necessarily serve the practical functions that Facebook and Twitter fulfilled, it nevertheless composed a unique archive of the collective psyche. As the voices disappear in the depths of cyberspace, My love for you, Egypt, increases by the day brings forth the unique narratives and, in turn, connects them once again to the physical realm.

Heba Amin (EG) is an Egyptian new media artist and scholar whose work seeks to map collective memory as it relates to the built environment. Her theoretical and studio-based work addresses themes related to urban planning, mapping, technology and language as an aesthetic database to explore junctures, failures, and flawed memory. She received her MFA from the University of Minnesota and is a recent DAAD scholar. Amin currently lives between Cairo and Berlin and teaches at the University of Applied Sciences (HTW) in Berlin.


Στις 27 Ιανουαρίου 2011, η κυβέρνηση της Αιγύπτου διέκοψε την παροχή διαδικτύου για τη χώρα. Μέσα σε ένα σαββατοκύριακο μια ομάδα προγραμματιστών εξέλιξε το Speak2Tweet που επέτρεψε στους Αιγύπτιους να ανεβάσουν τα νέα τους και τις απόψεις τους στο Twitter μέσω ηχητικών μηνυμάτων. Το πειραματικό  αυτό φιλμ παρουσιάζει ένα μήνυμα ένος άντρα από τις 8 Φεβρουαρίου που εκφράζει την αγάπη του για την Αίγυπτο, πριν πέσει ο Μουμπαρακ και την αντιπαραβάλλει με τις εγκαταλελειμμένες δομές που αναπαριστούν τις επιπτώσεις της διεφθαρμένης μακροχρόνιας δικτατορίας.

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Throughout the last decade the Internet became to be a singular, unified and dominating network – all communications take place within the common (address) space. This space is very hard to avoid – the comfort of proprietary web application, instant messaging, video and telephony services are injected deeply into the core of contemporary living. Facilitated through commercially built and (effectively) governmentally controlled channels -such as radio, cable, satellite- the ever-distributed network of the Internet transformed into a perfect panoptic structure – data exchange inside this network is easily traced, identified and looked through in search for any “felonious” content, intentions, behavior.

Netless project is an attempt to define an alternative data exchange strategy. Building upon the principals of Sneakernet courier data delivery, Netless hooks onto existing city transportation infrastructure. Pedestrian ways, roads, subway and bus lines become the vectors of data distribution. This effectively creates a parasitic type of network independent of centralized data carriers such as proprietary cable networks, regulated radio channel frequencies. Small transponder devices attached onto city vehicles or carried around by the citizens create a flat, horizontally structured network. Whenever two or more devices appear in a vicinity of each-other they swap the data contained within. Hoping from one device to another in a chain-like manner the data eventually gets distributed the entire area. The devices participating in this exchange don’t need to be individually addressed and the entire structure remains completely anonymous.

Netless  is an ongoing experiment. In 2012, it was built and exhibited as a table-sized model installation, on the opportunity of the “Weise 7: the in/compatible laboratorium” exhibition at the festival of Transmediale  in Berlin. In Athens, as part of the Datenspiel workshops, Netless will be tried at the streets of the city. A workgroup of participants will learn how to construct nodes and experiment with different tactics in order to develop a netless system of information exchange.

Danja Vasiliev (RU/DE) is working with digital systems, networks and software. His research and practice are aimed at a re-examination and exploitation of Network paradigms in physical and digital realms. He experiments with methods, tactics and techniques that question the communication model established between Users and Systems. His work is exhibited globally, in Europe, South-America and Asia. Recently, He was awarded with Prix Ars Electronica Golden Nica and Excellence Award at Japan Media Arts festival. He regularly teaches courses and organizes workshops on topics of network insecurity, software/OS modification, hardware re-engineering and digital forensics. In October 2011, together with his colleagues, he coauthored The Critical Engineering Manifesto. In his work and everyday computing he is using GNU/Linux software and he propagandizes Open Source practices in all scopes of life.



To Netless είναι ένα εγχείρημα για ένα διαφορετικό μοντέλο διακίνησης της πληροφορίας. Βασίζεται στις αρχές του Sneakernet και αξιοποιεί το σύστημα μεταφορών της πόλης. Τα πεζοδρόμια, οι δρόμοι, το μετρό και τα λεωφορεία μπορούν να γίνουν κόμβοι διάχυσης της πληροφορίας. Με τον τρόπο αυτο διαμορφώνεται ένα παρασιτικό δίκτυο που είναι ανεξάρτητο από τις κεντρικοποιημένες δομές των εταιριών. Μικρές συσκευές που προσαρτούνται στα οχήματα διαμορφώνουν ένα οριζόντιο και ανώνυμο δίκτυο, πέρα από το διαδίκτυο. Κάθε φορά που δύο συσκευές συναντώνται μηνύματα ανταλλάσσονται και με τον τρόπο αυτό σαν ιός η πληροφορία μπορεί να εξαπλωθεί σε μία ολόκληρη περιοχή.

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NetworkedCITY city is a project that combines physical computing, data visualization and real time computation by the use of interoperable devices, applications and models. The project is based on a physical simulation model of a continuously transformed city and a real time data visualization that allows understanding the interconnection between the environment that surrounds us, the energy we consume and produce, the water we consume and the geographical data of our habitat.

The aim of the project is to create an urban tool for planners and city managers as well as to stimulate processes of citizen´s awareness, promoting and testing that everything is interconnected, and that networks of people, technology, information and city infrastructure are affecting the way we interact, produce and behave. NetworkedCITY Project debates on how we can think about the cities of the future, not in terms on new construction, but on how we can optimize the constructed environment, how we can take advantage of that invisible layer of information, and how we generate a platform to understand the relations of energy, environment, production, economy and resources into the city.

NetworkedCITY consists on two different electronic DIY (Do It Yourself) boards that are able to capture real time data and interchange information among them. The Hub (Master) is located in the centre of each urban block and the Building (Slave) board is located in each building of the urban block. The Hub is able to receive real time data from the Building board that captures information of the building and send it to the Hub. Information captured and interchanged is based on sensors measuring Energy consumption and generation, water Consumption, levels of CO2 emissions, amount of light, temperature and sound. Hubs of each urban block of the city are interconnected using a communication protocol that enables them to interchange information and real time data converting the city into a networked informational system.

