https://wiki.piksel.org/api.php?action=feedcontributions&feedformat=atom&user=Maite 2026-05-01T03:33:38Z User contributions MediaWiki 1.44.0 https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9633 2025-05-09T17:11:55Z

<p>Maite: </p> <hr /> <div>'''<br /> == &lt;big&gt;Solar4Rain&lt;/big&gt; ==<br /> '''<br /> <br /> [[File:LOGO-1.jpg|thumb|alt=Solar4Rain Logo Permaculture SolarPunk|Solar4Rain Logo Permaculture SolarPunk]]<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> ===April 15===<br /> [[File:Permacomputing-1.jpg|thumb]]<br /> <br /> [[File:Solarpunk rules.jpg|thumb|alt=Solarpunk rules to follow|Solarpunk rules to follow]]<br /> <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing<br /> <br /> ===April 16===<br /> <br /> -Gisle doing some test 3D prints<br /> <br /> -Maite made some microscope videos of Bergen water<br /> <br /> ===April 17===<br /> <br /> - Rearranging the room<br /> <br /> - Gisle started doing some [[pipeline research]]🌍 (powered by DeepSeek)<br /> <br /> ===April 20. At the cabin===<br /> We started to prompt ChatGPT to expand Solar4Rain into a tale based on Ursula K. Le Guin style. This is what we got. It really impressed us. <br /> <br /> Solar4Rain [[A short solarpunk novel in the spirit of Ursula K. Le Guin]]<br /> <br /> [[🌍 MAPA CONCEPTUAL DEL MUNDO DE AZURA - SPANISH]]<br /> <br /> [[🌍 CONCEPTUAL MAP OF AZURA - ENGLISH]] <br /> <br /> <br /> [[File:Solar4Rain-map.jpg|thumb|alt=Solar4Rain-map, and AI generated image based on the project prompt and in te style of Ursula Le Guin maps|Solar4Rain-map, and IA generated image based on the project prompt and in the style of Ursula Le Guin maps]]<br /> <br /> ===May 4. Brain storming day===<br /> Some ideas start to pop up. <br /> <br /> Gisle is suggesting to work with real pipes and connect them to the water pipe collecting the rain in Bergen. <br /> <br /> We thought to have different sizes of pipes to represent the variety of pipes we will find on our way, from Bergen to Llerena.<br /> <br /> ===May 5. Explorations===<br /> We also have the idea to use slime mold to get the best way to send the water from Bergen to Llerena. Need more experimenting with it.<br /> <br /> Maite has been working on how to print the Miyamoto Tower in the Prusa Mini+ Here I can get the STL file but no idea how to implement it. https://origamisimulator.org/<br /> and also on how to make a cube that can hold the small solar panels we have.<br /> <br /> ===May 6. Explorations===<br /> Maybe we have a plan: To make 2 circular platforms with plants from Bergen and Llerena, to hung them on a kind of plate and use another hanging plate to install the led light on the top. We can use a central tower with both the rain and the solar cells OR to separate the towers. Spatial design.<br /> <br /> [[File:Plate-3Dmap-Llerena-solartree.jpg|thumb|alt=Plate-3Dmap-Llerena-solartree|Plate-3Dmap-Llerena-solartree]]<br /> <br /> [[File:Solar4Rain-setup-draft.png|600px|alt=Solar4Rain-setup-draft|Solar4Rain-setup-draft]]<br /> <br /> ===May 9. Explorations===<br /> <br /> We keep testing basic elements, the water pump, the drippers, etc<br /> <br /> Also started with the solar panels, Gisle mounted the big one we have, I am starting to work with the small ones bought in China.<br /> <br /> We also put the Prusa to work a bit. Is cool.<br /> <br /> As part of the permacomputing principles we are recycling everything we can and working with materials we have. It is surprising how many things we could have been storing :)<br /> <br /> Got the plexiglass, and it looks like a good idea to use it. <br /> <br /> Here some images from today:<br /> <br /> [[File:Photo_1_2025-05-09_18-36-01.jpg|thumb|alt=Water dripping system connected with an Arduino Uno|Water dripping system connected with an Arduino Uno]]<br /> [[File:Solar-panels-plexiglass.jpg|700 px|alt=Solar-panels-plexiglass-design|Solar-panels-plexiglass-design]]<br /> [[File:Photo 3 2025-05-09 18-36-02.jpg|thumb|alt=Solar panel|Solar panel]]<br /> [[File:Photo 7 2025-05-09 18-36-02.jpg|150px |thumb]]</div>

Maite https://wiki.piksel.org/index.php?title=File:Photo_3_2025-05-09_18-36-02.jpg&diff=9632 2025-05-09T17:07:49Z

<p>Maite: </p> <hr /> <div>Solar panel</div>

Maite https://wiki.piksel.org/index.php?title=File:Solar-panels-plexiglass.jpg&diff=9631 2025-05-09T17:06:09Z

<p>Maite: </p> <hr /> <div>Solar-panels-plexiglass-design</div>

Maite https://wiki.piksel.org/index.php?title=File:Photo_2_2025-05-09_18-36-02.jpg&diff=9630 2025-05-09T16:45:26Z

<p>Maite: </p> <hr /> <div>Testing solar panels configuration at the plexiglass</div>

Maite https://wiki.piksel.org/index.php?title=File:Photo_7_2025-05-09_18-36-02.jpg&diff=9629 2025-05-09T16:43:55Z

<p>Maite: </p> <hr /> <div>Prusa Mini+ working</div>

Maite https://wiki.piksel.org/index.php?title=File:Photo_1_2025-05-09_18-36-01.jpg&diff=9628 2025-05-09T16:43:15Z

<p>Maite: </p> <hr /> <div>Water dripping system connected with an Arduino Uno</div>

Maite https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9627 2025-05-07T07:59:36Z

<p>Maite: /* May 6. Explorations */</p> <hr /> <div>'''<br /> == &lt;big&gt;Solar4Rain&lt;/big&gt; ==<br /> '''<br /> <br /> [[File:LOGO-1.jpg|thumb|alt=Solar4Rain Logo Permaculture SolarPunk|Solar4Rain Logo Permaculture SolarPunk]]<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> ===April 15===<br /> [[File:Permacomputing-1.jpg|thumb]]<br /> <br /> [[File:Solarpunk rules.jpg|thumb|alt=Solarpunk rules to follow|Solarpunk rules to follow]]<br /> <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing<br /> <br /> ===April 16===<br /> <br /> -Gisle doing some test 3D prints<br /> <br /> -Maite made some microscope videos of Bergen water<br /> <br /> ===April 17===<br /> <br /> - Rearranging the room<br /> <br /> - Gisle started doing some [[pipeline research]]🌍 (powered by DeepSeek)<br /> <br /> ===April 20. At the cabin===<br /> We started to prompt ChatGPT to expand Solar4Rain into a tale based on Ursula K. Le Guin style. This is what we got. It really impressed us. <br /> <br /> Solar4Rain [[A short solarpunk novel in the spirit of Ursula K. Le Guin]]<br /> <br /> [[🌍 MAPA CONCEPTUAL DEL MUNDO DE AZURA - SPANISH]]<br /> <br /> [[🌍 CONCEPTUAL MAP OF AZURA - ENGLISH]] <br /> <br /> <br /> [[File:Solar4Rain-map.jpg|thumb|alt=Solar4Rain-map, and AI generated image based on the project prompt and in te style of Ursula Le Guin maps|Solar4Rain-map, and IA generated image based on the project prompt and in the style of Ursula Le Guin maps]]<br /> <br /> ===May 4. Brain storming day===<br /> Some ideas start to pop up. <br /> <br /> Gisle is suggesting to work with real pipes and connect them to the water pipe collecting the rain in Bergen. <br /> <br /> We thought to have different sizes of pipes to represent the variety of pipes we will find on our way, from Bergen to Llerena.<br /> <br /> ===May 5. Explorations===<br /> We also have the idea to use slime mold to get the best way to send the water from Bergen to Llerena. Need more experimenting with it.<br /> <br /> Maite has been working on how to print the Miyamoto Tower in the Prusa Mini+ Here I can get the STL file but no idea how to implement it. https://origamisimulator.org/<br /> and also on how to make a cube that can hold the small solar panels we have.<br /> <br /> ===May 6. Explorations===<br /> Maybe we have a plan: To make 2 circular platforms with plants from Bergen and Llerena, to hung them on a kind of plate and use another hanging plate to install the led light on the top. We can use a central tower with both the rain and the solar cells OR to separate the towers. Spatial design.<br /> <br /> [[File:Plate-3Dmap-Llerena-solartree.jpg|thumb|alt=Plate-3Dmap-Llerena-solartree|Plate-3Dmap-Llerena-solartree]]<br /> <br /> [[File:Solar4Rain-setup-draft.png|600px|alt=Solar4Rain-setup-draft|Solar4Rain-setup-draft]]</div>

Maite https://wiki.piksel.org/index.php?title=File:Solar4Rain-setup-draft.png&diff=9626 2025-05-07T07:58:40Z

<p>Maite: </p> <hr /> <div>Solar4Rain-setup-draft</div>

Maite https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9625 2025-05-07T07:54:53Z

<p>Maite: </p> <hr /> <div>'''<br /> == &lt;big&gt;Solar4Rain&lt;/big&gt; ==<br /> '''<br /> <br /> [[File:LOGO-1.jpg|thumb|alt=Solar4Rain Logo Permaculture SolarPunk|Solar4Rain Logo Permaculture SolarPunk]]<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> ===April 15===<br /> [[File:Permacomputing-1.jpg|thumb]]<br /> <br /> [[File:Solarpunk rules.jpg|thumb|alt=Solarpunk rules to follow|Solarpunk rules to follow]]<br /> <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing<br /> <br /> ===April 16===<br /> <br /> -Gisle doing some test 3D prints<br /> <br /> -Maite made some microscope videos of Bergen water<br /> <br /> ===April 17===<br /> <br /> - Rearranging the room<br /> <br /> - Gisle started doing some [[pipeline research]]🌍 (powered by DeepSeek)<br /> <br /> ===April 20. At the cabin===<br /> We started to prompt ChatGPT to expand Solar4Rain into a tale based on Ursula K. Le Guin style. This is what we got. It really impressed us. <br /> <br /> Solar4Rain [[A short solarpunk novel in the spirit of Ursula K. Le Guin]]<br /> <br /> [[🌍 MAPA CONCEPTUAL DEL MUNDO DE AZURA - SPANISH]]<br /> <br /> [[🌍 CONCEPTUAL MAP OF AZURA - ENGLISH]] <br /> <br /> <br /> [[File:Solar4Rain-map.jpg|thumb|alt=Solar4Rain-map, and AI generated image based on the project prompt and in te style of Ursula Le Guin maps|Solar4Rain-map, and IA generated image based on the project prompt and in the style of Ursula Le Guin maps]]<br /> <br /> ===May 4. Brain storming day===<br /> Some ideas start to pop up. <br /> <br /> Gisle is suggesting to work with real pipes and connect them to the water pipe collecting the rain in Bergen. <br /> <br /> We thought to have different sizes of pipes to represent the variety of pipes we will find on our way, from Bergen to Llerena.<br /> <br /> ===May 5. Explorations===<br /> We also have the idea to use slime mold to get the best way to send the water from Bergen to Llerena. Need more experimenting with it.<br /> <br /> Maite has been working on how to print the Miyamoto Tower in the Prusa Mini+ Here I can get the STL file but no idea how to implement it. https://origamisimulator.org/<br /> and also on how to make a cube that can hold the small solar panels we have.<br /> <br /> ===May 6. Explorations===<br /> Maybe we have a plan: To make 2 circular platforms with plants from Bergen and Llerena, to hung them on a kind of plate and use another hanging plate to install the led light on the top. We can use a central tower with both the rain and the solar cells OR to separate the towers. Spatial design.<br /> <br /> [[File:Plate-3Dmap-Llerena-solartree.jpg|thumb|alt=Plate-3Dmap-Llerena-solartree|Plate-3Dmap-Llerena-solartree]]</div>

Maite https://wiki.piksel.org/index.php?title=File:Plate-3Dmap-Llerena-solartree.jpg&diff=9624 2025-05-06T11:21:00Z

<p>Maite: </p> <hr /> <div>Plate-3Dmap-Llerena-solartree</div>

Maite https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9621 2025-04-24T08:19:27Z

<p>Maite: </p> <hr /> <div>'''<br /> == &lt;big&gt;Solar4Rain&lt;/big&gt; ==<br /> '''<br /> <br /> [[File:LOGO-1.jpg|thumb|alt=Solar4Rain Logo Permaculture SolarPunk|Solar4Rain Logo Permaculture SolarPunk]]<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> ===April 15===<br /> [[File:Permacomputing-1.jpg|thumb]]<br /> <br /> [[File:Solarpunk rules.jpg|thumb|alt=Solarpunk rules to follow|Solarpunk rules to follow]]<br /> <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing<br /> <br /> ===April 16===<br /> <br /> -Gisle doing some test 3D prints<br /> <br /> -Maite made some microscope videos of Bergen water<br /> <br /> ===April 17===<br /> <br /> - Rearranging the room<br /> <br /> - Gisle started doing some [[pipeline research]]<br /> <br /> ===April 20. At the cabin===<br /> We started to prompt ChatGPT to expand Solar4Rain into a tale based on Ursula K. Le Guin style. This is what we got. It really impressed us. <br /> <br /> Solar4Rain [[A short solarpunk novel in the spirit of Ursula K. Le Guin]]<br /> <br /> [[🌍 MAPA CONCEPTUAL DEL MUNDO DE AZURA - SPANISH]]<br /> <br /> [[🌍 CONCEPTUAL MAP OF AZURA - ENGLISH]] <br /> <br /> <br /> [[File:Solar4Rain-map.jpg|thumb|alt=Solar4Rain-map, and AI generated image based on the project prompt and in te style of Ursula Le Guin maps|Solar4Rain-map, and IA generated image based on the project prompt and in the style of Ursula Le Guin maps]]</div>

Maite https://wiki.piksel.org/index.php?title=%F0%9F%8C%8D_CONCEPTUAL_MAP_OF_AZURA_-_ENGLISH&diff=9620 2025-04-24T08:17:30Z

<p>Maite: Created page with &quot;==== 🌍 CONCEPTUAL MAP OF AZURA - ENGLISH ==== Draft-GlassTrees-Mirror-Roots 🌧️ BERGEN (Northern Region) “Where rain falls again” Real-world inspiration: Bergen, Norway Climate: Humid, rainy, temperate Role in Azura: Hydric city, source of regenerated water, guardian of fog and natural rainfall. Key elements: Hydromagnetic Towers: structures that capture, filter, and d...&quot;</p> <hr /> <div>==== 🌍 CONCEPTUAL MAP OF AZURA - ENGLISH ====<br /> <br /> [[File:Draft-GlassTrees-Mirror-Roots.jpg|thumb|alt=Draft-GlassTrees-Mirror-Roots|Draft-GlassTrees-Mirror-Roots]]<br /> <br /> 🌧️ BERGEN (Northern Region)<br /> <br /> “Where rain falls again”<br /> <br /> Real-world inspiration: Bergen, Norway<br /> Climate: Humid, rainy, temperate<br /> Role in Azura: Hydric city, source of regenerated water, guardian of fog and natural rainfall.<br /> <br /> Key elements:<br /> <br /> Hydromagnetic Towers: structures that capture, filter, and distribute rainwater.<br /> <br /> Suspended Forests: vegetation adapted to continuous moisture; vertical farming on floating platforms.<br /> <br /> Echo Grottos: caves that store humidity in the form of acoustic vapor (water released through sound).<br /> <br /> Dew University: research center for climate patterns and regenerative architecture.<br /> <br /> Narrative tension: Although they've reclaimed the rains, they face solar scarcity and are becoming dependent on the South’s energy to maintain their infrastructure.<br /> ☀️ LLERENA (Southern Region)<br /> <br /> “Where the sun never hides”<br /> <br /> Real-world inspiration: Llerena, Badajoz, Spain<br /> Climate: Arid, solar, extreme thermal variation<br /> Role in Azura: Solar city, source of light, thermal energy, and photonic storage.<br /> <br /> Key elements:<br /> <br /> Glass Trees: solar towers with optical roots that store and transmit light.<br /> <br /> Root Mirrors: ancient devices that channel solar energy underground.<br /> <br /> The Silicon Library: archive of ancient solar technologies, preserving pre-Collapse knowledge.<br /> <br /> Photosynthetic Salt Fields: white plains that reflect and condense light for nocturnal crops.<br /> <br /> Narrative tension: They have light, but lack water. They're growing dependent on the North for survival, sparking internal conflict around autonomy and solar pride.<br /> 🔁 THE SOLAR4RAIN NETWORK (Global Infrastructure)<br /> <br /> “Among roots, everything flows”<br /> <br /> Description: An underground and aerial system of resource exchange between regions. It's not just technology—it’s culture, memory, an ethical contract.<br /> <br /> Components:<br /> <br /> Optical Roots: subterranean fibers transporting light across territories.<br /> <br /> Hydroceramic Capillaries: buried tubes carrying encapsulated water between regions.<br /> <br /> Interface Nodes: decision-making hubs, linking communities and regulating resource flows.<br /> <br /> 🧭 OTHER REGIONS (for future exploration)<br /> <br /> The Steel Forest of the East: reforested industrial ruins filled with living technology.<br /> <br /> Solar Caves of the West: underground territory storing heat for cold seasons.<br /> <br /> The Timeless Islands: self-sufficient communities that refuse to connect to the Network.<br /> <br /> 🌱 CORE THEME<br /> <br /> Symbiosis vs. Control<br /> The network connecting Bergen and Llerena is alive, like an ecosystem. Conflict arises when one side starts viewing the flow as debt instead of gift. Azura seeks harmony through interdependence—but that harmony must be reimagined, negotiated, and nurtured.</div>