Areti Markopoulou (GR/ ES) is an Architect DUTH (2005) from Greece. She holds a Masters in Advanced Architecture from IAAC (2006), a Dlab diploma from AA,Architectural Association in London (2009) and a Fab Academy diploma on Digital Fabrication (2011) offered by the MIT Center for Bits and Atoms. Co-founder of “myCity.me” non profit organization, Master Director at IAAC in Barcelona and initiator of “Fab Lab Greece” her research explores how Energy, Information and Fabrication could lead to [technology + user]-based optimum future city models, which could adapt to behavioral changes over time.

Tomas Diez (ES) is the Director of the Digital Fabrication Laboratory “Fab Lab Barcelona”, located at IAAC in Barcelona, Spain. He holds a Bachelor of Urban Planning and Sociology (Caracas), a Master in Advanced Architecture /IaaC and a Diploma on Digital Fabrication by Fab Academy Program / MIT Center for Bits and Atoms. He investigates the use of digital fabrication tools to transform reality, and is in search of a more fluid language between machines and humans and how the use of new technologies can change the way we consume, produce and relate with each other.

Alex Posada (ES) is telecommunications Engineer. He works on interactive design and electronic art projects and the development of physical interfaces for musical instruments. He currently directs and coordinates the Hangar interactive design and electronic laboratory (centre of visual arts) in Barcelona, where he has carried out numerous projects in conjunction with other artists.

Το NetworkedCITY είναι ένα εγχείρημα που συνδυάζει τη φυσική υπολογιστική με την οπτικοποίηση δεδομένων και τον υπολογισμό σε πραγματικό χρόνο με τη χρήση δυσλειτουργικών συσκευών, εφαρμογών και μοντέλων. Το εγχείρημα βασίζεται σε ένα φυσικό μοντέλο προσομοίωσης μιας πόλης που συνεχώς μεταμορφώνεται και μιας οπτικοποίησης δεδομένων σε πραγματικό χρόνο που επιτρέπει την κατανόηση και την διασύνδεση μεταξύ του περιβάλλοντος που μας περιβάλει, της ενέργειας που καταναλώνουμε και παράγουμε, του νερού που καταναλώνουμε και των γεωγραφικών δεδομένων της κατοικίας μας.


Air is the medium that binds all our societies together whether we draw borders or not.

‘Oceans of Air’ ia a project which began development at the SCANZ residency held in New Plymouth, New Zealand in January 2011. It consists of an installation, performance and documentation that probes concepts of how we understand our atmosphere and form our relationship with it.

We explore representations of atmospheric pathways, meso-meterology and frame measurement as a performance.  By taking a bit of science into our DIY hands we interrogate and augment understandings of scientific practice and epistemology.

During the residency we calculated and displayed the back trajectories of the air masses arriving at surface level in New Plymouth each afternoon, took air samples, carried out air sounding with innovative DiY microsensors and produced documentation our investigations.

The project was presented during the Floating Land Festival, Australia in June 2011, incorporating a hand made balloon, aerial videography, a series of public workshops, site specific performances and installations.

Measurement is the process through which data is obtained from instruments and is the process through which all our scientific archives have been formed. It is a long-term collective process involving objects, ideas and gestures and forms the basis of much of what we think and do and also how we think and do it. It has been the focus of much attention and the locus of much joy for humans over thousands of years.

We entered highly visible public spaces and released balloon-mounted sensors using fishing rods connected to hundreds of meters of nylon thread. We did not want to pretend that this technique was going to uncover new or unknown data, rather it becomes a story telling device regarding the scientific narrative and exploring how understandings and discoveries are made within the world.

Artist and scientist Ramon Guardans (ES) traces pollutants and their effect on local and global populations, health and environments and examines the relevance of different ways of life in understanding exposure. He has been involved for 20 years in international action on atmospheric and marine pollution including the Stockholm Convention on Persistent Organic Pollutants (POPs) and the Arctic Monitoring and Assessment Program (AMAP).

Tega Brain (AU) is an Environmental engineer and media artist.  Her practice spans the creation of interactive digital environments, sculptural experiments, video and data visualizations. She is interested in augmenting understandings of natural systems and interrogating scientific methodologies and narratives as ways of understanding the world.

Kirsty Boyle (AU) is an Australian artist whose passion for robots has driven her to travel the world in order to work with other like-minded artists and scientists. The historical and cultural aspects of science and technology in society continues to be a major theme that informs her artistic practice.


Ο αέρας είναι το μέσο που συνδέει όλες τις κοινωνίες είτε υπάρχουν σύνορα είτε όχι. Το Oceans of Air είναι ένα έργο που βασίζεται σε μία εγκατάσταση, μια περφόρμανς και μια καταγραφή που καταπιάνεται με το πώς αντιλαμβανόμαστε την ατμόσφαιρα και συσχετιζόμαστε μαζί της. Αναζητά αναπαραστάσεις διαφορετικών μονοπατιών, μεσο-μετεωρολογίας και νέων μορφών μετρήσεων ως περφόρμανς. Παίρνοντας λίγη από την επιστήμη στα χέρια τους, οι δημιουργοί του με πρακτικές  DIΥ θέτουν ερωτήματα για την επιστημονική πρακτική και την επιστημολογία . Έτσι όσο εξελισσόταν το έργο, κάθε απόγευμα παίρνανε δείγματα αέρα, ακούγανε τον ήχο του αέρα με καινοτόμους αυτοσχέδιους αισθητήρες και κατέγραφαν τα απαραίτητα στοιχεία για την έρευνα τους.


The OpenPositioningSystem (OPS) project is an approach of building an open navigation system run by people like you.

Maps are power. Those who draw them control the public’s access to the world at a fundamental level – for example, in the 1500s, maps of the New World were worth their weight in gold. These days, we rely on the Global Positioning System (GPS), developed by the American Department of Defense during the Cold War.

As we are using digital maps empowered with GPS, which are curated and therefore have impact on the navigation and experience of our environment, the consumers also have to think about the available technology. The technology is closed at the moment and can be curated or shut down at any time.

The OPS is open-source. Which means it is not run by companies nor can it be controlled. The goal is to gather interested people on the web platform OpenPS.info to develop the necessary software, hardware and testing processes. Anybody who is interested, from beginner to professional, can participate and contribute their knowledge to the community and this system.