Maite https://wiki.piksel.org/index.php?title=%F0%9F%8C%8D_MAPA_CONCEPTUAL_DEL_MUNDO_DE_AZURA_-_SPANISH&diff=9619 2025-04-24T08:16:47Z

<p>Maite: Created page with &quot;==== 🌍 MAPA CONCEPTUAL DEL MUNDO DE AZURA - SPANISH ==== Draft-GlassTrees-Mirror-Roots 🌧️ BERGEN (Región Norte) “Donde la lluvia vuelve a caer” Inspiración real: Bergen, Noruega Clima: Húmedo, lluvioso, templado Función en Azura: Ciudad hídrica, fuente de agua regenerada, conservación de nieblas y lluvias naturales. Elementos clave: Torres Hidromagnéticas: estru...&quot;</p> <hr /> <div>==== 🌍 MAPA CONCEPTUAL DEL MUNDO DE AZURA - SPANISH ====<br /> [[File:Draft-GlassTrees-Mirror-Roots.jpg|thumb|alt=Draft-GlassTrees-Mirror-Roots|Draft-GlassTrees-Mirror-Roots]]<br /> <br /> 🌧️ BERGEN (Región Norte)<br /> <br /> “Donde la lluvia vuelve a caer”<br /> <br /> Inspiración real: Bergen, Noruega<br /> Clima: Húmedo, lluvioso, templado<br /> Función en Azura: Ciudad hídrica, fuente de agua regenerada, conservación de nieblas y lluvias naturales.<br /> <br /> Elementos clave:<br /> <br /> Torres Hidromagnéticas: estructuras que capturan, filtran y distribuyen agua de lluvia.<br /> <br /> Bosques Suspendidos: vegetación adaptada a la humedad continua, cultivos verticales en plataformas flotantes.<br /> <br /> Las Grutas del Eco: cuevas que almacenan humedad en forma de vapor acústico (agua que se libera con sonido).<br /> <br /> Universidad del Rocío: centro de investigación sobre patrones climáticos y arquitectura regenerativa.<br /> <br /> Tensión narrativa: Aunque han recuperado la lluvia, enfrentan escasez de energía solar, y comienzan a depender del Sur para sostener su infraestructura energética.<br /> ☀️ LLERENA (Región Sur)<br /> <br /> “Donde el sol no se esconde”<br /> <br /> Inspiración real: Llerena, Badajoz, España<br /> Clima: Árido, solar, extremos térmicos<br /> Función en Azura: Ciudad solar, fuente de luz, energía térmica y almacenamiento fotónico.<br /> <br /> Elementos clave:<br /> <br /> Árboles de Cristal: torres solares con raíces ópticas que almacenan y transmiten luz.<br /> <br /> Espejos Raíz: antiguos dispositivos para canalizar energía solar a través del subsuelo.<br /> <br /> La Biblioteca del Silicio: archivo de tecnologías ancestrales solares, donde se preservan los conocimientos previos al gran colapso.<br /> <br /> Campos de Sal Fotosintética: planicies blancas que reflejan y condensan luz para cultivos nocturnos.<br /> <br /> Tensión narrativa: Tienen luz, pero poca agua. Empiezan a depender del Norte para sobrevivir, generando tensiones internas sobre independencia y orgullo solar.<br /> <br /> <br /> 🔁 LA RED SOLAR4LLUVIA (Infraestructura Global)<br /> <br /> “Entre raíces, todo fluye”<br /> <br /> Descripción: Una red subterránea y aérea de intercambio de recursos entre regiones. No es solo tecnología: es cultura, memoria, contrato ético.<br /> <br /> Componentes:<br /> <br /> Raíces Ópticas: fibras subterráneas que transportan luz entre regiones.<br /> <br /> Capilares Hidrocerámicos: tubos enterrados que transportan agua encapsulada entre regiones.<br /> <br /> Nódulos de Interfaz: puntos donde se toman decisiones cooperativas, conectan comunidades y permiten ajustes dinámicos en los flujos.<br /> <br /> 🧭 OTRAS REGIONES POR EXPLORAR (ideas futuras)<br /> <br /> El Bosque de Acero del Este: antiguos restos industriales reforestados con tecnología viva.<br /> <br /> Las Cavernas Solares del Oeste: territorio subterráneo donde se almacena calor para estaciones frías.<br /> <br /> Las Islas Sin Tiempo: comunidades autosuficientes que se niegan a conectarse a la red.<br /> <br /> 🌱 TEMA CENTRAL<br /> <br /> Simbiosis vs Dominio<br /> La red que conecta a Bergen y Llerena es viva, como un ecosistema. El conflicto emerge cuando una parte comienza a considerar el flujo como deuda, no como don. El mundo de Azura busca la armonía en la interdependencia, pero esa armonía no es estática. Hay que recrearla, negociarla, cuidarla.</div>

Maite https://wiki.piksel.org/index.php?title=A_short_solarpunk_novel_in_the_spirit_of_Ursula_K._Le_Guin&diff=9618 2025-04-24T08:15:41Z

<p>Maite: </p> <hr /> <div>[[File:Solar4Rain-map.jpg|600px|Solar4Rain map, and AI generated image based on the project prompt and in the style of Ursula Le Guin maps]]<br /> <br /> == '''Solar4Rain''' ==<br /> <br /> ==== '''A short solarpunk novel in the spirit of Ursula K. Le Guin''' ====<br /> <br /> &lt;blockquote&gt;<br /> <br /> ''In Azura, sky and soil are not opposed. They lean toward each other, like old lovers who once hurt each other.''<br /> <br /> '''I. The Seasons of the Network'''<br /> <br /> There were no seasons in Azura, not in the way the old world had them. No winters or autumns, not even summers: only light and its absence; moisture and its absence; heat, and the memory of its passing.<br /> <br /> In the North, it now rained. Real rain, not the recycled dew of the condensers, but water from the sky. No one quite knew why—perhaps the atmosphere, humiliated for centuries, was beginning to forgive them—but the clouds had returned. And with them, shadow.<br /> <br /> The South, still dry, still radiant, looked on with a mixture of pride and fear. For generations, they had been the solar heart of the Solar4Rain Network: harvesters of energy, vapor condensers, weavers of water from nothing. Now, with the North overflowing, the flow reversed: water descended, light ascended.<br /> <br /> The ancients would have called it a miracle.<br /> The engineers called it a system adjustment.<br /> The elders of the South called it exchange.<br /> But some whispered a forgotten word:<br /> Dependence.<br /> <br /> '''II. The Agreement'''<br /> <br /> Amiya was no longer a child. She had completed twenty-six solar cycles, though not all were measured the same between regions. The North still considered her young. The South, which grew hard and early, called her an old woman.<br /> <br /> She had been given a task that seemed simple: to supervise the redistribution of flows between Primary Trees of the South and Hydraulic Towers of the North. But the mission carried a deeper weight: to ensure that exchange did not become dominion.<br /> <br /> There were those who said the North had begun to demand light too regularly. That their rain-fed crops expanded beyond what was necessary. That, instead of being grateful for the South's solar energy, they accounted for it.<br /> <br /> The language had changed. They used to speak of &quot;sharing.&quot; Now they spoke of &quot;flow balance.&quot;<br /> <br /> A technologist from the North, a wiry man named Keiran, said it plainly while they examined the optical root of a transmission tower:<br /> <br /> &quot;This cannot go on indefinitely. The Network needs structure. Hierarchy. It cannot be sustained on solar idealism.&quot;<br /> <br /> Amiya looked at him with a mix of pity and recognition.<br /> <br /> &quot;The water you drink does not fall in columns. Yet it flows.&quot;<br /> <br /> Keiran said nothing.<br /> <br /> '''III. The Fallen Tree'''<br /> <br /> A Crystal Tree fell in the South. Not from technical failure, but from sabotage. No one said it aloud, but the sensors were clear: intentional filament cuts and disrupted flow. The roots showed no mechanical stress, only human interference.<br /> <br /> There was no trial. Only a meeting.<br /> <br /> The Solar Council, from both North and South, sat in a circle. There were no cameras or minutes. Only words.<br /> <br /> &quot;What do we do when the network becomes a trap?&quot; asked an old woman from the South.<br /> <br /> &quot;Or when exchange becomes an imposition?&quot; added a young man from the North, his voice trembling.<br /> <br /> Amiya didn’t speak until the end. When she did, she spoke slowly, like one carving a seed into stone:<br /> <br /> &quot;A fallen Tree is more than a loss. It is a warning. We were not wrong to connect roots. But we erred in forgetting that every root, when it cannot breathe, rots.&quot;<br /> <br /> '''IV. Epilogue: The Deep Light'''<br /> <br /> No one ever knew who sabotaged the Tree. Perhaps it was many. Perhaps no one. Perhaps it was the system itself, a natural self-regulator responding to accumulated tension.<br /> <br /> What followed was not rupture, but realignment. The flows were adjusted. Usage was reduced. Slowness was cultivated. The Network grew no more. It folded inward, like a flower that learns to close at night, not out of fear, but out of wisdom.<br /> <br /> Amiya returned to the South, not as a technician, but as a caretaker. She planted a new Tree where the fallen one had stood, without a name, without a number. Just a Tree. A root of light that expected no gratitude, no calculation, no destiny.<br /> <br /> Only exchange.&lt;/blockquote&gt;</div>

Maite https://wiki.piksel.org/index.php?title=A_short_solarpunk_novel_in_the_spirit_of_Ursula_K._Le_Guin&diff=9617 2025-04-24T08:11:57Z

<p>Maite: Created page with &quot;alt=Solar4Rain map, and AI generated image based on the project prompt and in the style of Ursula Le Guin maps &#039;&#039;&#039;Solar4Rain&#039;&#039;&#039; ==== &#039;&#039;&#039;A short solarpunk novel in the spirit of Ursula K. Le Guin&#039;&#039;&#039; ==== &lt;blockquote&gt; &#039;&#039;In Azura, sky and soil are not opposed. They lean toward each other, like old lovers who once hurt each other.&#039;&#039; &#039;&#039;&#039;I. The Seasons of the Network&#039;&#039;&#039; There were no seasons in Azura, not in the way the old world had them. No wi...&quot;</p> <hr /> <div>[[File:Solar4Rain-map.jpg|alt=Solar4Rain map, and AI generated image based on the project prompt and in the style of Ursula Le Guin maps]]<br /> '''Solar4Rain'''<br /> ==== '''A short solarpunk novel in the spirit of Ursula K. Le Guin''' ====<br /> <br /> &lt;blockquote&gt;<br /> <br /> ''In Azura, sky and soil are not opposed. They lean toward each other, like old lovers who once hurt each other.''<br /> <br /> '''I. The Seasons of the Network'''<br /> <br /> There were no seasons in Azura, not in the way the old world had them. No winters or autumns, not even summers: only light and its absence; moisture and its absence; heat, and the memory of its passing.<br /> <br /> In the North, it now rained. Real rain, not the recycled dew of the condensers, but water from the sky. No one quite knew why—perhaps the atmosphere, humiliated for centuries, was beginning to forgive them—but the clouds had returned. And with them, shadow.<br /> <br /> The South, still dry, still radiant, looked on with a mixture of pride and fear. For generations, they had been the solar heart of the Solar4Rain Network: harvesters of energy, vapor condensers, weavers of water from nothing. Now, with the North overflowing, the flow reversed: water descended, light ascended.<br /> <br /> The ancients would have called it a miracle.<br /> The engineers called it a system adjustment.<br /> The elders of the South called it exchange.<br /> But some whispered a forgotten word:<br /> Dependence.<br /> <br /> '''II. The Agreement'''<br /> <br /> Amiya was no longer a child. She had completed twenty-six solar cycles, though not all were measured the same between regions. The North still considered her young. The South, which grew hard and early, called her an old woman.<br /> <br /> She had been given a task that seemed simple: to supervise the redistribution of flows between Primary Trees of the South and Hydraulic Towers of the North. But the mission carried a deeper weight: to ensure that exchange did not become dominion.<br /> <br /> There were those who said the North had begun to demand light too regularly. That their rain-fed crops expanded beyond what was necessary. That, instead of being grateful for the South's solar energy, they accounted for it.<br /> <br /> The language had changed. They used to speak of &quot;sharing.&quot; Now they spoke of &quot;flow balance.&quot;<br /> <br /> A technologist from the North, a wiry man named Keiran, said it plainly while they examined the optical root of a transmission tower:<br /> <br /> &quot;This cannot go on indefinitely. The Network needs structure. Hierarchy. It cannot be sustained on solar idealism.&quot;<br /> <br /> Amiya looked at him with a mix of pity and recognition.<br /> <br /> &quot;The water you drink does not fall in columns. Yet it flows.&quot;<br /> <br /> Keiran said nothing.<br /> <br /> '''III. The Fallen Tree'''<br /> <br /> A Crystal Tree fell in the South. Not from technical failure, but from sabotage. No one said it aloud, but the sensors were clear: intentional filament cuts and disrupted flow. The roots showed no mechanical stress, only human interference.<br /> <br /> There was no trial. Only a meeting.<br /> <br /> The Solar Council, from both North and South, sat in a circle. There were no cameras or minutes. Only words.<br /> <br /> &quot;What do we do when the network becomes a trap?&quot; asked an old woman from the South.<br /> <br /> &quot;Or when exchange becomes an imposition?&quot; added a young man from the North, his voice trembling.<br /> <br /> Amiya didn’t speak until the end. When she did, she spoke slowly, like one carving a seed into stone:<br /> <br /> &quot;A fallen Tree is more than a loss. It is a warning. We were not wrong to connect roots. But we erred in forgetting that every root, when it cannot breathe, rots.&quot;<br /> <br /> '''IV. Epilogue: The Deep Light'''<br /> <br /> No one ever knew who sabotaged the Tree. Perhaps it was many. Perhaps no one. Perhaps it was the system itself, a natural self-regulator responding to accumulated tension.<br /> <br /> What followed was not rupture, but realignment. The flows were adjusted. Usage was reduced. Slowness was cultivated. The Network grew no more. It folded inward, like a flower that learns to close at night, not out of fear, but out of wisdom.<br /> <br /> Amiya returned to the South, not as a technician, but as a caretaker. She planted a new Tree where the fallen one had stood, without a name, without a number. Just a Tree. A root of light that expected no gratitude, no calculation, no destiny.<br /> <br /> Only exchange.&lt;/blockquote&gt;</div>

Maite https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9616 2025-04-24T08:08:34Z

<p>Maite: </p> <hr /> <div>'''<br /> == &lt;big&gt;Solar4Rain&lt;/big&gt; ==<br /> '''<br /> <br /> [[File:LOGO-1.jpg|thumb|alt=Solar4Rain Logo Permaculture SolarPunk|Solar4Rain Logo Permaculture SolarPunk]]<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> ===April 15===<br /> [[File:Permacomputing-1.jpg|thumb]]<br /> <br /> [[File:Solarpunk rules.jpg|thumb|alt=Solarpunk rules to follow|Solarpunk rules to follow]]<br /> <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing<br /> <br /> ===April 16===<br /> <br /> -Gisle doing some test 3D prints<br /> <br /> -Maite made some microscope videos of Bergen water<br /> <br /> ===April 17===<br /> <br /> - Rearranging the room<br /> <br /> - Gisle started doing some [[pipeline research]]<br /> <br /> ===April 20. At the cabin===<br /> We started to prompt ChatGPT to expand Solar4Rain into a tale based on Ursula K. Le Guin style. This is what we got. It really impressed us. <br /> <br /> [[A short solarpunk novel in the spirit of Ursula K. Le Guin]]<br /> [[🌍 MAPA CONCEPTUAL DEL MUNDO DE AZURA - SPANISH]]<br /> [[🌍 CONCEPTUAL MAP OF AZURA - ENGLISH]] <br /> <br /> <br /> [[File:Solar4Rain-map.jpg|thumb|alt=Solar4Rain-map, and AI generated image based on the project prompt and in te style of Ursula Le Guin maps|Solar4Rain-map, and IA generated image based on the project prompt and in the style of Ursula Le Guin maps]]<br /> ==== '''A short solarpunk novel in the spirit of Ursula K. Le Guin''' ====<br /> <br /> &lt;blockquote&gt;<br /> <br /> ''In Azura, sky and soil are not opposed. They lean toward each other, like old lovers who once hurt each other.''<br /> <br /> '''I. The Seasons of the Network'''<br /> <br /> There were no seasons in Azura, not in the way the old world had them. No winters or autumns, not even summers: only light and its absence; moisture and its absence; heat, and the memory of its passing.<br /> <br /> In the North, it now rained. Real rain, not the recycled dew of the condensers, but water from the sky. No one quite knew why—perhaps the atmosphere, humiliated for centuries, was beginning to forgive them—but the clouds had returned. And with them, shadow.<br /> <br /> The South, still dry, still radiant, looked on with a mixture of pride and fear. For generations, they had been the solar heart of the Solar4Rain Network: harvesters of energy, vapor condensers, weavers of water from nothing. Now, with the North overflowing, the flow reversed: water descended, light ascended.<br /> <br /> The ancients would have called it a miracle.<br /> The engineers called it a system adjustment.<br /> The elders of the South called it exchange.<br /> But some whispered a forgotten word:<br /> Dependence.<br /> <br /> '''II. The Agreement'''<br /> <br /> Amiya was no longer a child. She had completed twenty-six solar cycles, though not all were measured the same between regions. The North still considered her young. The South, which grew hard and early, called her an old woman.<br /> <br /> She had been given a task that seemed simple: to supervise the redistribution of flows between Primary Trees of the South and Hydraulic Towers of the North. But the mission carried a deeper weight: to ensure that exchange did not become dominion.<br /> <br /> There were those who said the North had begun to demand light too regularly. That their rain-fed crops expanded beyond what was necessary. That, instead of being grateful for the South's solar energy, they accounted for it.<br /> <br /> The language had changed. They used to speak of &quot;sharing.&quot; Now they spoke of &quot;flow balance.&quot;<br /> <br /> A technologist from the North, a wiry man named Keiran, said it plainly while they examined the optical root of a transmission tower:<br /> <br /> &quot;This cannot go on indefinitely. The Network needs structure. Hierarchy. It cannot be sustained on solar idealism.&quot;<br /> <br /> Amiya looked at him with a mix of pity and recognition.<br /> <br /> &quot;The water you drink does not fall in columns. Yet it flows.&quot;<br /> <br /> Keiran said nothing.<br /> <br /> '''III. The Fallen Tree'''<br /> <br /> A Crystal Tree fell in the South. Not from technical failure, but from sabotage. No one said it aloud, but the sensors were clear: intentional filament cuts and disrupted flow. The roots showed no mechanical stress, only human interference.<br /> <br /> There was no trial. Only a meeting.<br /> <br /> The Solar Council, from both North and South, sat in a circle. There were no cameras or minutes. Only words.<br /> <br /> &quot;What do we do when the network becomes a trap?&quot; asked an old woman from the South.<br /> <br /> &quot;Or when exchange becomes an imposition?&quot; added a young man from the North, his voice trembling.<br /> <br /> Amiya didn’t speak until the end. When she did, she spoke slowly, like one carving a seed into stone:<br /> <br /> &quot;A fallen Tree is more than a loss. It is a warning. We were not wrong to connect roots. But we erred in forgetting that every root, when it cannot breathe, rots.&quot;<br /> <br /> '''IV. Epilogue: The Deep Light'''<br /> <br /> No one ever knew who sabotaged the Tree. Perhaps it was many. Perhaps no one. Perhaps it was the system itself, a natural self-regulator responding to accumulated tension.<br /> <br /> What followed was not rupture, but realignment. The flows were adjusted. Usage was reduced. Slowness was cultivated. The Network grew no more. It folded inward, like a flower that learns to close at night, not out of fear, but out of wisdom.<br /> <br /> Amiya returned to the South, not as a technician, but as a caretaker. She planted a new Tree where the fallen one had stood, without a name, without a number. Just a Tree. A root of light that expected no gratitude, no calculation, no destiny.<br /> <br /> Only exchange.&lt;/blockquote&gt;<br /> <br /> <br /> ==== 🌍 MAPA CONCEPTUAL DEL MUNDO DE AZURA - SPANISH ====<br /> [[File:Draft-GlassTrees-Mirror-Roots.jpg|thumb|alt=Draft-GlassTrees-Mirror-Roots|Draft-GlassTrees-Mirror-Roots]]<br /> <br /> 🌧️ BERGEN (Región Norte)<br /> <br /> “Donde la lluvia vuelve a caer”<br /> <br /> Inspiración real: Bergen, Noruega<br /> Clima: Húmedo, lluvioso, templado<br /> Función en Azura: Ciudad hídrica, fuente de agua regenerada, conservación de nieblas y lluvias naturales.<br /> <br /> Elementos clave:<br /> <br /> Torres Hidromagnéticas: estructuras que capturan, filtran y distribuyen agua de lluvia.<br /> <br /> Bosques Suspendidos: vegetación adaptada a la humedad continua, cultivos verticales en plataformas flotantes.<br /> <br /> Las Grutas del Eco: cuevas que almacenan humedad en forma de vapor acústico (agua que se libera con sonido).<br /> <br /> Universidad del Rocío: centro de investigación sobre patrones climáticos y arquitectura regenerativa.<br /> <br /> Tensión narrativa: Aunque han recuperado la lluvia, enfrentan escasez de energía solar, y comienzan a depender del Sur para sostener su infraestructura energética.<br /> ☀️ LLERENA (Región Sur)<br /> <br /> “Donde el sol no se esconde”<br /> <br /> Inspiración real: Llerena, Badajoz, España<br /> Clima: Árido, solar, extremos térmicos<br /> Función en Azura: Ciudad solar, fuente de luz, energía térmica y almacenamiento fotónico.<br /> <br /> Elementos clave:<br /> <br /> Árboles de Cristal: torres solares con raíces ópticas que almacenan y transmiten luz.<br /> <br /> Espejos Raíz: antiguos dispositivos para canalizar energía solar a través del subsuelo.<br /> <br /> La Biblioteca del Silicio: archivo de tecnologías ancestrales solares, donde se preservan los conocimientos previos al gran colapso.<br /> <br /> Campos de Sal Fotosintética: planicies blancas que reflejan y condensan luz para cultivos nocturnos.<br /> <br /> Tensión narrativa: Tienen luz, pero poca agua. Empiezan a depender del Norte para sobrevivir, generando tensiones internas sobre independencia y orgullo solar.<br /> <br /> <br /> 🔁 LA RED SOLAR4LLUVIA (Infraestructura Global)<br /> <br /> “Entre raíces, todo fluye”<br /> <br /> Descripción: Una red subterránea y aérea de intercambio de recursos entre regiones. No es solo tecnología: es cultura, memoria, contrato ético.<br /> <br /> Componentes:<br /> <br /> Raíces Ópticas: fibras subterráneas que transportan luz entre regiones.<br /> <br /> Capilares Hidrocerámicos: tubos enterrados que transportan agua encapsulada entre regiones.<br /> <br /> Nódulos de Interfaz: puntos donde se toman decisiones cooperativas, conectan comunidades y permiten ajustes dinámicos en los flujos.<br /> <br /> 🧭 OTRAS REGIONES POR EXPLORAR (ideas futuras)<br /> <br /> El Bosque de Acero del Este: antiguos restos industriales reforestados con tecnología viva.<br /> <br /> Las Cavernas Solares del Oeste: territorio subterráneo donde se almacena calor para estaciones frías.<br /> <br /> Las Islas Sin Tiempo: comunidades autosuficientes que se niegan a conectarse a la red.<br /> <br /> 🌱 TEMA CENTRAL<br /> <br /> Simbiosis vs Dominio<br /> La red que conecta a Bergen y Llerena es viva, como un ecosistema. El conflicto emerge cuando una parte comienza a considerar el flujo como deuda, no como don. El mundo de Azura busca la armonía en la interdependencia, pero esa armonía no es estática. Hay que recrearla, negociarla, cuidarla.<br /> <br /> ==== 🌍 CONCEPTUAL MAP OF AZURA - ENGLISH ====<br /> 🌧️ BERGEN (Northern Region)<br /> <br /> “Where rain falls again”<br /> <br /> Real-world inspiration: Bergen, Norway<br /> Climate: Humid, rainy, temperate<br /> Role in Azura: Hydric city, source of regenerated water, guardian of fog and natural rainfall.<br /> <br /> Key elements:<br /> <br /> Hydromagnetic Towers: structures that capture, filter, and distribute rainwater.<br /> <br /> Suspended Forests: vegetation adapted to continuous moisture; vertical farming on floating platforms.<br /> <br /> Echo Grottos: caves that store humidity in the form of acoustic vapor (water released through sound).<br /> <br /> Dew University: research center for climate patterns and regenerative architecture.<br /> <br /> Narrative tension: Although they've reclaimed the rains, they face solar scarcity and are becoming dependent on the South’s energy to maintain their infrastructure.<br /> ☀️ LLERENA (Southern Region)<br /> <br /> “Where the sun never hides”<br /> <br /> Real-world inspiration: Llerena, Badajoz, Spain<br /> Climate: Arid, solar, extreme thermal variation<br /> Role in Azura: Solar city, source of light, thermal energy, and photonic storage.<br /> <br /> Key elements:<br /> <br /> Glass Trees: solar towers with optical roots that store and transmit light.<br /> <br /> Root Mirrors: ancient devices that channel solar energy underground.<br /> <br /> The Silicon Library: archive of ancient solar technologies, preserving pre-Collapse knowledge.<br /> <br /> Photosynthetic Salt Fields: white plains that reflect and condense light for nocturnal crops.<br /> <br /> Narrative tension: They have light, but lack water. They're growing dependent on the North for survival, sparking internal conflict around autonomy and solar pride.<br /> 🔁 THE SOLAR4RAIN NETWORK (Global Infrastructure)<br /> <br /> “Among roots, everything flows”<br /> <br /> Description: An underground and aerial system of resource exchange between regions. It's not just technology—it’s culture, memory, an ethical contract.<br /> <br /> Components:<br /> <br /> Optical Roots: subterranean fibers transporting light across territories.<br /> <br /> Hydroceramic Capillaries: buried tubes carrying encapsulated water between regions.<br /> <br /> Interface Nodes: decision-making hubs, linking communities and regulating resource flows.<br /> <br /> 🧭 OTHER REGIONS (for future exploration)<br /> <br /> The Steel Forest of the East: reforested industrial ruins filled with living technology.<br /> <br /> Solar Caves of the West: underground territory storing heat for cold seasons.<br /> <br /> The Timeless Islands: self-sufficient communities that refuse to connect to the Network.<br /> <br /> 🌱 CORE THEME<br /> <br /> Symbiosis vs. Control<br /> The network connecting Bergen and Llerena is alive, like an ecosystem. Conflict arises when one side starts viewing the flow as debt instead of gift. Azura seeks harmony through interdependence—but that harmony must be reimagined, negotiated, and nurtured.</div>

Maite https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9615 2025-04-24T08:04:30Z