Currently, there is a sensor prototype, which is designed to pick up regular seismic waves given off by large machinery in nearby power plants, factories or machines. Once the sensor detects at least three different nearby seismic wave sources, one can calculate the own position within these three signals. At the current stage of this project the sensor can detect and collect different frequencies.

The ultimate goal of the OPS project is to have a serviceable alternative to the GPS satellite system, providing navigation in urban areas.


Philipp Ronnenberg (DE) is holding a B.A. in Digital Media from the University of the Arts in Bremen, Germany. He is currently studying for his M.A. in Design Interactions at the Royal College of Art. Philipp Ronnenberg’ s work investigates the relationship between technology and society, using various media including video, audio, photographs, programming and installations. He is exploring past, recent and future technologies through design and developing new perspectives on the interaction between humans and computers. While working as a designer and developer he is working in the fields of interaction- and generative design, speculative- and critical design. Therefore he is researching and prototyping concepts for future interactive systems, application and products in alternative systems. The outcome of his work has been published in various magazines, newspapers and online media. Philipp has been working as creative director, interface designer, programmer, technology consultant and is giving programming workshops.


Οι χάρτες είναι μία μορφή εξουσίας. Αυτοί που τους σχεδιάζουν ελέγχουν την πρόσβαση που έχει ο καθένας μας στον κόσμο. Στις μέρες μας βασιζόμαστε σε συστήματα GPS που αναπτύχθηκαν από το αμερικανικό τμήμα άμυνας κατά το δεύτερο παγκόσμιο πόλεμο . Καθώς χρησιμοποιούμε τους χάρτες αυτούς αναπόφευκτα βασιζόμαστε και στην τεχνολογία τους η οποία όμως μπορεί να ελεχθεί ή και να διακοπεί ανά πάσα στιγμή. Το OPS είναι ανοιχτού κώδικα. Δε μπορεί να εξαρτηθεί από εταιρίες ούτε να ελεγχθεί. Οποιοσδήποτε ενδιαφέρεται, ερασιτέχνης ή επαγγελματίας, καλείται να συμμετέχει και να συνεισφέρει με γνώση στην κοινότητα και στο σύστημα.


Packetbrucke plays with the idea of simulating entire network situations by repositioning electromagnetic infrastructure/architecture into a different space. Wireless network packages are directly captured from a specific location and tunneled through the Internet to a remote location. Mobile phones which usually use surrounding WIFI-networks to determine their location are ‘geo-hijacked’ and ‘think’ that they are located close to Weise7 in Neukölln, Berlin. As a result, someone performing a wireless network scan will see network names belonging to a geographically distant location.

Both parts of Packetbrucke (sender and receiver) resulted from the idea of replaying an ephemeral situation within a given network topology. 14 customized wireless routers are separately tuned into one of the 14 channel frequencies of the 802.11 standard. As such, the device resembles a sort of performance wherein the spectacle lies in its hidden architectural manifestation. Paradoxically, its manifestation through a sculpture (comprised of an excessive use of ethernet cables) emphasizes its topological dependence on the wired network topology. Additionally, we emphasize the network usage by employing EL-wires around the ethernet cables which light up according to real-time traffic.

In Packetbrucke, we analyze the security of positioning systems and the possibility of teleporting entire network systems. Packetbrucke examines the possibilities of simulating network traffic of an entire remote network infrastructure. The self positioning of smartphones and computers inside of buildings is mostly based on the Wi-Fi Positioning System (WPS) provided by Skyhook Inc. When a user (iPhone, iPad, etc.) wants to find its position, it scans for neighbouring access points and sends this information to Skyhook servers, which then returns the exact geolocation of the access point locations to the client.

However, Packetbrucke is less a device for tricking geolocation services and more a device for manifesting the presence of a remote location. Using the example of the Skyhook positioning system, we demonstrate that positioning systems based on WLAN are a place for interventions.

Gordan Savičić (AU) is fascinated by new issues of our contemporary existence, such as the creation of mega-cities and the effects of new media on subjectivity and its deep social implications. He believes that virtual is not the non-real, but actually the more-real. He is interested in imposing and applying the assumed (computed) reality within different realms to discuss its potential future and exploit. His works and projects often include game cultures, digital and urban interventions as well as open source technologies. Since 2011 he is part of the Critical Engineering team together with Danja Vasiliev and Julian Oliver. His work has been shown and awarded in several countries such as Japan (dis-locate), Germany (Transmediale), Austria (Ars electronica) and Spain (Arco).

Bengt Sjölén (SE) is an independent software and hardware designer/ hacker/ artist based in Stockholm, with roots in the home computer demo scene. He is not part of one single group, but rather collaborates with several networks, including Teenage Engineering, a multi-disciplinary design studio based in Stockholm, and aether architecture in Budapest. Collaboration is often in the form of peer production, where the network, rather than the individual, is the author, and where not only is the network crossing discipline boundaries, but so is each individual participant, too, creating a sum larger than its parts through sharing and cross-breeding of ideas. Sjölén is doing projects in the contexts of media art, science, sound, visuals, architecture and technology. He experiments with, among other things, programmatic generation of design, function, hardware and software.

Το Packetbrucke παίζει με την ιδέα της προσομοίωσης καταστάσεων ενός ολόκληρου δικτύου  επανατοποθετώντας την ηλεκτρομαγνητική υποδομή/ αρχιτεκτονική στο χώρο. Ασύρματα πακέτα δικτύων ανιχνεύονται από ένα συγκεκριμένο σημείο και κατευθύνονται σε ένα απομακρυσμένο. Τα κινητά τηλέφωνα που συνήθως δείχνουν ασύρματα δίκτυα της περιοχής στην οποία βρίσκονται, τώρα φαίνονται να “πιάνουν” αυτά της  Weisestrasse στο Βερολίνο.  Το έργο που μοιάζει με ένα ιδιαίτερο γλυπτό από καλώδια και ρούτερς τονίζει την εξάρτηση της άυλης ασύρματης τεχνολογίας από την ενσύρματη τοπολογία των δικτύων.


Play Southend is an event-based and online art project that invites the public to build a collaborative platform game about the future of their hometown.  Local residents are making a platform game of Southend, working with artists Ruth Catlow, Mary Flanagan and other local artists and game designers. People of all ages and experiences make the drawings for the backgrounds, obstacles and rewards that make up the game. They devise rules deciding how the different elements and actions should relate and shape the future of their town.