<p>Maite: </p> <hr /> <div>'''<br /> == &lt;big&gt;Solar4Rain&lt;/big&gt; ==<br /> '''<br /> <br /> [[File:LOGO-1.jpg|thumb|alt=Solar4Rain Logo Permaculture SolarPunk|Solar4Rain Logo Permaculture SolarPunk]]<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> ===April 15===<br /> [[File:Permacomputing-1.jpg|thumb]]<br /> <br /> [[File:Solarpunk rules.jpg|thumb|alt=Solarpunk rules to follow|Solarpunk rules to follow]]<br /> <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing<br /> <br /> ===April 16===<br /> <br /> -Gisle doing some test 3D prints<br /> <br /> -Maite made some microscope videos of Bergen water<br /> <br /> ===April 17===<br /> <br /> - Rearranging the room<br /> <br /> - Gisle started doing some [[pipeline research]]<br /> <br /> ===April 20. At the cabin===<br /> We started to prompt ChatGPT to expand Solar4Rain into a tale based on Ursula K. Le Guin style. This is what we got. It really impressed us. <br /> <br /> [[File:Solar4Rain-map.jpg|thumb|alt=Solar4Rain-map, and AI generated image based on the project prompt and in te style of Ursula Le Guin maps|Solar4Rain-map, and IA generated image based on the project prompt and in the style of Ursula Le Guin maps]]<br /> ==== '''A short solarpunk novel in the spirit of Ursula K. Le Guin''' ====<br /> <br /> &lt;blockquote&gt;<br /> <br /> ''In Azura, sky and soil are not opposed. They lean toward each other, like old lovers who once hurt each other.''<br /> <br /> '''I. The Seasons of the Network'''<br /> <br /> There were no seasons in Azura, not in the way the old world had them. No winters or autumns, not even summers: only light and its absence; moisture and its absence; heat, and the memory of its passing.<br /> <br /> In the North, it now rained. Real rain, not the recycled dew of the condensers, but water from the sky. No one quite knew why—perhaps the atmosphere, humiliated for centuries, was beginning to forgive them—but the clouds had returned. And with them, shadow.<br /> <br /> The South, still dry, still radiant, looked on with a mixture of pride and fear. For generations, they had been the solar heart of the Solar4Rain Network: harvesters of energy, vapor condensers, weavers of water from nothing. Now, with the North overflowing, the flow reversed: water descended, light ascended.<br /> <br /> The ancients would have called it a miracle.<br /> The engineers called it a system adjustment.<br /> The elders of the South called it exchange.<br /> But some whispered a forgotten word:<br /> Dependence.<br /> <br /> '''II. The Agreement'''<br /> <br /> Amiya was no longer a child. She had completed twenty-six solar cycles, though not all were measured the same between regions. The North still considered her young. The South, which grew hard and early, called her an old woman.<br /> <br /> She had been given a task that seemed simple: to supervise the redistribution of flows between Primary Trees of the South and Hydraulic Towers of the North. But the mission carried a deeper weight: to ensure that exchange did not become dominion.<br /> <br /> There were those who said the North had begun to demand light too regularly. That their rain-fed crops expanded beyond what was necessary. That, instead of being grateful for the South's solar energy, they accounted for it.<br /> <br /> The language had changed. They used to speak of &quot;sharing.&quot; Now they spoke of &quot;flow balance.&quot;<br /> <br /> A technologist from the North, a wiry man named Keiran, said it plainly while they examined the optical root of a transmission tower:<br /> <br /> &quot;This cannot go on indefinitely. The Network needs structure. Hierarchy. It cannot be sustained on solar idealism.&quot;<br /> <br /> Amiya looked at him with a mix of pity and recognition.<br /> <br /> &quot;The water you drink does not fall in columns. Yet it flows.&quot;<br /> <br /> Keiran said nothing.<br /> <br /> '''III. The Fallen Tree'''<br /> <br /> A Crystal Tree fell in the South. Not from technical failure, but from sabotage. No one said it aloud, but the sensors were clear: intentional filament cuts and disrupted flow. The roots showed no mechanical stress, only human interference.<br /> <br /> There was no trial. Only a meeting.<br /> <br /> The Solar Council, from both North and South, sat in a circle. There were no cameras or minutes. Only words.<br /> <br /> &quot;What do we do when the network becomes a trap?&quot; asked an old woman from the South.<br /> <br /> &quot;Or when exchange becomes an imposition?&quot; added a young man from the North, his voice trembling.<br /> <br /> Amiya didn’t speak until the end. When she did, she spoke slowly, like one carving a seed into stone:<br /> <br /> &quot;A fallen Tree is more than a loss. It is a warning. We were not wrong to connect roots. But we erred in forgetting that every root, when it cannot breathe, rots.&quot;<br /> <br /> '''IV. Epilogue: The Deep Light'''<br /> <br /> No one ever knew who sabotaged the Tree. Perhaps it was many. Perhaps no one. Perhaps it was the system itself, a natural self-regulator responding to accumulated tension.<br /> <br /> What followed was not rupture, but realignment. The flows were adjusted. Usage was reduced. Slowness was cultivated. The Network grew no more. It folded inward, like a flower that learns to close at night, not out of fear, but out of wisdom.<br /> <br /> Amiya returned to the South, not as a technician, but as a caretaker. She planted a new Tree where the fallen one had stood, without a name, without a number. Just a Tree. A root of light that expected no gratitude, no calculation, no destiny.<br /> <br /> Only exchange.&lt;/blockquote&gt;<br /> <br /> <br /> ==== 🌍 MAPA CONCEPTUAL DEL MUNDO DE AZURA - SPANISH ====<br /> [[File:Draft-GlassTrees-Mirror-Roots.jpg|thumb|alt=Draft-GlassTrees-Mirror-Roots|Draft-GlassTrees-Mirror-Roots]]<br /> <br /> 🌧️ BERGEN (Región Norte)<br /> <br /> “Donde la lluvia vuelve a caer”<br /> <br /> Inspiración real: Bergen, Noruega<br /> Clima: Húmedo, lluvioso, templado<br /> Función en Azura: Ciudad hídrica, fuente de agua regenerada, conservación de nieblas y lluvias naturales.<br /> <br /> Elementos clave:<br /> <br /> Torres Hidromagnéticas: estructuras que capturan, filtran y distribuyen agua de lluvia.<br /> <br /> Bosques Suspendidos: vegetación adaptada a la humedad continua, cultivos verticales en plataformas flotantes.<br /> <br /> Las Grutas del Eco: cuevas que almacenan humedad en forma de vapor acústico (agua que se libera con sonido).<br /> <br /> Universidad del Rocío: centro de investigación sobre patrones climáticos y arquitectura regenerativa.<br /> <br /> Tensión narrativa: Aunque han recuperado la lluvia, enfrentan escasez de energía solar, y comienzan a depender del Sur para sostener su infraestructura energética.<br /> ☀️ LLERENA (Región Sur)<br /> <br /> “Donde el sol no se esconde”<br /> <br /> Inspiración real: Llerena, Badajoz, España<br /> Clima: Árido, solar, extremos térmicos<br /> Función en Azura: Ciudad solar, fuente de luz, energía térmica y almacenamiento fotónico.<br /> <br /> Elementos clave:<br /> <br /> Árboles de Cristal: torres solares con raíces ópticas que almacenan y transmiten luz.<br /> <br /> Espejos Raíz: antiguos dispositivos para canalizar energía solar a través del subsuelo.<br /> <br /> La Biblioteca del Silicio: archivo de tecnologías ancestrales solares, donde se preservan los conocimientos previos al gran colapso.<br /> <br /> Campos de Sal Fotosintética: planicies blancas que reflejan y condensan luz para cultivos nocturnos.<br /> <br /> Tensión narrativa: Tienen luz, pero poca agua. Empiezan a depender del Norte para sobrevivir, generando tensiones internas sobre independencia y orgullo solar.<br /> <br /> <br /> 🔁 LA RED SOLAR4LLUVIA (Infraestructura Global)<br /> <br /> “Entre raíces, todo fluye”<br /> <br /> Descripción: Una red subterránea y aérea de intercambio de recursos entre regiones. No es solo tecnología: es cultura, memoria, contrato ético.<br /> <br /> Componentes:<br /> <br /> Raíces Ópticas: fibras subterráneas que transportan luz entre regiones.<br /> <br /> Capilares Hidrocerámicos: tubos enterrados que transportan agua encapsulada entre regiones.<br /> <br /> Nódulos de Interfaz: puntos donde se toman decisiones cooperativas, conectan comunidades y permiten ajustes dinámicos en los flujos.<br /> <br /> 🧭 OTRAS REGIONES POR EXPLORAR (ideas futuras)<br /> <br /> El Bosque de Acero del Este: antiguos restos industriales reforestados con tecnología viva.<br /> <br /> Las Cavernas Solares del Oeste: territorio subterráneo donde se almacena calor para estaciones frías.<br /> <br /> Las Islas Sin Tiempo: comunidades autosuficientes que se niegan a conectarse a la red.<br /> <br /> 🌱 TEMA CENTRAL<br /> <br /> Simbiosis vs Dominio<br /> La red que conecta a Bergen y Llerena es viva, como un ecosistema. El conflicto emerge cuando una parte comienza a considerar el flujo como deuda, no como don. El mundo de Azura busca la armonía en la interdependencia, pero esa armonía no es estática. Hay que recrearla, negociarla, cuidarla.<br /> <br /> ==== 🌍 CONCEPTUAL MAP OF AZURA - ENGLISH ====<br /> 🌧️ BERGEN (Northern Region)<br /> <br /> “Where rain falls again”<br /> <br /> Real-world inspiration: Bergen, Norway<br /> Climate: Humid, rainy, temperate<br /> Role in Azura: Hydric city, source of regenerated water, guardian of fog and natural rainfall.<br /> <br /> Key elements:<br /> <br /> Hydromagnetic Towers: structures that capture, filter, and distribute rainwater.<br /> <br /> Suspended Forests: vegetation adapted to continuous moisture; vertical farming on floating platforms.<br /> <br /> Echo Grottos: caves that store humidity in the form of acoustic vapor (water released through sound).<br /> <br /> Dew University: research center for climate patterns and regenerative architecture.<br /> <br /> Narrative tension: Although they've reclaimed the rains, they face solar scarcity and are becoming dependent on the South’s energy to maintain their infrastructure.<br /> ☀️ LLERENA (Southern Region)<br /> <br /> “Where the sun never hides”<br /> <br /> Real-world inspiration: Llerena, Badajoz, Spain<br /> Climate: Arid, solar, extreme thermal variation<br /> Role in Azura: Solar city, source of light, thermal energy, and photonic storage.<br /> <br /> Key elements:<br /> <br /> Glass Trees: solar towers with optical roots that store and transmit light.<br /> <br /> Root Mirrors: ancient devices that channel solar energy underground.<br /> <br /> The Silicon Library: archive of ancient solar technologies, preserving pre-Collapse knowledge.<br /> <br /> Photosynthetic Salt Fields: white plains that reflect and condense light for nocturnal crops.<br /> <br /> Narrative tension: They have light, but lack water. They're growing dependent on the North for survival, sparking internal conflict around autonomy and solar pride.<br /> 🔁 THE SOLAR4RAIN NETWORK (Global Infrastructure)<br /> <br /> “Among roots, everything flows”<br /> <br /> Description: An underground and aerial system of resource exchange between regions. It's not just technology—it’s culture, memory, an ethical contract.<br /> <br /> Components:<br /> <br /> Optical Roots: subterranean fibers transporting light across territories.<br /> <br /> Hydroceramic Capillaries: buried tubes carrying encapsulated water between regions.<br /> <br /> Interface Nodes: decision-making hubs, linking communities and regulating resource flows.<br /> <br /> 🧭 OTHER REGIONS (for future exploration)<br /> <br /> The Steel Forest of the East: reforested industrial ruins filled with living technology.<br /> <br /> Solar Caves of the West: underground territory storing heat for cold seasons.<br /> <br /> The Timeless Islands: self-sufficient communities that refuse to connect to the Network.<br /> <br /> 🌱 CORE THEME<br /> <br /> Symbiosis vs. Control<br /> The network connecting Bergen and Llerena is alive, like an ecosystem. Conflict arises when one side starts viewing the flow as debt instead of gift. Azura seeks harmony through interdependence—but that harmony must be reimagined, negotiated, and nurtured.</div>

Maite https://wiki.piksel.org/index.php?title=File:LOGO-1.jpg&diff=9614 2025-04-24T08:04:13Z

<p>Maite: </p> <hr /> <div>Solar4Rain Logo Permaculture SolarPunk</div>

Maite https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9613 2025-04-22T11:50:37Z

<p>Maite: </p> <hr /> <div>'''<br /> == &lt;big&gt;Solar4Rain&lt;/big&gt; ==<br /> '''<br /> <br /> [[File:Solar4Rain-logo.png|thumb|none]]<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> ===April 15===<br /> [[File:Permacomputing-1.jpg|thumb]]<br /> <br /> [[File:Solarpunk rules.jpg|thumb|alt=Solarpunk rules to follow|Solarpunk rules to follow]]<br /> <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing<br /> <br /> ===April 16===<br /> <br /> -Gisle doing some test 3D prints<br /> <br /> -Maite made some microscope videos of Bergen water<br /> <br /> ===April 17===<br /> <br /> - Rearranging the room<br /> <br /> - Gisle started doing some [[pipeline research]]<br /> <br /> ===April 20. At the cabin===<br /> We started to prompt ChatGPT to expand Solar4Rain into a tale based on Ursula K. Le Guin style. This is what we got. It really impressed us. <br /> <br /> [[File:Solar4Rain-map.jpg|thumb|alt=Solar4Rain-map, and AI generated image based on the project prompt and in te style of Ursula Le Guin maps|Solar4Rain-map, and IA generated image based on the project prompt and in the style of Ursula Le Guin maps]]<br /> ==== '''A short solarpunk novel in the spirit of Ursula K. Le Guin''' ====<br /> <br /> &lt;blockquote&gt;<br /> <br /> ''In Azura, sky and soil are not opposed. They lean toward each other, like old lovers who once hurt each other.''<br /> <br /> '''I. The Seasons of the Network'''<br /> <br /> There were no seasons in Azura, not in the way the old world had them. No winters or autumns, not even summers: only light and its absence; moisture and its absence; heat, and the memory of its passing.<br /> <br /> In the North, it now rained. Real rain, not the recycled dew of the condensers, but water from the sky. No one quite knew why—perhaps the atmosphere, humiliated for centuries, was beginning to forgive them—but the clouds had returned. And with them, shadow.<br /> <br /> The South, still dry, still radiant, looked on with a mixture of pride and fear. For generations, they had been the solar heart of the Solar4Rain Network: harvesters of energy, vapor condensers, weavers of water from nothing. Now, with the North overflowing, the flow reversed: water descended, light ascended.<br /> <br /> The ancients would have called it a miracle.<br /> The engineers called it a system adjustment.<br /> The elders of the South called it exchange.<br /> But some whispered a forgotten word:<br /> Dependence.<br /> <br /> '''II. The Agreement'''<br /> <br /> Amiya was no longer a child. She had completed twenty-six solar cycles, though not all were measured the same between regions. The North still considered her young. The South, which grew hard and early, called her an old woman.<br /> <br /> She had been given a task that seemed simple: to supervise the redistribution of flows between Primary Trees of the South and Hydraulic Towers of the North. But the mission carried a deeper weight: to ensure that exchange did not become dominion.<br /> <br /> There were those who said the North had begun to demand light too regularly. That their rain-fed crops expanded beyond what was necessary. That, instead of being grateful for the South's solar energy, they accounted for it.<br /> <br /> The language had changed. They used to speak of &quot;sharing.&quot; Now they spoke of &quot;flow balance.&quot;<br /> <br /> A technologist from the North, a wiry man named Keiran, said it plainly while they examined the optical root of a transmission tower:<br /> <br /> &quot;This cannot go on indefinitely. The Network needs structure. Hierarchy. It cannot be sustained on solar idealism.&quot;<br /> <br /> Amiya looked at him with a mix of pity and recognition.<br /> <br /> &quot;The water you drink does not fall in columns. Yet it flows.&quot;<br /> <br /> Keiran said nothing.<br /> <br /> '''III. The Fallen Tree'''<br /> <br /> A Crystal Tree fell in the South. Not from technical failure, but from sabotage. No one said it aloud, but the sensors were clear: intentional filament cuts and disrupted flow. The roots showed no mechanical stress, only human interference.<br /> <br /> There was no trial. Only a meeting.<br /> <br /> The Solar Council, from both North and South, sat in a circle. There were no cameras or minutes. Only words.<br /> <br /> &quot;What do we do when the network becomes a trap?&quot; asked an old woman from the South.<br /> <br /> &quot;Or when exchange becomes an imposition?&quot; added a young man from the North, his voice trembling.<br /> <br /> Amiya didn’t speak until the end. When she did, she spoke slowly, like one carving a seed into stone:<br /> <br /> &quot;A fallen Tree is more than a loss. It is a warning. We were not wrong to connect roots. But we erred in forgetting that every root, when it cannot breathe, rots.&quot;<br /> <br /> '''IV. Epilogue: The Deep Light'''<br /> <br /> No one ever knew who sabotaged the Tree. Perhaps it was many. Perhaps no one. Perhaps it was the system itself, a natural self-regulator responding to accumulated tension.<br /> <br /> What followed was not rupture, but realignment. The flows were adjusted. Usage was reduced. Slowness was cultivated. The Network grew no more. It folded inward, like a flower that learns to close at night, not out of fear, but out of wisdom.<br /> <br /> Amiya returned to the South, not as a technician, but as a caretaker. She planted a new Tree where the fallen one had stood, without a name, without a number. Just a Tree. A root of light that expected no gratitude, no calculation, no destiny.<br /> <br /> Only exchange.&lt;/blockquote&gt;<br /> <br /> <br /> ==== 🌍 MAPA CONCEPTUAL DEL MUNDO DE AZURA - SPANISH ====<br /> [[File:Draft-GlassTrees-Mirror-Roots.jpg|thumb|alt=Draft-GlassTrees-Mirror-Roots|Draft-GlassTrees-Mirror-Roots]]<br /> <br /> 🌧️ BERGEN (Región Norte)<br /> <br /> “Donde la lluvia vuelve a caer”<br /> <br /> Inspiración real: Bergen, Noruega<br /> Clima: Húmedo, lluvioso, templado<br /> Función en Azura: Ciudad hídrica, fuente de agua regenerada, conservación de nieblas y lluvias naturales.<br /> <br /> Elementos clave:<br /> <br /> Torres Hidromagnéticas: estructuras que capturan, filtran y distribuyen agua de lluvia.<br /> <br /> Bosques Suspendidos: vegetación adaptada a la humedad continua, cultivos verticales en plataformas flotantes.<br /> <br /> Las Grutas del Eco: cuevas que almacenan humedad en forma de vapor acústico (agua que se libera con sonido).<br /> <br /> Universidad del Rocío: centro de investigación sobre patrones climáticos y arquitectura regenerativa.<br /> <br /> Tensión narrativa: Aunque han recuperado la lluvia, enfrentan escasez de energía solar, y comienzan a depender del Sur para sostener su infraestructura energética.<br /> ☀️ LLERENA (Región Sur)<br /> <br /> “Donde el sol no se esconde”<br /> <br /> Inspiración real: Llerena, Badajoz, España<br /> Clima: Árido, solar, extremos térmicos<br /> Función en Azura: Ciudad solar, fuente de luz, energía térmica y almacenamiento fotónico.<br /> <br /> Elementos clave:<br /> <br /> Árboles de Cristal: torres solares con raíces ópticas que almacenan y transmiten luz.<br /> <br /> Espejos Raíz: antiguos dispositivos para canalizar energía solar a través del subsuelo.<br /> <br /> La Biblioteca del Silicio: archivo de tecnologías ancestrales solares, donde se preservan los conocimientos previos al gran colapso.<br /> <br /> Campos de Sal Fotosintética: planicies blancas que reflejan y condensan luz para cultivos nocturnos.<br /> <br /> Tensión narrativa: Tienen luz, pero poca agua. Empiezan a depender del Norte para sobrevivir, generando tensiones internas sobre independencia y orgullo solar.<br /> <br /> <br /> 🔁 LA RED SOLAR4LLUVIA (Infraestructura Global)<br /> <br /> “Entre raíces, todo fluye”<br /> <br /> Descripción: Una red subterránea y aérea de intercambio de recursos entre regiones. No es solo tecnología: es cultura, memoria, contrato ético.<br /> <br /> Componentes:<br /> <br /> Raíces Ópticas: fibras subterráneas que transportan luz entre regiones.<br /> <br /> Capilares Hidrocerámicos: tubos enterrados que transportan agua encapsulada entre regiones.<br /> <br /> Nódulos de Interfaz: puntos donde se toman decisiones cooperativas, conectan comunidades y permiten ajustes dinámicos en los flujos.<br /> <br /> 🧭 OTRAS REGIONES POR EXPLORAR (ideas futuras)<br /> <br /> El Bosque de Acero del Este: antiguos restos industriales reforestados con tecnología viva.<br /> <br /> Las Cavernas Solares del Oeste: territorio subterráneo donde se almacena calor para estaciones frías.<br /> <br /> Las Islas Sin Tiempo: comunidades autosuficientes que se niegan a conectarse a la red.<br /> <br /> 🌱 TEMA CENTRAL<br /> <br /> Simbiosis vs Dominio<br /> La red que conecta a Bergen y Llerena es viva, como un ecosistema. El conflicto emerge cuando una parte comienza a considerar el flujo como deuda, no como don. El mundo de Azura busca la armonía en la interdependencia, pero esa armonía no es estática. Hay que recrearla, negociarla, cuidarla.<br /> <br /> ==== 🌍 CONCEPTUAL MAP OF AZURA - ENGLISH ====<br /> 🌧️ BERGEN (Northern Region)<br /> <br /> “Where rain falls again”<br /> <br /> Real-world inspiration: Bergen, Norway<br /> Climate: Humid, rainy, temperate<br /> Role in Azura: Hydric city, source of regenerated water, guardian of fog and natural rainfall.<br /> <br /> Key elements:<br /> <br /> Hydromagnetic Towers: structures that capture, filter, and distribute rainwater.<br /> <br /> Suspended Forests: vegetation adapted to continuous moisture; vertical farming on floating platforms.<br /> <br /> Echo Grottos: caves that store humidity in the form of acoustic vapor (water released through sound).<br /> <br /> Dew University: research center for climate patterns and regenerative architecture.<br /> <br /> Narrative tension: Although they've reclaimed the rains, they face solar scarcity and are becoming dependent on the South’s energy to maintain their infrastructure.<br /> ☀️ LLERENA (Southern Region)<br /> <br /> “Where the sun never hides”<br /> <br /> Real-world inspiration: Llerena, Badajoz, Spain<br /> Climate: Arid, solar, extreme thermal variation<br /> Role in Azura: Solar city, source of light, thermal energy, and photonic storage.<br /> <br /> Key elements:<br /> <br /> Glass Trees: solar towers with optical roots that store and transmit light.<br /> <br /> Root Mirrors: ancient devices that channel solar energy underground.<br /> <br /> The Silicon Library: archive of ancient solar technologies, preserving pre-Collapse knowledge.<br /> <br /> Photosynthetic Salt Fields: white plains that reflect and condense light for nocturnal crops.<br /> <br /> Narrative tension: They have light, but lack water. They're growing dependent on the North for survival, sparking internal conflict around autonomy and solar pride.<br /> 🔁 THE SOLAR4RAIN NETWORK (Global Infrastructure)<br /> <br /> “Among roots, everything flows”<br /> <br /> Description: An underground and aerial system of resource exchange between regions. It's not just technology—it’s culture, memory, an ethical contract.<br /> <br /> Components:<br /> <br /> Optical Roots: subterranean fibers transporting light across territories.<br /> <br /> Hydroceramic Capillaries: buried tubes carrying encapsulated water between regions.<br /> <br /> Interface Nodes: decision-making hubs, linking communities and regulating resource flows.<br /> <br /> 🧭 OTHER REGIONS (for future exploration)<br /> <br /> The Steel Forest of the East: reforested industrial ruins filled with living technology.<br /> <br /> Solar Caves of the West: underground territory storing heat for cold seasons.<br /> <br /> The Timeless Islands: self-sufficient communities that refuse to connect to the Network.<br /> <br /> 🌱 CORE THEME<br /> <br /> Symbiosis vs. Control<br /> The network connecting Bergen and Llerena is alive, like an ecosystem. Conflict arises when one side starts viewing the flow as debt instead of gift. Azura seeks harmony through interdependence—but that harmony must be reimagined, negotiated, and nurtured.</div>

Maite https://wiki.piksel.org/index.php?title=File:Draft-GlassTrees-Mirror-Roots.jpg&diff=9612 2025-04-22T11:48:47Z

<p>Maite: </p> <hr /> <div>Draft-GlassTrees-Mirror-Roots</div>

Maite https://wiki.piksel.org/index.php?title=File:Solar4Rain-map.jpg&diff=9611 2025-04-22T11:30:40Z

<p>Maite: </p> <hr /> <div>Solar4Rain-map, and IA generated image based on the project prompt and in te style of Ursula Le Guin maps</div>

Maite https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9610 2025-04-22T11:27:04Z

<p>Maite: /* April 20. At the cabin */</p> <hr /> <div>'''<br /> == &lt;big&gt;Solar4Rain&lt;/big&gt; ==<br /> '''<br /> <br /> [[File:Solar4Rain-logo.png|thumb|none]]<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> ===April 15===<br /> [[File:Permacomputing-1.jpg|thumb]]<br /> <br /> [[File:Solarpunk rules.jpg|thumb|alt=Solarpunk rules to follow|Solarpunk rules to follow]]<br /> <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing<br /> <br /> ===April 16===<br /> <br /> -Gisle doing some test 3D prints<br /> <br /> -Maite made some microscope videos of Bergen water<br /> <br /> ===April 17===<br /> <br /> - Rearranging the room<br /> <br /> - Gisle started doing some [[pipeline research]]<br /> <br /> ===April 20. At the cabin===<br /> We started to prompt ChatGPT to expand Solar4Rain into a tale based on Ursula K. Le Guin style. This is what we got. It realley impressed us. <br /> <br /> &lt;blockquote&gt;'''A short solarpunk novel in the spirit of Ursula K. Le Guin'''<br /> <br /> ''In Azura, sky and soil are not opposed. They lean toward each other, like old lovers who once hurt each other.''<br /> <br /> '''I. The Seasons of the Network'''<br /> <br /> There were no seasons in Azura, not in the way the old world had them. No winters or autumns, not even summers: only light and its absence; moisture and its absence; heat, and the memory of its passing.<br /> <br /> In the North, it now rained. Real rain, not the recycled dew of the condensers, but water from the sky. No one quite knew why—perhaps the atmosphere, humiliated for centuries, was beginning to forgive them—but the clouds had returned. And with them, shadow.<br /> <br /> The South, still dry, still radiant, looked on with a mixture of pride and fear. For generations, they had been the solar heart of the Solar4Rain Network: harvesters of energy, vapor condensers, weavers of water from nothing. Now, with the North overflowing, the flow reversed: water descended, light ascended.<br /> <br /> The ancients would have called it a miracle.<br /> The engineers called it a system adjustment.<br /> The elders of the South called it exchange.<br /> But some whispered a forgotten word:<br /> Dependence.<br /> <br /> '''II. The Agreement'''<br /> <br /> Amiya was no longer a child. She had completed twenty-six solar cycles, though not all were measured the same between regions. The North still considered her young. The South, which grew hard and early, called her an old woman.<br /> <br /> She had been given a task that seemed simple: to supervise the redistribution of flows between Primary Trees of the South and Hydraulic Towers of the North. But the mission carried a deeper weight: to ensure that exchange did not become dominion.<br /> <br /> There were those who said the North had begun to demand light too regularly. That their rain-fed crops expanded beyond what was necessary. That, instead of being grateful for the South's solar energy, they accounted for it.<br /> <br /> The language had changed. They used to speak of &quot;sharing.&quot; Now they spoke of &quot;flow balance.&quot;<br /> <br /> A technologist from the North, a wiry man named Keiran, said it plainly while they examined the optical root of a transmission tower:<br /> <br /> &quot;This cannot go on indefinitely. The Network needs structure. Hierarchy. It cannot be sustained on solar idealism.&quot;<br /> <br /> Amiya looked at him with a mix of pity and recognition.<br /> <br /> &quot;The water you drink does not fall in columns. Yet it flows.&quot;<br /> <br /> Keiran said nothing.<br /> <br /> '''III. The Fallen Tree'''<br /> <br /> A Crystal Tree fell in the South. Not from technical failure, but from sabotage. No one said it aloud, but the sensors were clear: intentional filament cuts and disrupted flow. The roots showed no mechanical stress, only human interference.<br /> <br /> There was no trial. Only a meeting.<br /> <br /> The Solar Council, from both North and South, sat in a circle. There were no cameras or minutes. Only words.<br /> <br /> &quot;What do we do when the network becomes a trap?&quot; asked an old woman from the South.<br /> <br /> &quot;Or when exchange becomes an imposition?&quot; added a young man from the North, his voice trembling.<br /> <br /> Amiya didn’t speak until the end. When she did, she spoke slowly, like one carving a seed into stone:<br /> <br /> &quot;A fallen Tree is more than a loss. It is a warning. We were not wrong to connect roots. But we erred in forgetting that every root, when it cannot breathe, rots.&quot;<br /> <br /> '''IV. Epilogue: The Deep Light'''<br /> <br /> No one ever knew who sabotaged the Tree. Perhaps it was many. Perhaps no one. Perhaps it was the system itself, a natural self-regulator responding to accumulated tension.<br /> <br /> What followed was not rupture, but realignment. The flows were adjusted. Usage was reduced. Slowness was cultivated. The Network grew no more. It folded inward, like a flower that learns to close at night, not out of fear, but out of wisdom.<br /> <br /> Amiya returned to the South, not as a technician, but as a caretaker. She planted a new Tree where the fallen one had stood, without a name, without a number. Just a Tree. A root of light that expected no gratitude, no calculation, no destiny.<br /> <br /> Only exchange.&lt;/blockquote&gt;</div>

Maite https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9608 2025-04-22T11:25:07Z

<p>Maite: </p> <hr /> <div>'''<br /> == &lt;big&gt;Solar4Rain&lt;/big&gt; ==<br /> '''<br /> <br /> [[File:Solar4Rain-logo.png|thumb|none]]<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> ===April 15===<br /> [[File:Permacomputing-1.jpg|thumb]]<br /> <br /> [[File:Solarpunk rules.jpg|thumb|alt=Solarpunk rules to follow|Solarpunk rules to follow]]<br /> <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing<br /> <br /> ===April 16===<br /> <br /> -Gisle doing some test 3D prints<br /> <br /> -Maite made some microscope videos of Bergen water<br /> <br /> ===April 17===<br /> <br /> - Rearranging the room<br /> <br /> - Gisle started doing some [[pipeline research]]<br /> <br /> ===April 20. At the cabin===<br /> We started to prompt ChatGPT to expand Solar4Rain into a tale based on Ursula K. Le Guin style. This is what we got. It realley impressed us. <br /> <br /> &lt;blockquote&gt;'''A short solarpunk novel in the spirit of Ursula K. Le Guin'''<br /> <br /> ''In Azura, sky and soil are not opposed. They lean toward each other, like old lovers who once hurt each other.''<br /> <br /> '''I. The Seasons of the Network'''<br /> <br /> There were no seasons in Azura, not in the way the old world had them. No winters or autumns, not even summers: only light and its absence; moisture and its absence; heat, and the memory of its passing.<br /> In the North, it now rained. Real rain, not the recycled dew of the condensers, but water from the sky. No one quite knew why—perhaps the atmosphere, humiliated for centuries, was beginning to forgive them—but the clouds had returned. And with them, shadow.<br /> The South, still dry, still radiant, looked on with a mixture of pride and fear. For generations, they had been the solar heart of the Solar4Rain Network: harvesters of energy, vapor condensers, weavers of water from nothing. Now, with the North overflowing, the flow reversed: water descended, light ascended.<br /> The ancients would have called it a miracle.<br /> The engineers called it a system adjustment.<br /> The elders of the South called it exchange.<br /> But some whispered a forgotten word:<br /> Dependence.<br /> <br /> '''II. The Agreement'''<br /> <br /> Amiya was no longer a child. She had completed twenty-six solar cycles, though not all were measured the same between regions. The North still considered her young. The South, which grew hard and early, called her an old woman.<br /> She had been given a task that seemed simple: to supervise the redistribution of flows between Primary Trees of the South and Hydraulic Towers of the North. But the mission carried a deeper weight: to ensure that exchange did not become dominion.<br /> There were those who said the North had begun to demand light too regularly. That their rain-fed crops expanded beyond what was necessary. That, instead of being grateful for the South's solar energy, they accounted for it.<br /> The language had changed. They used to speak of &quot;sharing.&quot; Now they spoke of &quot;flow balance.&quot;<br /> A technologist from the North, a wiry man named Keiran, said it plainly while they examined the optical root of a transmission tower:<br /> &quot;This cannot go on indefinitely. The Network needs structure. Hierarchy. It cannot be sustained on solar idealism.&quot;<br /> Amiya looked at him with a mix of pity and recognition.<br /> &quot;The water you drink does not fall in columns. Yet it flows.&quot;<br /> Keiran said nothing.<br /> <br /> '''III. The Fallen Tree'''<br /> <br /> A Crystal Tree fell in the South. Not from technical failure, but from sabotage. No one said it aloud, but the sensors were clear: intentional filament cuts and disrupted flow. The roots showed no mechanical stress, only human interference.<br /> There was no trial. Only a meeting.<br /> The Solar Council, from both North and South, sat in a circle. There were no cameras or minutes. Only words.<br /> &quot;What do we do when the network becomes a trap?&quot; asked an old woman from the South.<br /> &quot;Or when exchange becomes an imposition?&quot; added a young man from the North, his voice trembling.<br /> Amiya didn’t speak until the end. When she did, she spoke slowly, like one carving a seed into stone:<br /> &quot;A fallen Tree is more than a loss. It is a warning. We were not wrong to connect roots. But we erred in forgetting that every root, when it cannot breathe, rots.&quot;<br /> <br /> '''IV. Epilogue: The Deep Light'''<br /> <br /> No one ever knew who sabotaged the Tree. Perhaps it was many. Perhaps no one. Perhaps it was the system itself, a natural self-regulator responding to accumulated tension.<br /> What followed was not rupture, but realignment. The flows were adjusted. Usage was reduced. Slowness was cultivated. The Network grew no more. It folded inward, like a flower that learns to close at night, not out of fear, but out of wisdom.<br /> Amiya returned to the South, not as a technician, but as a caretaker. She planted a new Tree where the fallen one had stood, without a name, without a number. Just a Tree. A root of light that expected no gratitude, no calculation, no destiny.<br /> Only exchange.&lt;/blockquote&gt;</div>

Maite https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9598 2025-04-17T10:48:36Z

<p>Maite: </p> <hr /> <div>[[File:Solar4Rain-logo.png|thumb]]<br /> '''Solar4Rain'''<br /> [[File:Solar4Rain-logo.png|thumb]]<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> April 15 - <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> [[File:Permacomputing-1.jpg|thumb]]<br /> <br /> [[File:Solarpunk rules.jpg|thumb|alt=Solarpunk rules to follow|Solarpunk rules to follow]]<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing</div>

Maite https://wiki.piksel.org/index.php?title=File:Solarpunk_rules.jpg&diff=9597 2025-04-17T10:48:02Z

<p>Maite: </p> <hr /> <div>Solarpunk list of rules to be applied</div>

Maite https://wiki.piksel.org/index.php?title=File:Permacomputing-1.jpg&diff=9596 2025-04-17T10:47:25Z

<p>Maite: </p> <hr /> <div>Permacomputing Principles</div>

Maite https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9595 2025-04-17T10:41:24Z

<p>Maite: </p> <hr /> <div>[[File:Solar4Rain-logo.png|thumb]]<br /> '''Solar4Rain'''<br /> [[File:Solar4Rain-logo.png|thumb]]<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> April 15 - <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> http://piksel.no/wp-content/uploads/2025/04/Solarpunk.png<br /> <br /> http://piksel.no/wp-content/uploads/2025/04/Permacomputing.png<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing</div>

Maite https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9593 2025-04-17T10:37:48Z

<p>Maite: </p> <hr /> <div>'''Solar4Rain'''<br /> http://piksel.no/wp-content/uploads/2025/04/lOGO-1.jpg<br /> <br /> https://wiki.piksel.org/images/0/0f/Solarpunk.png<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> April 15 - <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> http://piksel.no/wp-content/uploads/2025/04/Solarpunk.png<br /> <br /> http://piksel.no/wp-content/uploads/2025/04/Permacomputing.png<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing</div>