The Challenge: “People of Southend define your future together! Make decisions for the long-term prosperity and health of all. If you draw it, it will happen”.

From July 2013 the game will be permanently accessible to all players with an Internet connection, online, on tablets and smart phones. The project is intended to enable fuller participation by people (especially young people) in the formation of their communities- shaping and making the world together. It explores how young/local people might provide usable and persuasive ideas for planners and so impact on the thoughts and decisions around planning the places where they live. This is conceived as the first in a series of wide scale civic engagement works that explore human agency in natural and constructed environments.

This project grew from conversations between artists, writers and Southend residents about how people could get involved in planning decisions about their own town. This formed the foundation for an artists’ residency for Catlow, Flanagan, and author Rachel Lichtenstein hosted by Metal in 2010.  Catlow and Flanagan are working with the learning and play technology company Soda to create an open software platform upon which the Play Your Place series of games will be built. The project is funded by Arts Council England, South East, and Southend Borough Council.

Ruth Catlow (UK) is an artist, curator and academic who lives in Southend on Sea. She is co-founder and Artistic Director, with Marc Garrett, of Furtherfield, a grassroots on-line community, gallery and residency organisation for emancipatory network cultures, practices and poetics in arts, technology and social change, based in the heart of Finsbury Park in North London. She works with the tools, meanings, metaphors and processes of commons-based peer-production to engender shared visions and infrastructures for other possible worlds. Her work is exhibited worldwide and is featured in archives as well as in a number of books and academic publications. She often collaborates with to create artworks and experiences that intervene in contexts not normally associated with art. Projects include Rethinking Wargames (Lo-fi Netart commission 2003) VisitorsStudio (awarded the Grand Netart Prize in 2009), WeWontFlyForArt (2009) Zero Dollar Laptop (2010-ongoing). Catlow is Head of Writtle School of Design (WSD).

Dr Mary Flanagan (US) is an artist, theorist and radical game designer focused on how people create and use technology. Her explorations across the arts, humanities, and sciences deploy methods and tools that bind research with introspective cultural production. As an artist, her work ranges from game-inspired systems to computer viruses, embodied interfaces to interactive texts; these works are exhibited internationally. As a scholar interested in how human values are in play across technologies and systems, Flanagan has written more than 20 critical essays and chapters on games, empathy, gender and digital representation, art and technology, and responsible design. Her three books in English include the recent Critical Play (2009) with MIT Press. Flanagan founded the Tiltfactor game research laboratory in 2003. She is the Sherman Fairchild Distinguished Professor in Digital Humanities at Dartmouth College.

To Play Southend είναι ένα έργο που βασίζεται σε γεγονότα στον πραγματικό χώρο αλλά και στο διαδίκτυο. Καλεί τον κόσμο να συνεργαστεί και να διαμορφώσει μια πλατφόρμα συνεργασίας αλλά και ένα παιχνίδι για το μέλλον της πόλης του.  Για να πάρει μορφή το παιχνίδι, οι κάτοικοι σε συνεργασία με τις καλλιτέχνιδες και άλλους συνεργάτες σχεδιάζουν το φόντο, τα εμπόδια αλλά και τα βραβεία. Αποφασίζουν για τους κανόνες και τις δράσεις και σκέφτονται με βάση το μέλλον της πόλης τους. Το έργο στόχο έχει να δώσει τη δυνατότητα να εμπλακούν οσο γίνεται περισσότεροι κάτοικοι – ειδικά νεοι – και να διαμορφωθούν κοινότητες συνεργασίας και αναδημιουργίας. Διερευνάται κατά πόσο νέοι άνθρωποι μπορούν να επηρρεάσουν με τις σκέψεις και τις αποφάσεις τους το μέλλον της πόλης τους.


‘RARE EARTH: Hacking the City’ was conceived at The College of Fine Arts (COFA) in Sydney, and staged at Bridge 8 in the heart of downtown Shanghai in September 2011. RARE EARTH was an intensive collaborative design StudioLAB and also the second collaboration between The Collabor8 Project (C8), architect and artist Professor Richard Goodwin’s innovative Porosity Studio, and the Institute of Fashion, Art and Design, Donghua University (DHU), Shanghai.

The project was based around the Interactive Media Platform (IMP) augment_me, developed by artist and academic Brad Miller. Over two intensive weeks students and researchers from COFA and DHU were challenged to create dynamic content together using a live database. RARE EARTH engaged these students of art, design and other creative disciplines in workshops, presentations, site visits and journeys interrogating a range of urban, social and cultural issues in Shanghai. The StudioLAB worked first with themes that emphasised experimental improvisation (the hack) and contingency and second, reflections on how artist, designers and researchers might use interactive media to facilitate cross-cultural collaboration in urban contexts. The participants uploaded and tagged their iterative responses to the studio brief creating an audio visual database that describes the creative processes, social and studio encounters, and the outputs of the project.

The IMP uses the database of images, sound and videos to display content as an immersive environment. As participants upload their tagged content to the database, the IMP is updated and evolves. These data ‘moments’ are animated by custom software and a live video camera feed and then sequentially embedded into strips of images presented as a dynamic horizontal flow. The platform employs synchronised projections in a large-scale installation format supported by multi-channel sound that responds to a machine-vision tracking system. The interactivity of the system enables users to control the display of individual visual elements of content by slowing and enlarging an image or video in response to audience movement and position.

The IMP in this context leverages research from previous studios suggesting that, within online and blended collaborations, sharing of experiences, information, images and media is instrumental in building the level of trust required for collaboration. Participants have demonstrated an innate capacity to engage with the act of sharing which fosters mutual understanding and curiosity about each other and each other’s lives, interests and practices.

In accentuating the use of interactive media and experimental improvisation RARE EARTH created unique opportunities for the participants to explore their ideas for the future of cities, immersive environments, and transcultural collaboration. The project also strived to create a open space to think ‘beyond possibilities’ (Wood, 2009) while experiencing the significance of culture amid the emergence of Asia’s rapid urbanisation, and this century’s reconfigured geopolitical relationships.


an McArthur is a hybrid practitioner working in the domains of experimental and speculative multidisciplinary practice, transcultural collaboration and metadesign. In 2001-2003 Ian was Program Director of Graphic Design at La Salle DHU (Donghua University, Shanghai) where he initiated The Collabor8 Project (C8) to foster creative collaboration between China and Australia. This initiative has lead to a decade of developing culturally adaptive pedagogies and design processes using online, social and responsive technologies to create collaborative experimental spaces. A senior design academic at the University of New South Wales, College of Fine Arts Ian has presented lectures and papers about this research in Asia, Europe, South America and Australia. His collaborative practice with Brad Miller (2011 – 2012) has involved utilising granular and generative synthesis, mobile technologies, open source platforms and protocols to create experimental sonifications for responsive interactive media environments manifested in public art and exhibitions.