Maite https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9592 2025-04-16T16:45:37Z

<p>Maite: </p> <hr /> <div>'''Solar4Rain'''<br /> <br /> https://piksel.no/wp-content/uploads/2023/01/IMG_2804-general.jpg<br /> <br /> https://wiki.piksel.org/images/0/0f/Solarpunk.png<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> April 15 - <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> http://piksel.no/wp-content/uploads/2025/04/Solarpunk.png<br /> <br /> http://piksel.no/wp-content/uploads/2025/04/Permacomputing.png<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing</div>

Maite https://wiki.piksel.org/index.php?title=File:Solarpunk.png&diff=9591 2025-04-16T16:43:25Z

<p>Maite: </p> <hr /> <div></div>

Maite https://wiki.piksel.org/index.php?title=Solar4Rain&diff=9590 2025-04-16T12:57:27Z

<p>Maite: Created page with &quot;&#039;&#039;&#039;Solar4Rain&#039;&#039;&#039; https://piksel.no/wp-content/uploads/2023/01/IMG_2804-general.jpg == &#039;&#039;&#039;Introduction&#039;&#039;&#039; == Solar4Rain, an atmospheric PUNK symbiosys Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich region...&quot;</p> <hr /> <div>'''Solar4Rain'''<br /> <br /> https://piksel.no/wp-content/uploads/2023/01/IMG_2804-general.jpg<br /> <br /> == '''Introduction''' ==<br /> <br /> Solar4Rain, an atmospheric PUNK symbiosys<br /> Solar4Rain is an interdisciplinary art project that employs the metaphor of the life cycle—sun and rain—as a lens to explore macroeconomic and geo-global dynamics. By examining the interplay of resources such as water and solar energy, the project critically addresses the growing tensions between resource-rich regions and the inequities perpetuated by climate change and exploitative practices. It highlights pressing issues such as neo-colonialism in renewable energy, the geopolitics of water, and the ethical challenges of global resource management. Through an engaging sci-fi narrative, the project envisions a speculative future where humanity adopts equitable, sustainable, and symbiotic relationships with nature and technology.<br /> <br /> At its core, Solar4Rain aims to expose the paradoxes inherent in renewable energy exploitation. For example, Norwegian investments in Spanish photovoltaic farms generate significant profits but fail to contribute to local economies through taxation, while land acquisitions in Africa, Spain and Norway by external/international investors are driven by the pursuit of water resources, exacerbating existing inequalities. The project seeks to provoke reflection on these systemic imbalances and inspire audiences to question the structures that underpin global resource extraction and exchange. By presenting an alternative vision, it fosters dialogue on how these systems can be reimagined for a more equitable and sustainable future.<br /> <br /> To achieve this, the project integrates multiple artistic strategies, including data visualization, speculative storytelling, and audience participation. Through immersive installations, visitors will encounter interactive displays that use light, sound, maps, and simulated contracts to illustrate the interconnectedness of global resource systems and their inequities. A central sci-fi narrative imagines a world where balanced resource distribution and ethical cooperation prevail, blending the principles of Solar Punk and permacomputing. The public is also invited to participate in experimental labs, where they can co-create and propose new systems of exchange, actively contributing to a shared vision of resilience and collaboration.<br /> <br /> == '''Daily blog''' ==<br /> <br /> April 15 - <br /> - We decided to do everything something that can be visible<br /> <br /> - To start this daily blog<br /> <br /> - We went through the principles of Permacomputing and Solarpunk<br /> <br /> http://piksel.no/wp-content/uploads/2025/04/Solarpunk.png<br /> <br /> http://piksel.no/wp-content/uploads/2025/04/Permacomputing.png<br /> <br /> - We revise all our notes<br /> <br /> - Maite installed the microscope and software - to see how is the water here... <br /> <br /> - Gisle started with the 3d printing</div>

Maite https://wiki.piksel.org/index.php?title=Main_Page&diff=9589 2025-04-16T12:47:05Z

<p>Maite: </p> <hr /> <div>[[File:PIKSEL-Logo-GOOD 150mm.png|600px|none]]<br /> <br /> &lt;big&gt;'''Welcome to the new Piksel wiki!'''&lt;/big&gt;<br /> <br /> <br /> This is the home for planning and documenting collaborative and participatory projects connected to [http://piksel.no/pulse Piksel Pulse] and [http://piksel.no/festival Piksel Festival] events. <br /> <br /> The old Piksel wiki (&lt; 2009) is now offline, but hopefully it will be restored for archival reasons.<br /> <br /> == Projects ==<br /> * 202<br /> ** [[Solar4Rain]]<br /> * 2024<br /> ** [[Stormy Thursdays]]<br /> * 2023<br /> ** [[Book|PIKSEL XX. 20 years of Libre Electronic Art 2022-24. THE BOOK]]<br /> * 2022<br /> ** [[Inkluderende Digitalt Laboratorium for Eksperimentell Kunst (IDLE) 2022-24]]<br /> ** [[PIKSEL XX. 20 years of Libre Electronic Art 2022-24]]<br /> * 2021<br /> ** [[TransPiksel 2021]]<br /> * 2020<br /> ** [[TransPiksel 2020]]<br /> ** [[BAS Digital Challenge Program]]<br /> ** [[Piksel meets IoT]]<br /> * 2019<br /> ** [[TransPiksel 2019]]<br /> * 2018<br /> ** [[TransPiksel 2018]]<br /> * 2017<br /> ** [[TransPiksel 2017]]<br /> * 2016<br /> ** [[TransPiksel 2016]]<br /> ** [[Sushi Roulette: Novel plastic pollutants - byproducts of novel &amp; emerging technologies explored using novel DIY science techniques]]<br /> * 2015<br /> ** [[PIKSEL15 - Get A-Life!]]<br /> ** [[Pikslo deep diving / underwater interception of the nordic sea]]<br /> * 2012<br /> ** [[OpenSound Bergen]]<br /> * 2010<br /> ** [[Piksel SummerCamp 2010]]<br /> ** [[Regnskog]]<br /> * 2009<br /> ** [[Piksel Plenum]]<br /> <br /> ----</div>

Maite https://wiki.piksel.org/index.php?title=Main_Page&diff=9544 2023-06-26T15:58:55Z

<p>Maite: /* Projects */</p> <hr /> <div>[[File:PIKSEL-Logo-GOOD 150mm.png|600px|none]]<br /> <br /> &lt;big&gt;'''Welcome to the new Piksel wiki!'''&lt;/big&gt;<br /> <br /> <br /> This is the home for planning and documenting collaborative and participatory projects connected to [http://piksel.no/pulse Piksel Pulse] and [http://piksel.no/festival Piksel Festival] events. <br /> <br /> The old Piksel wiki (&lt; 2009) is now offline, but hopefully it will be restored for archival reasons.<br /> <br /> == Projects ==<br /> * 2023<br /> ** ** [[PIKSEL XX. 20 years of Libre Electronic Art 2022-24. THE BOOK]]<br /> * 2022<br /> ** [[Inkluderende Digitalt Laboratorium for Eksperimentell Kunst (IDLE) 2022-24]]<br /> ** [[PIKSEL XX. 20 years of Libre Electronic Art 2022-24]]<br /> * 2021<br /> ** [[TransPiksel 2021]]<br /> * 2020<br /> ** [[TransPiksel 2020]]<br /> ** [[BAS Digital Challenge Program]]<br /> ** [[Piksel meets IoT]]<br /> * 2019<br /> ** [[TransPiksel 2019]]<br /> * 2018<br /> ** [[TransPiksel 2018]]<br /> * 2017<br /> ** [[TransPiksel 2017]]<br /> * 2016<br /> ** [[TransPiksel 2016]]<br /> ** [[Sushi Roulette: Novel plastic pollutants - byproducts of novel &amp; emerging technologies explored using novel DIY science techniques]]<br /> * 2015<br /> ** [[PIKSEL15 - Get A-Life!]]<br /> ** [[Pikslo deep diving / underwater interception of the nordic sea]]<br /> * 2012<br /> ** [[OpenSound Bergen]]<br /> * 2010<br /> ** [[Piksel SummerCamp 2010]]<br /> ** [[Regnskog]]<br /> * 2009<br /> ** [[Piksel Plenum]]<br /> <br /> ----</div>

Maite https://wiki.piksel.org/index.php?title=PIKSEL_XX._20_years_of_Libre_Electronic_Art_2022-24&diff=9541 2023-04-13T10:38:39Z

<p>Maite: </p> <hr /> <div>Bergen 2022<br /> <br /> ''''“The development, and therefore use, of digital technology today is mainly controlled by multinational corporations. Despite the prospects of technology expanding the means of artistic expression, the commercial demands of the software industries severely limit them instead. <br /> <br /> Piksel is focusing on the Free/Libre and Open Source movement as a strategy for regaining artistic control of the technology, but also a means to bring attention to the close connections between art, politics, technology and economy.”''<br /> <br /> '''― Piksel festival'''''<br /> <br /> == '''2003-2022 – 20 years of the Piksel in Norway.''' ==<br /> <br /> In November 2003 the first edition of p1k5el, or Piksel, takes place at BEK, Landmark and the Art Academy. The instigator of the event is Gisle Frøysland whose original intention was to organise a workshop around ‘real-time media’ tools, particularly the MøB platform which has reached a state where it may prove useful for other artists. Participants include Artem Baguinski, Antoine van de Ven and Simon de Bakker from V2_ Rotterdam, Tom Schouten from Belgium, Yves Degoyon from France, Jaromil from Italy, Pedro Soler from Spain, Amy Alexander from the USA, Martin Howse from the UK and Kentaro Fukuchi from Japan, altogether about 30 artists and developers. #video #vjing #software #workshop #realtime #freesoftware<br /> <br /> From 2005 Piksel widens its scope to focus more broadly on the aesthetics and politics of open source, adopting the subtitle ‘Festival for Free, Libre and Open Source Audiovisual Software and Art’. About 60 participants gather at the event, from the collectives and organisations Goto10, dyne.org, Hackitectura, De Waag, Free Software Foundation and others. <br /> <br /> By 2007, the exclusive reliance on free software as opposed to proprietary tools is without precedent in the context of arts events. With further editions to follow ever since, Piksel would established itself as the leading event for open-source arts internationally. Like-minded festivals would follow including Make Art, organised by Goto10 in Poitiers between 2006-2010, and LiWoLi in Linz from 2008, later called Art Meets Radical Openness. By now, Piksel has also established an informal support network with the audiovisual arts and digital culture festival Pixelache which took place in April at Kiasma Museum in Helsinki and its offshoot Mau au Pixel planned for the following April in Paris. Tatiana Bazzichelli (Aksioma) in Italy, servus.at in Austria and APO33 in France.<br /> <br /> Over the 20 years, Piksel has become a strong international network and annual event for electronic art and technological freedom. Part workshop, part festival, it is based in a mixed artists selections, part curated and partially selected by the open call, it mixes different artists and programmers generations, all FLOSS practitioners.<br /> <br /> As the head of PNEK Stahl Stenslie stated in the 2015 Piksel edition, after 12 yeas of existence, “Piksel is more than a festival. It is a contemporary academy in the experimental arts. Organized by Gisle Frøysland and Maite Cajaraville, Piksel turns Bergen into a creative explosion of new, emerging forms of creative expressions and strangely attractive experiments. The 2015 version saw anything from deep noise concerts to workshops in Do-It-Yourself, open source biokitchen art to electro-mechanical sculptures and surveillance bots. It was an event not just for visitors, but also an exquisite arena for the exchange of ideas and inspirations between artists. The feeling of the festival was intimate and local, yet a temporary home to a wide number of international guests from all over the world. Piksel is what PNEK is about: getting stronger through networking and building bonds across boundaries of thinking and acting.”<br /> <br /> === Piksel =&gt; Open source + art ===<br /> <br /> Gisle Froysland, the director of Piksel Festival over the years, started BEK (Bergen Elektronik Kunst, together with Jorgen Larsson who states about him “Gisle did amazing video installations, a real 8-bit steampunk. Gisle was the video guy for Bakruppen and played guitar in Alle Tiders Duster. He was a legend. We approached him and he said yes! Gisle Froysland.<br /> Both Gisle and I had a kind of contrary thinking: technology is a way to get your own infrastructure by building something that is on the side of, or contrary to, commercially available tools. To get the tools into de workers’ house, to own your own tools. That was actually a very important part of early BEK. To have control over infrastructure and tools was really important. Very early on, Gisle knew how this all fitted together technologically, he knew how to work with Unix systems, create open-souce, free software and tools. He was so clear; he was older than me and had already been working a lot with this, and his ideology was really important for us at BEK at the time. Jorgen Larsson 2020 – pag. 125<br /> <br /> === Piksel influenced the Norwegian electronic art scene opening up new inspiration and tools to Norwegian artists. ===<br /> <br /> Piksel was, an still is, a large international scene. Thirty to forty artists and programmers would come to BEK every year, and we filled Landmark and other venues with days of jamming and trying out different things. This scene was very much focusing on Linux. I was really influenced by the artists such as Martin Howse, Jonathan Kemp and Erich Berger. For me, Piksel was a huge inspiration in terms of research. Ellen Roed, 2020 -pag 128.<br /> <br /> As a pioneer, Piksel was the first festival in the world devoted to free/libre technologies applied to arts. The festival model was promptly followed along Europe for many other artists associations and collectives. That situation also brought Bergen as the centre of the free media art.<br /> <br /> Piksel was a big part of my work at BEK in the first years. What is interesting is that Piksel not as much part of the local and national, but rather of the international field. For many people abroad, the only thing they know about Bergen is that Piksel is happening here. Roar Sletteland, 2020. - pag128<br /> <br /> Locally and internationally Piksel has written the story of new media art using Free and Libre technologies, after 20 years there is a lot to tell to new generations. <br /> As Dušan Barok, the founding editor of Monoskop, a research platform for the arts and humanities, states: “Through the Piksel history we can know the history of Free/Libre Open Source and Software movement”, that is the importance of the Piksel festivals in Norway and its impact in the international arenas.<br /> <br /> To preserve the history of contemporary art in Norway, the electronic and experimental art scene that Norway triggered internationally through the Piksel festival, and to open it to new generations is the goal of this book.<br /> <br /> == '''The book. &quot;PIKSEL XX. 20 years of Libre Electronic Art.&quot;''' ==<br /> <br /> The book “Piksel. Celebrating 20 years of New Media Art and Free/Libre technologies in Norway” intends to collect the history of Piksel and the reflections, thoughts, collaborations and projects that was initiated as a result of artists meeting at the festival.<br /> <br /> Themes will range among the Piksel theme: Electronic art and Free/Libre technologies and subtopics: artistic practices related to politics and surveillance in information technologies, open source biokitchen art, visual/sound instruments made by electronics using Free/Libre software and hardware (FLOSS), and open networks and communities around FLOSS. <br /> <br /> The book is divided into 5 parts: 20 years of Piksel, Piksel on politics, The Piksel Kitchen bioart, Electronic instruments FLOSS based, and Piksel Open Networks. <br /> <br /> The publication includes ‘ad hoc’ written articles by Norwegian and international Piksel guest artists and special contributions. <br /> Among the invited artists, Per Platou (Motherboard) and Grethe Melby, Norwegian electronic arts pioneers, and art critic writer at Scenkunst, Robertina Šebjanič and Marc Duseiller, main figures of the biokitchen artistic practices worldwide, Malte Steiner, artist and developer practitioner, John Bowers, artists combining design-led explorations of digital technologies with sound art and intermedia performance, and the open networks APO33, Asimtria / Marco Valdivia (Perú) / Paola Torres Núñez del Prado as representatives of Piksel Pulse, those international projects carried by Piksel abroad. <br /> <br /> The editorial team has been carefully chosen. The editor and in charge of the Piksel history chapter is Dušan Barok, an artist, researcher and organiser. He is founding editor of Monoskop, a research platform for the arts and humanities. His work deals with digital culture, memory studies and activism. The deepest knowledge of Dusan Barok in the field of new media art and the free artists communities and the fact that he has been editing the book last year edited by BEK: 20 years of BEK, made us to decide he is the right person to carry on the job. He has already deep knowledge in the Norwegian electronic media culture and scene. With this book we try to add to that history, not to repeat. It is important to work with somebody in the field also in a geographical approach. <br /> <br /> The book also intends to reflect the artistic part of Piksel as an artist book. The goal is to bring special attention also to its design. Jenny Picket is a Goldsmith artist designer who has developed Piksel design along the years. Working with FLOSS technologies she will create an outstanding front page and artistic book including more than 100 colour pictures.<br /> <br /> The book will be printed in Bergen, and open a process of “printing on demand” online.</div>

Maite https://wiki.piksel.org/index.php?title=PIKSEL_XX._20_years_of_Libre_Electronic_Art_2022-24&diff=9540 2023-04-13T10:36:59Z

<p>Maite: /* The book. PIKSEL XX. 20 years of Libre Electronic Art. */</p> <hr /> <div>Bergen 2022<br /> <br /> ''''“The development, and therefore use, of digital technology today is mainly controlled by multinational corporations. Despite the prospects of technology expanding the means of artistic expression, the commercial demands of the software industries severely limit them instead. <br /> <br /> Piksel is focusing on the Free/Libre and Open Source movement as a strategy for regaining artistic control of the technology, but also a means to bring attention to the close connections between art, politics, technology and economy.”''<br /> <br /> '''― Piksel festival'''''<br /> <br /> == 2003-2022 – 20 years of the Piksel in Norway. ==<br /> <br /> In November 2003 the first edition of p1k5el, or Piksel, takes place at BEK, Landmark and the Art Academy. The instigator of the event is Gisle Frøysland whose original intention was to organise a workshop around ‘real-time media’ tools, particularly the MøB platform which has reached a state where it may prove useful for other artists. Participants include Artem Baguinski, Antoine van de Ven and Simon de Bakker from V2_ Rotterdam, Tom Schouten from Belgium, Yves Degoyon from France, Jaromil from Italy, Pedro Soler from Spain, Amy Alexander from the USA, Martin Howse from the UK and Kentaro Fukuchi from Japan, altogether about 30 artists and developers. #video #vjing #software #workshop #realtime #freesoftware<br /> <br /> From 2005 Piksel widens its scope to focus more broadly on the aesthetics and politics of open source, adopting the subtitle ‘Festival for Free, Libre and Open Source Audiovisual Software and Art’. About 60 participants gather at the event, from the collectives and organisations Goto10, dyne.org, Hackitectura, De Waag, Free Software Foundation and others. <br /> <br /> By 2007, the exclusive reliance on free software as opposed to proprietary tools is without precedent in the context of arts events. With further editions to follow ever since, Piksel would established itself as the leading event for open-source arts internationally. Like-minded festivals would follow including Make Art, organised by Goto10 in Poitiers between 2006-2010, and LiWoLi in Linz from 2008, later called Art Meets Radical Openness. By now, Piksel has also established an informal support network with the audiovisual arts and digital culture festival Pixelache which took place in April at Kiasma Museum in Helsinki and its offshoot Mau au Pixel planned for the following April in Paris. Tatiana Bazzichelli (Aksioma) in Italy, servus.at in Austria and APO33 in France.<br /> <br /> Over the 20 years, Piksel has become a strong international network and annual event for electronic art and technological freedom. Part workshop, part festival, it is based in a mixed artists selections, part curated and partially selected by the open call, it mixes different artists and programmers generations, all FLOSS practitioners.<br /> <br /> As the head of PNEK Stahl Stenslie stated in the 2015 Piksel edition, after 12 yeas of existence, “Piksel is more than a festival. It is a contemporary academy in the experimental arts. Organized by Gisle Frøysland and Maite Cajaraville, Piksel turns Bergen into a creative explosion of new, emerging forms of creative expressions and strangely attractive experiments. The 2015 version saw anything from deep noise concerts to workshops in Do-It-Yourself, open source biokitchen art to electro-mechanical sculptures and surveillance bots. It was an event not just for visitors, but also an exquisite arena for the exchange of ideas and inspirations between artists. The feeling of the festival was intimate and local, yet a temporary home to a wide number of international guests from all over the world. Piksel is what PNEK is about: getting stronger through networking and building bonds across boundaries of thinking and acting.”<br /> <br /> === Piksel =&gt; Open source + art ===<br /> <br /> Gisle Froysland, the director of Piksel Festival over the years, started BEK (Bergen Elektronik Kunst, together with Jorgen Larsson who states about him “Gisle did amazing video installations, a real 8-bit steampunk. Gisle was the video guy for Bakruppen and played guitar in Alle Tiders Duster. He was a legend. We approached him and he said yes! Gisle Froysland.<br /> Both Gisle and I had a kind of contrary thinking: technology is a way to get your own infrastructure by building something that is on the side of, or contrary to, commercially available tools. To get the tools into de workers’ house, to own your own tools. That was actually a very important part of early BEK. To have control over infrastructure and tools was really important. Very early on, Gisle knew how this all fitted together technologically, he knew how to work with Unix systems, create open-souce, free software and tools. He was so clear; he was older than me and had already been working a lot with this, and his ideology was really important for us at BEK at the time. Jorgen Larsson 2020 – pag. 125<br /> <br /> === '''Piksel influenced the Norwegian electronic art scene opening up new inspiration and tools to Norwegian artists.''' ===<br /> <br /> Piksel was, an still is, a large international scene. Thirty to forty artists and programmers would come to BEK every year, and we filled Landmark and other venues with days of jamming and trying out different things. This scene was very much focusing on Linux. I was really influenced by the artists such as Martin Howse, Jonathan Kemp and Erich Berger. For me, Piksel was a huge inspiration in terms of research. Ellen Roed, 2020 -pag 128.<br /> <br /> As a pioneer, Piksel was the first festival in the world devoted to free/libre technologies applied to arts. The festival model was promptly followed along Europe for many other artists associations and collectives. That situation also brought Bergen as the centre of the free media art.<br /> <br /> Piksel was a big part of my work at BEK in the first years. What is interesting is that Piksel not as much part of the local and national, but rather of the international field. For many people abroad, the only thing they know about Bergen is that Piksel is happening here. Roar Sletteland, 2020. - pag128<br /> <br /> Locally and internationally Piksel has written the story of new media art using Free and Libre technologies, after 20 years there is a lot to tell to new generations. <br /> As Dušan Barok, the founding editor of Monoskop, a research platform for the arts and humanities, states: “Through the Piksel history we can know the history of Free/Libre Open Source and Software movement”, that is the importance of the Piksel festivals in Norway and its impact in the international arenas.<br /> <br /> To preserve the history of contemporary art in Norway, the electronic and experimental art scene that Norway triggered internationally through the Piksel festival, and to open it to new generations is the goal of this book.<br /> <br /> == '''The book. PIKSEL XX. 20 years of Libre Electronic Art. ''' ==<br /> <br /> The book “Piksel. Celebrating 20 years of New Media Art and Free/Libre technologies in Norway” intends to collect the history of Piksel and the reflections, thoughts, collaborations and projects that was initiated as a result of artists meeting at the festival.<br /> <br /> Themes will range among the Piksel theme: Electronic art and Free/Libre technologies and subtopics: artistic practices related to politics and surveillance in information technologies, open source biokitchen art, visual/sound instruments made by electronics using Free/Libre software and hardware (FLOSS), and open networks and communities around FLOSS. <br /> <br /> The book is divided into 5 parts: 20 years of Piksel, Piksel on politics, The Piksel Kitchen bioart, Electronic instruments FLOSS based, and Piksel Open Networks. <br /> <br /> The publication includes ‘ad hoc’ written articles by Norwegian and international Piksel guest artists and special contributions. <br /> Among the invited artists, Per Platou (Motherboard) and Grethe Melby, Norwegian electronic arts pioneers, and art critic writer at Scenkunst, Robertina Šebjanič and Marc Duseiller, main figures of the biokitchen artistic practices worldwide, Malte Steiner, artist and developer practitioner, John Bowers, artists combining design-led explorations of digital technologies with sound art and intermedia performance, and the open networks APO33, Asimtria / Marco Valdivia (Perú) / Paola Torres Núñez del Prado as representatives of Piksel Pulse, those international projects carried by Piksel abroad. <br /> <br /> The editorial team has been carefully chosen. The editor and in charge of the Piksel history chapter is Dušan Barok, an artist, researcher and organiser. He is founding editor of Monoskop, a research platform for the arts and humanities. His work deals with digital culture, memory studies and activism. The deepest knowledge of Dusan Barok in the field of new media art and the free artists communities and the fact that he has been editing the book last year edited by BEK: 20 years of BEK, made us to decide he is the right person to carry on the job. He has already deep knowledge in the Norwegian electronic media culture and scene. With this book we try to add to that history, not to repeat. It is important to work with somebody in the field also in a geographical approach. <br /> <br /> The book also intends to reflect the artistic part of Piksel as an artist book. The goal is to bring special attention also to its design. Jenny Picket is a Goldsmith artist designer who has developed Piksel design along the years. Working with FLOSS technologies she will create an outstanding front page and artistic book including more than 100 colour pictures.<br /> <br /> The book will be printed in Bergen, and open a process of “printing on demand” online.</div>

Maite https://wiki.piksel.org/index.php?title=PIKSEL_XX._20_years_of_Libre_Electronic_Art_2022-24&diff=9539 2023-04-13T10:17:54Z

<p>Maite: </p> <hr /> <div>Bergen 2022<br /> <br /> ''''“The development, and therefore use, of digital technology today is mainly controlled by multinational corporations. Despite the prospects of technology expanding the means of artistic expression, the commercial demands of the software industries severely limit them instead. <br /> <br /> Piksel is focusing on the Free/Libre and Open Source movement as a strategy for regaining artistic control of the technology, but also a means to bring attention to the close connections between art, politics, technology and economy.”''<br /> <br /> '''― Piksel festival'''''<br /> <br /> == 2003-2022 – 20 years of the Piksel in Norway. ==<br /> <br /> In November 2003 the first edition of p1k5el, or Piksel, takes place at BEK, Landmark and the Art Academy. The instigator of the event is Gisle Frøysland whose original intention was to organise a workshop around ‘real-time media’ tools, particularly the MøB platform which has reached a state where it may prove useful for other artists. Participants include Artem Baguinski, Antoine van de Ven and Simon de Bakker from V2_ Rotterdam, Tom Schouten from Belgium, Yves Degoyon from France, Jaromil from Italy, Pedro Soler from Spain, Amy Alexander from the USA, Martin Howse from the UK and Kentaro Fukuchi from Japan, altogether about 30 artists and developers. #video #vjing #software #workshop #realtime #freesoftware<br /> <br /> From 2005 Piksel widens its scope to focus more broadly on the aesthetics and politics of open source, adopting the subtitle ‘Festival for Free, Libre and Open Source Audiovisual Software and Art’. About 60 participants gather at the event, from the collectives and organisations Goto10, dyne.org, Hackitectura, De Waag, Free Software Foundation and others. <br /> <br /> By 2007, the exclusive reliance on free software as opposed to proprietary tools is without precedent in the context of arts events. With further editions to follow ever since, Piksel would established itself as the leading event for open-source arts internationally. Like-minded festivals would follow including Make Art, organised by Goto10 in Poitiers between 2006-2010, and LiWoLi in Linz from 2008, later called Art Meets Radical Openness. By now, Piksel has also established an informal support network with the audiovisual arts and digital culture festival Pixelache which took place in April at Kiasma Museum in Helsinki and its offshoot Mau au Pixel planned for the following April in Paris. Tatiana Bazzichelli (Aksioma) in Italy, servus.at in Austria and APO33 in France.<br /> <br /> Over the 20 years, Piksel has become a strong international network and annual event for electronic art and technological freedom. Part workshop, part festival, it is based in a mixed artists selections, part curated and partially selected by the open call, it mixes different artists and programmers generations, all FLOSS practitioners.<br /> <br /> As the head of PNEK Stahl Stenslie stated in the 2015 Piksel edition, after 12 yeas of existence, “Piksel is more than a festival. It is a contemporary academy in the experimental arts. Organized by Gisle Frøysland and Maite Cajaraville, Piksel turns Bergen into a creative explosion of new, emerging forms of creative expressions and strangely attractive experiments. The 2015 version saw anything from deep noise concerts to workshops in Do-It-Yourself, open source biokitchen art to electro-mechanical sculptures and surveillance bots. It was an event not just for visitors, but also an exquisite arena for the exchange of ideas and inspirations between artists. The feeling of the festival was intimate and local, yet a temporary home to a wide number of international guests from all over the world. Piksel is what PNEK is about: getting stronger through networking and building bonds across boundaries of thinking and acting.”<br /> <br /> === Piksel =&gt; Open source + art ===<br /> <br /> Gisle Froysland, the director of Piksel Festival over the years, started BEK (Bergen Elektronik Kunst, together with Jorgen Larsson who states about him “Gisle did amazing video installations, a real 8-bit steampunk. Gisle was the video guy for Bakruppen and played guitar in Alle Tiders Duster. He was a legend. We approached him and he said yes! Gisle Froysland.<br /> Both Gisle and I had a kind of contrary thinking: technology is a way to get your own infrastructure by building something that is on the side of, or contrary to, commercially available tools. To get the tools into de workers’ house, to own your own tools. That was actually a very important part of early BEK. To have control over infrastructure and tools was really important. Very early on, Gisle knew how this all fitted together technologically, he knew how to work with Unix systems, create open-souce, free software and tools. He was so clear; he was older than me and had already been working a lot with this, and his ideology was really important for us at BEK at the time. Jorgen Larsson 2020 – pag. 125<br /> <br /> === '''Piksel influenced the Norwegian electronic art scene opening up new inspiration and tools to Norwegian artists.''' ===<br /> <br /> Piksel was, an still is, a large international scene. Thirty to forty artists and programmers would come to BEK every year, and we filled Landmark and other venues with days of jamming and trying out different things. This scene was very much focusing on Linux. I was really influenced by the artists such as Martin Howse, Jonathan Kemp and Erich Berger. For me, Piksel was a huge inspiration in terms of research. Ellen Roed, 2020 -pag 128.<br /> <br /> As a pioneer, Piksel was the first festival in the world devoted to free/libre technologies applied to arts. The festival model was promptly followed along Europe for many other artists associations and collectives. That situation also brought Bergen as the centre of the free media art.<br /> <br /> Piksel was a big part of my work at BEK in the first years. What is interesting is that Piksel not as much part of the local and national, but rather of the international field. For many people abroad, the only thing they know about Bergen is that Piksel is happening here. Roar Sletteland, 2020. - pag128<br /> <br /> Locally and internationally Piksel has written the story of new media art using Free and Libre technologies, after 20 years there is a lot to tell to new generations. <br /> As Dušan Barok, the founding editor of Monoskop, a research platform for the arts and humanities, states: “Through the Piksel history we can know the history of Free/Libre Open Source and Software movement”, that is the importance of the Piksel festivals in Norway and its impact in the international arenas.<br /> <br /> To preserve the history of contemporary art in Norway, the electronic and experimental art scene that Norway triggered internationally through the Piksel festival, and to open it to new generations is the goal of this book.<br /> <br /> == '''The book. PIKSEL XX. 20 years of Libre Electronic Art. ''' ==<br /> <br /> The book “Piksel. Celebrating 20 years of New Media Art and Free/Libre technologies in Norway” intends to collect the history of Piksel and the reflections, thoughts, collaborations and projects that was initiated as a result of artists meeting at the festival.<br /> Themes will range among the Piksel theme: Electronic art and Free/Libre technologies and subtopics: artistic practices related to politics and surveillance in information technologies, open source biokitchen art, visual/sound instruments made by electronics using Free/Libre software and hardware (FLOSS), and open networks and communities around FLOSS. <br /> <br /> The book is divided into 5 parts: 20 years of Piksel, Piksel on politics, The Piksel Kitchen bioart, Electronic instruments FLOSS based, and Piksel Open Networks. <br /> <br /> The publication includes ‘ad hoc’ written articles by Norwegian and international Piksel guest artists and special contribution from the writer Frode Grytten, an author based in Bergen. <br /> Among the invited artists, Per Platou (Motherboard) and Grethe Melby, Norwegian electronic arts pioneers, and art critic writer at Scenkunst, Dr.Jonatan Kemp, an artist, researcher and main editor of the Icon - The Institute of Conservation, Icon is the professional body and the lead voice for the conservation and restoration of cultural heritage (objects, collections and buildings, from stones to hard disks) in the UK, Aymeric Mansoux (Goto10) + Marloes de Valk, artists and editors of the well known book FLOSS+Art, Robertina Šebjanič and Marc Duseiller, main figures of the biokitchen artistic practices worldwide, Malte Steiner, artist and developer practitioner, and the open networks APO33, Asimtria / Marco Valdivia (Perú) / Paola Torres Núñez del Prado as representatives of Piksel Pulse, those international projects carried by Piksel abroad. <br /> <br /> The editorial team has been carefully chosen. The editor and in charge of the Piksel history chapter is Dušan Barok, an artist, researcher and organiser. He is founding editor of Monoskop, a research platform for the arts and humanities. His work deals with digital culture, memory studies and activism. The deepest knowledge of Dusan Barok in the field of new media art and the free artists communities and the fact that he has been editing the book last year edited by BEK: 20 years of BEK, made us to decide he is the right person to carry on the job. He has already deep knowledge in the Norwegian electronic media culture and scene. With this book we try to add to that history, not to repeat. It is important to work with somebody in the field also in a geographical approach. <br /> <br /> The book also intends to reflect the artistic part of Piksel as an artist book. The goal is to bring special attention also to its design. Jenny Picket is a Goldsmith artist designer who has developed Piksel design along the years. Working with FLOSS technologies she will create an outstanding front page and artistic book including more than 100 colour pictures.<br /> <br /> The book will be printed in one of the best printers in Bergen, specialized in artist book and exhibition catalogues Bodoni. Printed on matte, 120grs paper and hardcovers.<br /> Apart form the 500 copies we intend to do, we will open a process of “printing on demand” online.</div>