Brad Miller is an Artist and Design Academic at University of New South Wales, College of Fine Arts, he lives and works in Sydney. He has typically manipulated found images and sound to create single channel video works but more recently he has used original photographic and video content in his interactive works, where he explores memory and associations. These associations he suggests have a much more complex and supple effect on identity and our self-image than is commonly understood. Various interactive image based installations, including augment_me at Artspace, Sydney 2009; data_shadow, Building 124, Cockatoo Island, Underbelly Arts Festival, 2011; mediated_moments, CMoDA Beijing; le_temps, University of Technology Gallery, Sydney; #capillary, University of New South Wales Galleries. More recently Miller has shown installations such as plasma_flow at VIVID Sydney and Beijing Design Week 2012 and developing new works mediated_immanence and starry_night that engage with mathematical simulations of natural systems.




Over 30 years of practice as an internationally exhibiting artist and architect, Richard Goodwin has sustained a prolific and award winning, professional practice of art and architecture. His work ranges from freeway infrastructure to the gallery to “parasitic” architecture / public artworks. Fundamental to his work and philosophy, is the notion of adaptive res-use and radical transformations. Goodwin established the Porosity Studio 1996 at the College of Fine Arts (UNSW) where he currently holds the position of Professor.  The studio enquires into a dynamic understanding of art, architecture and urban design: that the movement of people through the built environment and their patterns of inhabitation constitutes a politically rich layer of architecture. Since 2004 the studios were run as intensive, international, multi-disciplinary workshops and have been recognized and supported internationally by various universities and institutions such as the British Council.





Cities are manifestations of multi-relational networks, which perpetually become far more complex as we experience a shift from an industrial economy to one driven by the forces of (digital) information and services. Two of the most critical phenomena that drive the proliferating complexity of the contemporary urbanities can, on the one hand be identified in the rapid global urbanization processes and on the other, in the perpetual pervasiveness of information technologies within the urban environments.

This consecutive ubiquity of urban systems and networks utilizing digital media technologies for their operation generates tremendous amounts of digital traces – the so-called ‘big data’ – that reflect in real-time how people make use of space and infrastructures in the city. On the contrary, industry-driven societies have been characterized by a plethora of visible activity patterns in the physical spaces of the city, reflecting the production streams. But, as ambient technologies subtly diffuse within the urban environments the “by-products” of human activity, in turn, become less and less traceable. These digital, invisible traces, which represent what Neil Leach has characterized as the contemporary city’s ‘pulse’, figuratively appear as an additional, intangible layer hovering above the urban fabric.

Yet, how can the perception of ICT media and the derivative ambient data as superimposed layers over the existing city drastically affect the urban layout? Does this overlaid ontology render digital information capable of shaping the urban space in the same way that built components do? Or does it presuppose the primary role of the built environment in constituting our everyday experiences in the city? Can digital information equally co-constitute these experiences?

Embedded in such a dynamic context, the workshop explored potential ways, with which real-time urban data streams could influence the experience and shape of the physical urban fabric. It aimed at developing real-time interactive urban systems, plugged in existing open public spaces, in the form of ambient interfaces. These systems were intended to serve as interactive platforms for both citizens and municipal planning authorities, that apart from harnessing and visualizing real-time diverse quantifiable data, derived from everyday urban activities, they were also able to provide these data back to citizens – in a feedback-loop process – to, ultimately, influence the physical and behavioral patterns of the city. The workshop focused on real-time systems that were perceived as integral parts of the urban environment and less on the development of specialized smartphone applications or website platforms, which are conceptually as well as physically separated from the actual environment from which the data originate, thereby turning the urban experience into a virtual one.

Further, the challenge for the systems proposed was to create a relational model of the different parameters each platform was concerned with, so that the impact on the urban fabric did not only respond to individual parameters, but rather referred to the repercussions resulting from a relation that could be established between different elements and attributes of the city (e.g. between people and traffic levels, between people and environmental conditions etc.)

In the workshop we utilized as test-beds various public spaces in the city of Rotterdam. Subsequently, this resulted in the development of 9 real-time urban systems, all interwoven with the specific context of each area of focus and, synchronously, interconnected in an intelligent network with a potential global impact on the wider fabric of the city.

The “REAL-TIME CITY” Workshop took place at The Why Factory (TU Delft), a global urban think-tank and research institute, led by MVRDV and Delft University of Technology in the period between 19.04.2013 – 26.04.2013. Achilleas Psyllidis and Bastiaan Kalmeyer led the workshop.

Internationally acclaimed academicians and professionals that operated as visiting critics, made further contributions to the workshop, namely: Dr. Nimish Biloria (Assist. Prof. at Hyperbody, TU Delft), Martijn De Waal (The Mobile City platform & University of Amsterdam), Willemieke Hornis (Senior Policy Advisor, Dutch Ministry of Infrastructure & Environment), Mark Shepard (Assoc. Prof. University at Buffalo, State University of New York, via Skype).

All projects were also reviewed by Prof. Winy Maas (MVRDV – T?F).

Achilleas Psyllidis (1983, Athens, Greece) is a PhD Researcher and Tutor at the Hyperbody research group for Non-Standard and Interactive Architecture, Faculty of Architecture, Delft University of Technology (TU Delft), supervised by Prof. Kas Oosterhuis and Asst. Prof. Dr. Nimish Biloria. In the academic year 2012 – 2013 he was also affiliated with The Why Factory research institute – led by MVRDV and TU Delft – supervised by Prof. Winy Maas. Achilleas was educated in Architectural Engineering at the National Technical University of Athens (NTUA), receiving his professional Diploma (MArch) with highest distinction. He also holds a Postgraduate Specialization Diploma (MPhil) in Architecture – Spatial Design from the NTUA with highest distinction. He is specialized in the fields of urban informatics, embedded interactive systems, data-driven design and smart cities. Achilleas Psyllidis is a scholar of the Greek State Scholarships Foundation (IKY) in collaboration with the European Social Fund (ESF – NSRF of the European Union), the A.S. Onassis Foundation and the Foundation for Education and European Culture (IPEP). He practices architecture and urban design in Greece and abroad, having been awarded in international and national competitions, while many of his projects have been exhibited in several European and Asian countries. Besides being a Tutor at the TU Delft, Faculty of Architecture, Achilleas has also taught as an Assistant Lecturer at the NTUA School of Architecture.

Bastiaan Kalmeyer (1981, the Netherlands) studied at the Willem de Kooning Art Academy and Academy of Architecture and Urbanism in Rotterdam. He is affiliated with The Why Factory (www.thewhyfactory.com) - TU Delft, a think tank on future cities as researcher and tutor. He is strategy advisor for A Lab development (www.a-lab.nl), a tech and new media institute in Amsterdam and co-founder of Instability We Trust (www.iwt.io), a creative firm with a background in architecture, urbanism and design.


Roger 10-4 is a project concerned with exploring the body as a space/surface of transmission and reception. How does our interaction with our everyday surroundings change if our body becomes a receiving node? With mobiles, smartphones, iPads and laptops we become the central point of transmission and reception of electromagnetic waves. Our new skins composed of these numerous gadgets are constantly updated and outdated. The results are known, landfills of electronic and chemical waste. Roger 10-4 explores what can happen if we work with the refuse of planned obsolescence. It encourages a re-purposing of the receiving components of those outdated objects, reincorporating them in our attire as wearable electromagnetic frequency receiving devices. As we walk through the city, what happens if we are listening to the waves we transmit and receive, as well as those emanating from our surroundings?

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Sabrina Basten (DE/NL) is a visual artist based in Rotterdam and Berlin. She obtained a diploma from AKI Academy of Fine Arts in Enschede NL (2004) .
Her art work concerns a visual-spatial research, which focuses on the principle of physical intelligence, i.e. the relationship between the physical and mental interpretation of a space. This research takes the form of installations in which Basten seeks to use tactile and visual effects to increase the spatial consciousness of the visitor and to provide him or her with a total experience that appeals both to the senses and reason. Basten has received several grants from the Dutch government (BKVB startstipendium) and the Rotterdam Art Council (project grant DKC and O&O) to realize her projects. Her works are part of private and public collections, for example 'DOK art library Delft'. Sabrina held artist residencies at: CFA in India (2003), Bookville in the United Kingdom (2005), Lokaal 01 in Belgium (2006), and Weise 7 in Germany (2011). Basten is a frequent freelancer for the museum Kunsthal in Rotterdam (2008-12) being part of the team building the exhibitions.

Audrey Samson (CA/ HK) is media designer, artist and researcher currently based in Hong Kong. She holds a BFA Major in Design Art from Concordia University (Canada), an M.A. Media Design from the Piet Zwart Institute (The Netherlands), and is currently a PhD researcher at the City University of Hong Kong. She has taught at the Gerrit Rietveld Academy and the Willem de Kooning Academy in The Netherlands, and set up and managed the Digital Art Lab at the Centrum voor Kunst en Cultuur. She co-founded Roger10-4 together with Sabrina Basten, a duo that make/break discarded electronics to build wearable electromagnetic field ‘sniffers’. She is also member of genderchangers; a network that promotes the exchange of technical skills between women, and a member of Aether9; a collective that explores the dramaturgical possibilities of remote realtime storytelling. She routinely gives workshops on subjects such as wearables, FLOSS, and networked performance.

To Roger 10-4 διερευνά το σώμα ως χώρο/ επιφάνεια μετάδοσης και λήψης ηλεκτρομαγνητικών κυμάτων. Πώς η αλληλεπίδραση με το γύρω περιβάλλον επηρεάζει το σώμα μας όταν αυτό γίνεται ένας κόμβος;  Το εγχείρημα Roger 10 -4 διερευνά τι μπορεί να συμβεί όταν αρνούμαστε την παλαίωση και αχρήστευση των ηλεκτρονικών συσκευών. Ενθαρρύνει την επανάχρηση τους ως συσκευές λήψης ηλεκτρομαγνητικών συχνοτήτων που μπορούν να φορεθούν. Τι αλλάζει όταν ακούμε τα κύματα που μεταδίδουμε και λαμβάνουμε στο περιβάλλον;


SNUFF_ amplifies electromagnetic activity into audible ranges, exposing high frequency ranges produced by wireless devices overused in contemporary societies. This device is designed by ://r-aw.cc to de-codify electromagnetic pollution produced by these human made telecommunications.

The use of this analog and battery-operated receiver can amplify and de-modulate frequencies from  0.1 GHz to 2.5 GHz, visualizing and questioning the non-visibility of wireless based networks.

SNUFF_ is conceived as a tool for theoretic-praxis workshop/lecture about traffic/wireless/vulnerability/non-visibility topics, where participants construct an analog and portable device able to amplify this electromagnetic activity produced by Bluetooth data transfer, WLAN, mobile phones, GPS, telephones, microwaves and several other electronic devices.

://R-aw.cc (DE/MX) is a platform based in Berlin & Mexico City researching topics about irritation, data corruption, propaganda, design, hidden signals amplification and psycho-acoustics through collective working processes, site-specific interventions and publications in different formats. This electromagnetic pollution is used as an impulse to modify the acoustic space with audio visual performances, printed matter, lathe cut vinyl in different formats, objects, publications and pedagogic strategies. Through the process, several experiments have been produced ranging from amplification of microwaves, computer based applications to visualize data traffic and public performances.


Το SNUFF_  μετατρέπει την ηλεκτρομαγνητική δραστηριότητα σε ηχητική εμβέλεια,  εκθέτοντας τις συχνότητες που παράγονται από τις ασύρματες συσκευές στις σύγχρονες κοινωνίες. Αποκωδικοποιεί το ηλεκτρομαγνητικό νέφος που παράγεται από τις ανθρώπινες τηλεπικοινωνίες με τη χρήση ενός αναλογικού δέκτη που λειτουργεί με μπαταρίες. Είναι ένα εργαλείο που οι δημιουργοί του χρησιμοποιούν σε εργαστήρια για θέματα σχετικά με την ηλεκτρομαγνητική δραστηριότητα.


The research is formalized as an elaboration on future cartographic developments for a decaying digital earth. This visualization of the physical world’s yet unsignified global representation incorporates traces of Web 2.0 and hybridizes the New Aesthetic and data visualization with geotagged architectures and mapping applications.

The proposed simulation of the simulation of a space involves the digital manipulation and deliberate corruption of data collected as manifestations of the physical world with the prospect of enhancing depictions by augmented reality software. Those virtualities are built using existing digital mapping applications such as Google Earth and 3D modeling software. The protocol problem of getting false data across a network is the chosen communication medium between the mapping and modeling software as it holds the potential of introducing the user of digital maps to another organization of perception [alongside those of space and time], that being the structure of digital data.

The online visual representation of a physical location is stored in open file types of data, and is bended to structure personalized data exchange rules and temporarily hack the software’s reading algorithms and digital domains’ uploading/sharing protocols. ‘Databending’ the inter-referential nested structure of the files’ data lists and sequentially tampering with the reading of the files by software can resignify the simulated space.

By using low-resolution simulations and textual representations of the physical’s virtual space its geometry is simplified in order to achieve the translation of textual geometric language to a visual geometric language. The shifts between aerial, street and data components view in the hereby presented process aim to activate a newly introduced understanding of digital simulations of physical spaces and negotiate the design of their experience in cyberspace using frequently visited available online sharing tools [such as Google’s 3D Warehouse] for an almost permanent existence in the impermanent reality of the inter-networked world.

Anthi Tzakou (GR) was born in Athens, Greece and is an architectural designer/researcher. She holds a Diploma in Architecture [2011] from the Department of Architecture, University of Thessaly in Volos, Greece and an MArch degree [2012] from the Bartlett School of Architecture, University College London in London, UK as a member of the Graduate Architectural Design studio. Her work has been developed in the realm of constantly reconstructed #D datascapes and exhibited/published in Athens, Volos, Kozani, Florence, Venice, Berlin, London and New York.


Το έργο Software Origami είναι μια γεωλογική προσέγγιση στη μελλοντική εξέλιξη των χαρτογραφικών αναπαραστάσεων μιας ψηφιακής γης υπό φθορά. Αυτή η -ακόμη μην έχοντας- σημαινόμενα εικονοποίηση του φυσικού κόσμου μέσω της πλατφόρμας Google Earth, ενσωματώνει ίχνη του Web 2.0  και υβριδοποιεί το κίνημα New Aesthetic και την εικονοποίηση ψηφιακών δεδομένων με εφαρμογές χαρτογράφησης γεω-σημασμένων αρχιτεκτονικών. Η διαδικτυακή οπτική αναπαράσταση μιας φυσικής τοποθεσίας αποθηκεύεται σε ανοικτούς τύπους αρχείων δεδομένων [.bmp, .raw, .obj] οι οποίοι υφίστανται ψηφιακή φθορά για να δομήσουν προσωπικούς κανόνες ανταλλαγής δεδομένων μέσω της προσωρινής διαστρέβλωσης των αλγορίθμων ανάγνωσης ψηφιακών εφαρμογών [Photoshop, Rhino, SketchUp, Google Earth] και της παράβασης πρωτοκόλλων μεταφόρτωσης/κοινοποίησης ψηφιακών τομέων [3D Warehouse].


Sound Swallower creates a composition based on the real world ambient environment. It is inspired by Karlheinz Stockhausen idea of the Sound Swallower, a device that “would be equipped with hidden microphones to pick up sounds on the streets and a computer to analyze the sounds, create negative wave patterns, and return them to cancel out the original sounds” (Kahn, Noise, Water, Meat).

In this game, your goal is to run and collect fragments of your environment’s auditory history before it is erased. Explore a hidden sonic environment outdoors using your device’s GPS and built-in microphone while avoiding the Sound Swallower. Thomas Edison believed that “sounds may linger as elusive auditory ghosts – physical clutter or memory residue that can be accessed by recording technology…” (David Toop, Sinister Resonances).

This is from a series several experiments in audio-based game design that attempt to expand the expressive vocabulary of games, probing what appears to be under-explored territory in audio games: sonic interaction beyond conventional melody and rhythm games. Broader definitions of music, such as those proposed by John Cage, have not been widely explored in music-based digital games.

Humans cognitively approach sound in ways that we do not engage with our other senses. Could it be that in games, navigating a 3D spatial tactile world is not the best way to move? How about forward and backward through the time of a sound? What choices could the player make as they move, what obstacles overcome? Studying audio gives game designers new ways to construct (and deconstruct) space and action. Conversely, the 3D spatio-centric worlds of video games give artists who work with audio a space where they can explore goal and conflict-based compositional techniques, giving their audiences the potential to engage and procedurally explore the processes of hearing and listening.

Aaron Oldenburg (US) is a game designer and new media artist whose primary interest is in game rules as an expressive medium. His video and interactive work has exhibited in festivals and galleries in New York, Berlin, São Paulo and Los Angeles, including SIGGRAPH and FILE Electronic Language International Festival. He currently works on physical computing projects, designing new interfaces and electronic sculptures. He teaches game design as an Assistant Professor in University of Baltimore's Simulation and Digital Entertainment program and has an MFA from the University of Maryland, Baltimore County. In October 2003 he finished two years as an HIV Health Extension Agent for the Peace Corps in Mali, West Africa.

Το Sound Swallower δημιουργεί μία σύνθεση βασισμένη στον πραγματικό περιβάλλοντα κόσμο. Εμπνέεται από την αντίστοιχη ιδέα του Stockhausen για μια συσκευή εφοδιασμένη με κρυμμένα μικρόφωνα που μπορεί να πιάνει τους ήχους στους δρόμους και έναν υπολογιστή  αναλύει τους ήχους και παράγει αρνητικά μοτίβα ηχητικών κυμάτων, που καταργούν τους αρχικούς .Ο παίκτης πρέπει να συγκεντρώσει αποσπάσματα από το περιβάλλον πριν αυτά εξαφανιστούν αποφεύγοντας το μηχανισμό του sound swallower που μπορεί να τα εξαφανίσει.


Imagine a future where immense amounts of trash didn’t pile up on the peripheries of our cities: a future where we understand the ‘removal-chain’ as we do the ‘supply-chain’, and where we can use this knowledge to not only build more efficient and sustainable infrastructures but to promote behavioral change. In this future city, the invisible infrastructures of trash removal will become visible and the final journey of our trash will no longer be “out of sight, out of mind”.

Elaborated by the SENSEable City Lab and inspired by the NYC Green Initiative, TrashTrack focuses on how pervasive technologies can expose the challenges of waste management and sustainability. Can these same pervasive technologies make 100% recycling a reality?

TrashTrack uses hundreds of small, smart, location aware tags: a first step towards the deployment of smart-dust – networks of tiny locatable and addressable microeletromechanical systems .These tags are attached to different types of trash so that these items can be followed through the city’s waste management system, revealing the final journey of our everyday objects in a series of real time visualizations.

The project is an initial investigation into understanding the ‘removal-chain’ in urban areas and it represents a type of change that is taking place in cities: a bottom-up approach to managing resources and promoting behavioral change through pervasive technologies. TrashTrack builds on previous work of the SENSEable City Lab in its exploration of how the increasing deployment of sensors and mobile technologies radically transforms how we understand and describe cities.

The digital revolution has layered a vast system of sensors, phones, microcontrollers and cameras over our environment, enabling entirely new ways to monitor, understand, and imagine our cities. These systems have a value that go beyond their original purpose: The digital exhaust of cellular networks reveals social and economic patterns, miniaturized location tags highlight global flows of trash, and hybrid electric bicycles with environmental sensors address a city’s pollution and traffic problems. Taken together, the impact of digital networks on cities will be as significant as any past human undertaking.
MIT’s SENSEable City Lab recognizes this momentous shift and is at the forefront of asking – if this is the future, what’s next?  Practicing anticipatory research, the Lab works with cities and companies to predict what may be the greatest needs, questions and opportunities that we face as we evolve alongside technology. Then, in multidisciplinary teams, the Lab acts on these ideas, developing new research methods and technologies to advance a sustainable vision of the urban future. http://senseable.mit.edu

Σχεδιασμένο από το SENSEable City Lab και εμπνευσμένο από το NYC Green Initiative, το TrashTrack επικεντρώνεται στο πώς οι διάχυτες τεχνολογίες μπορούν να παίξουν ένα σημαντικό ρόλο σε θέματα σχετικά με τη διαχείριση των αποβλήτων, τη βιωσιμότητα και την ανακύκλωση. Χρησιμοποιώντας εκατοντάδες μικρές, έξυπνες, ετικέτες “εντοπισμού θέσης” πάνω σε αντικείμενα, γίνεται δυνατή η παρακολούθηση της διαχείρισης των αποβλήτων και οπτικοποιείται το τελευταίο ταξίδι της ζωής των αντικειμένων αυτών σε πραγματικό χρόνο.


Inspired by the physicist Nikola Tesla’s legendary experiments, Bosch & Simons have produced a large series of works based on vibration and resonance. Wilberforces is a new product of their extensive artistic research into complex, unpredictable systems and unstable balances, a piece which is part physics experiment and part new-media installation.

The Wilberforce pendulum, which the piece references, consists of a hung spring with central and eccentric weights. Once calibrated, vertical and circular movements alternate even without additional external energy. It is an example of a coupled mechanical oscillator, often used as a demonstration in physics education.

In Wilberforces Bosch & Simons build further on this scientific experiment. Three long metal springs are used for generating video and audio data. Below one of the springs hangs a video camera and a microphone, below the other two hang tiny loudspeakers. Signals from the moving camera, mike and speakers provide the basic material for the sound and image projections produced by the work. The springs have a length of around six meters, a size normally not found in physics laboratories and resulting in spectacular large and slow movements. Each spring is hung from above and attached to a pneumatic actuator that adds energy to the system. Images and sounds captured by the camera are projected in real-time. The irregular motion of the springs can be tracked and experienced in an adjacent space or anywhere when emitted live on the internet. This way the public space is being transformed into a playful, but at the same time monitored

Acknowledgements: Günter Geiger (software development) and Peter Van der Hoogt (scientific research). First version produced by FACT, Liverpool. The preliminary research for the project was made possible with a grant from Fundacion Arte y Derecho/VEGAP, Madrid.

Bosch & Simons (NL/ES) have produced a large series of works based on vibration and resonance. They created installations in museums, at international symposiums and concert halls around the world. They turn their extensive artistic research into pieces which are part physics experiments and part new-media installations. The Krachtgever is their best-known piece for its Golden Nica, received in 1998 at the Prix Ars Electronica, Linz. Other projects are Cantan un Huevo, awarded at the 29th Competition of Bourges, 2002, or Aguas Vivas, which obtained a mention at VIDA 6.0, Madrid, 2003 and was shown among others at “White Noise”, ACMI, Melbourne (2005) and at “El medio es la comunicación”, El Tanque, Santa Cruz de Tenerife (2007). In 2009 a retrospective exhibition of their work was held at La Tour-du-Pin, France, curated by GRAME, Lyon. In 2011 they showed Bang Spring Time at the Biennale Transitio in Mexico-City. In 2012 they premiered Mirlitones at the exhibition “Kunst Werkt” in DordtYart, Dordrecht, Netherlands and Wilberforces at “Winter Sparks”, FACT, Liverpool.


Εμπνευσμένοι από τα πειράματα του Nikola Tesla, οι Bosch & Simons παράγουν μια σειρά από έργα βασισμένα στη δόνηση και την αντήχηση. Το Wilberforces είναι ένα έργο για την εκτενή καλλιτεχνική έρευνα τους πάνω σε πολύπλοκα και απρόβλεπτα συστήματα και ασταθείς ισορροπίες.  Τρία μακριά ελατήρια κρέμονται από ψηλά και χρησιμοποιούνται για να παράγουν δεδομένα ήχου και βίντεο. Μια κάμερα και ένα μικρόφωνο κρέμονται από το ένα και δυο μικρά ηχεία από το άλλο. Οι εικόνες και οι ήχοι που καταγράφονται μεταδίδονται σε πραγματικό χρόνο. Ο χώρος γίνεται παιγνιώδης αλλά ταυτόχρονα ανοίγεται και στην παρακολούθηση.

Organised by

  • University Research Institute of Applied Communication National and Kapodistrian University of Athens
  • National Museum of Contemporary Art
  • Hybrid City

In collaboration with

  • Body-Process Arts Association
  • International Centre for Art and New Technologies
  • Fearless Mediterrane
  • Frown

Co-financed by

  • European Comission Education and Culture

With the support of

  • Goethe Institute
  • Austrian Embassy