Maite https://wiki.piksel.org/index.php?title=PIKSEL_XX._20_years_of_Libre_Electronic_Art_2022-24&diff=9538 2023-04-13T10:14:43Z

<p>Maite: </p> <hr /> <div>Bergen 2022<br /> <br /> ''“The development, and therefore use, of digital technology today is mainly controlled by multinational corporations. Despite the prospects of technology expanding the means of artistic expression, the commercial demands of the software industries severely limit them instead. <br /> <br /> Piksel is focusing on the Free/Libre and Open Source movement as a strategy for regaining artistic control of the technology, but also a means to bring attention to the close connections between art, politics, technology and economy.”''<br /> <br /> '''― Piksel festival'''<br /> <br /> =='''2003-2022 – 20 years of the Piksel in Norway.'''==<br /> <br /> In November 2003 the first edition of p1k5el, or Piksel, takes place at BEK, Landmark and the Art Academy. The instigator of the event is Gisle Frøysland whose original intention was to organise a workshop around ‘real-time media’ tools, particularly the MøB platform which has reached a state where it may prove useful for other artists. Participants include Artem Baguinski, Antoine van de Ven and Simon de Bakker from V2_ Rotterdam, Tom Schouten from Belgium, Yves Degoyon from France, Jaromil from Italy, Pedro Soler from Spain, Amy Alexander from the USA, Martin Howse from the UK and Kentaro Fukuchi from Japan, altogether about 30 artists and developers. #video #vjing #software #workshop #realtime #freesoftware<br /> <br /> From 2005 Piksel widens its scope to focus more broadly on the aesthetics and politics of open source, adopting the subtitle ‘Festival for Free, Libre and Open Source Audiovisual Software and Art’. About 60 participants gather at the event, from the collectives and organisations Goto10, dyne.org, Hackitectura, De Waag, Free Software Foundation and others. <br /> <br /> By 2007, the exclusive reliance on free software as opposed to proprietary tools is without precedent in the context of arts events. With further editions to follow ever since, Piksel would established itself as the leading event for open-source arts internationally. Like-minded festivals would follow including Make Art, organised by Goto10 in Poitiers between 2006-2010, and LiWoLi in Linz from 2008, later called Art Meets Radical Openness. By now, Piksel has also established an informal support network with the audiovisual arts and digital culture festival Pixelache which took place in April at Kiasma Museum in Helsinki and its offshoot Mau au Pixel planned for the following April in Paris. Tatiana Bazzichelli (Aksioma) in Italy, servus.at in Austria and APO33 in France.<br /> <br /> Over the 20 years, Piksel has become a strong international network and annual event for electronic art and technological freedom. Part workshop, part festival, it is based in a mixed artists selections, part curated and partially selected by the open call, it mixes different artists and programmers generations, all FLOSS practitioners.<br /> <br /> As the head of PNEK Stahl Stenslie stated in the 2015 Piksel edition, after 12 yeas of existence, “Piksel is more than a festival. It is a contemporary academy in the experimental arts. Organized by Gisle Frøysland and Maite Cajaraville, Piksel turns Bergen into a creative explosion of new, emerging forms of creative expressions and strangely attractive experiments. The 2015 version saw anything from deep noise concerts to workshops in Do-It-Yourself, open source biokitchen art to electro-mechanical sculptures and surveillance bots. It was an event not just for visitors, but also an exquisite arena for the exchange of ideas and inspirations between artists. The feeling of the festival was intimate and local, yet a temporary home to a wide number of international guests from all over the world. Piksel is what PNEK is about: getting stronger through networking and building bonds across boundaries of thinking and acting.”<br /> <br /> ==='''Piksel = Open source + art'''===<br /> <br /> Gisle Froysland, the director of Piksel Festival over the years, started BEK (Bergen Elektronik Kunst, together with Jorgen Larsson who states about him “Gisle did amazing video installations, a real 8-bit steampunk. Gisle was the video guy for Bakruppen and played guitar in Alle Tiders Duster. He was a legend. We approached him and he said yes! Gisle Froysland.<br /> Both Gisle and I had a kind of contrary thinking: technology is a way to get your own infrastructure by building something that is on the side of, or contrary to, commercially available tools. To get the tools into de workers’ house, to own your own tools. That was actually a very important part of early BEK. To have control over infrastructure and tools was really important. Very early on, Gisle knew how this all fitted together technologically, he knew how to work with Unix systems, create open-souce, free software and tools. He was so clear; he was older than me and had already been working a lot with this, and his ideology was really important for us at BEK at the time. Jorgen Larsson 2020 – pag. 125<br /> <br /> '''Piksel influenced the Norwegian electronic art scene opening up new inspiration and tools to Norwegian artists.'''<br /> <br /> Piksel was, an still is, a large international scene. Thirty to forty artists and programmers would come to BEK every year, and we filled Landmark and other venues with days of jamming and trying out different things. This scene was very much focusing on Linux. I was really influenced by the artists such as Martin Howse, Jonathan Kemp and Erich Berger. For me, Piksel was a huge inspiration in terms of research. Ellen Roed, 2020 -pag 128.<br /> <br /> As a pioneer, Piksel was the first festival in the world devoted to free/libre technologies applied to arts. The festival model was promptly followed along Europe for many other artists associations and collectives. That situation also brought Bergen as the centre of the free media art.<br /> <br /> Piksel was a big part of my work at BEK in the first years. What is interesting is that Piksel not as much part of the local and national, but rather of the international field. For many people abroad, the only thing they know about Bergen is that Piksel is happening here. Roar Sletteland, 2020. - pag128<br /> <br /> Locally and internationally Piksel has written the story of new media art using Free and Libre technologies, after 20 years there is a lot to tell to new generations. <br /> As Dušan Barok, the founding editor of Monoskop, a research platform for the arts and humanities, states: “Through the Piksel history we can know the history of Free/Libre Open Source and Software movement”, that is the importance of the Piksel festivals in Norway and its impact in the international arenas.<br /> <br /> To preserve the history of contemporary art in Norway, the electronic and experimental art scene that Norway triggered internationally through the Piksel festival, and to open it to new generations is the goal of this book.<br /> <br /> =='''PIKSEL XX. 20 years of Libre Electronic Art. The book.'''==<br /> <br /> The book “Piksel. Celebrating 20 years of New Media Art and Free/Libre technologies in Norway” intends to collect the history of Piksel and the reflections, thoughts, collaborations and projects that was initiated as a result of artists meeting at the festival.<br /> Themes will range among the Piksel theme: Electronic art and Free/Libre technologies and subtopics: artistic practices related to politics and surveillance in information technologies, open source biokitchen art, visual/sound instruments made by electronics using Free/Libre software and hardware (FLOSS), and open networks and communities around FLOSS. <br /> <br /> The book is divided into 5 parts: 20 years of Piksel, Piksel on politics, The Piksel Kitchen bioart, Electronic instruments FLOSS based, and Piksel Open Networks. <br /> <br /> The publication includes ‘ad hoc’ written articles by Norwegian and international Piksel guest artists and special contribution from the writer Frode Grytten, an author based in Bergen. <br /> Among the invited artists, Per Platou (Motherboard) and Grethe Melby, Norwegian electronic arts pioneers, and art critic writer at Scenkunst, Dr.Jonatan Kemp, an artist, researcher and main editor of the Icon - The Institute of Conservation, Icon is the professional body and the lead voice for the conservation and restoration of cultural heritage (objects, collections and buildings, from stones to hard disks) in the UK, Aymeric Mansoux (Goto10) + Marloes de Valk, artists and editors of the well known book FLOSS+Art, Robertina Šebjanič and Marc Duseiller, main figures of the biokitchen artistic practices worldwide, Malte Steiner, artist and developer practitioner, and the open networks APO33, Asimtria / Marco Valdivia (Perú) / Paola Torres Núñez del Prado as representatives of Piksel Pulse, those international projects carried by Piksel abroad. <br /> <br /> The editorial team has been carefully chosen. The editor and in charge of the Piksel history chapter is Dušan Barok, an artist, researcher and organiser. He is founding editor of Monoskop, a research platform for the arts and humanities. His work deals with digital culture, memory studies and activism. The deepest knowledge of Dusan Barok in the field of new media art and the free artists communities and the fact that he has been editing the book last year edited by BEK: 20 years of BEK, made us to decide he is the right person to carry on the job. He has already deep knowledge in the Norwegian electronic media culture and scene. With this book we try to add to that history, not to repeat. It is important to work with somebody in the field also in a geographical approach. <br /> <br /> The book also intends to reflect the artistic part of Piksel as an artist book. The goal is to bring special attention also to its design. Jenny Picket is a Goldsmith artist designer who has developed Piksel design along the years. Working with FLOSS technologies she will create an outstanding front page and artistic book including more than 100 colour pictures.<br /> <br /> The book will be printed in one of the best printers in Bergen, specialized in artist book and exhibition catalogues Bodoni. Printed on matte, 120grs paper and hardcovers.<br /> Apart form the 500 copies we intend to do, we will open a process of “printing on demand” online.</div>

Maite https://wiki.piksel.org/index.php?title=PIKSEL_XX._20_years_of_Libre_Electronic_Art_2022-24&diff=9537 2023-04-13T10:10:08Z

<p>Maite: </p> <hr /> <div>Bergen 2022<br /> <br /> ''“The development, and therefore use, of digital technology today is mainly controlled by multinational corporations. Despite the prospects of technology expanding the means of artistic expression, the commercial demands of the software industries severely limit them instead. <br /> <br /> Piksel is focusing on the Free/Libre and Open Source movement as a strategy for regaining artistic control of the technology, but also a means to bring attention to the close connections between art, politics, technology and economy.”''<br /> <br /> =='''― Piksel festival'''==<br /> <br /> '''2003-2022 – 20 years of the Piksel in Norway.'''<br /> <br /> In November 2003 the first edition of p1k5el, or Piksel, takes place at BEK, Landmark and the Art Academy. The instigator of the event is Gisle Frøysland whose original intention was to organise a workshop around ‘real-time media’ tools, particularly the MøB platform which has reached a state where it may prove useful for other artists. Participants include Artem Baguinski, Antoine van de Ven and Simon de Bakker from V2_ Rotterdam, Tom Schouten from Belgium, Yves Degoyon from France, Jaromil from Italy, Pedro Soler from Spain, Amy Alexander from the USA, Martin Howse from the UK and Kentaro Fukuchi from Japan, altogether about 30 artists and developers. #video #vjing #software #workshop #realtime #freesoftware<br /> <br /> From 2005 Piksel widens its scope to focus more broadly on the aesthetics and politics of open source, adopting the subtitle ‘Festival for Free, Libre and Open Source Audiovisual Software and Art’. About 60 participants gather at the event, from the collectives and organisations Goto10, dyne.org, Hackitectura, De Waag, Free Software Foundation and others. <br /> <br /> By 2007, the exclusive reliance on free software as opposed to proprietary tools is without precedent in the context of arts events. With further editions to follow ever since, Piksel would established itself as the leading event for open-source arts internationally. Like-minded festivals would follow including Make Art, organised by Goto10 in Poitiers between 2006-2010, and LiWoLi in Linz from 2008, later called Art Meets Radical Openness. By now, Piksel has also established an informal support network with the audiovisual arts and digital culture festival Pixelache which took place in April at Kiasma Museum in Helsinki and its offshoot Mau au Pixel planned for the following April in Paris. Tatiana Bazzichelli (Aksioma) in Italy, servus.at in Austria and APO33 in France.<br /> <br /> Over the 20 years, Piksel has become a strong international network and annual event for electronic art and technological freedom. Part workshop, part festival, it is based in a mixed artists selections, part curated and partially selected by the open call, it mixes different artists and programmers generations, all FLOSS practitioners.<br /> <br /> As the head of PNEK Stahl Stenslie stated in the 2015 Piksel edition, after 12 yeas of existence, “Piksel is more than a festival. It is a contemporary academy in the experimental arts. Organized by Gisle Frøysland and Maite Cajaraville, Piksel turns Bergen into a creative explosion of new, emerging forms of creative expressions and strangely attractive experiments. The 2015 version saw anything from deep noise concerts to workshops in Do-It-Yourself, open source biokitchen art to electro-mechanical sculptures and surveillance bots. It was an event not just for visitors, but also an exquisite arena for the exchange of ideas and inspirations between artists. The feeling of the festival was intimate and local, yet a temporary home to a wide number of international guests from all over the world. Piksel is what PNEK is about: getting stronger through networking and building bonds across boundaries of thinking and acting.”<br /> <br /> '''Piksel = Open source + art'''<br /> <br /> Gisle Froysland, the director of Piksel Festival over the years, started BEK (Bergen Elektronik Kunst, together with Jorgen Larsson who states about him “Gisle did amazing video installations, a real 8-bit steampunk. Gisle was the video guy for Bakruppen and played guitar in Alle Tiders Duster. He was a legend. We approached him and he said yes! Gisle Froysland.<br /> Both Gisle and I had a kind of contrary thinking: technology is a way to get your own infrastructure by building something that is on the side of, or contrary to, commercially available tools. To get the tools into de workers’ house, to own your own tools. That was actually a very important part of early BEK. To have control over infrastructure and tools was really important. Very early on, Gisle knew how this all fitted together technologically, he knew how to work with Unix systems, create open-souce, free software and tools. He was so clear; he was older than me and had already been working a lot with this, and his ideology was really important for us at BEK at the time. Jorgen Larsson 2020 – pag. 125<br /> <br /> '''Piksel influenced the Norwegian electronic art scene opening up new inspiration and tools to Norwegian artists.'''<br /> <br /> Piksel was, an still is, a large international scene. Thirty to forty artists and programmers would come to BEK every year, and we filled Landmark and other venues with days of jamming and trying out different things. This scene was very much focusing on Linux. I was really influenced by the artists such as Martin Howse, Jonathan Kemp and Erich Berger. For me, Piksel was a huge inspiration in terms of research. Ellen Roed, 2020 -pag 128.<br /> <br /> As a pioneer, Piksel was the first festival in the world devoted to free/libre technologies applied to arts. The festival model was promptly followed along Europe for many other artists associations and collectives. That situation also brought Bergen as the centre of the free media art.<br /> <br /> Piksel was a big part of my work at BEK in the first years. What is interesting is that Piksel not as much part of the local and national, but rather of the international field. For many people abroad, the only thing they know about Bergen is that Piksel is happening here. Roar Sletteland, 2020. - pag128<br /> <br /> Locally and internationally Piksel has written the story of new media art using Free and Libre technologies, after 20 years there is a lot to tell to new generations. <br /> As Dušan Barok, the founding editor of Monoskop, a research platform for the arts and humanities, states: “Through the Piksel history we can know the history of Free/Libre Open Source and Software movement”, that is the importance of the Piksel festivals in Norway and its impact in the international arenas.<br /> <br /> To preserve the history of contemporary art in Norway, the electronic and experimental art scene that Norway triggered internationally through the Piksel festival, and to open it to new generations is the goal of this book.<br /> <br /> '''Piksel 20 years. The book.'''<br /> <br /> The book “Piksel. Celebrating 20 years of New Media Art and Free/Libre technologies in Norway” intends to collect the history of Piksel and the reflections, thoughts, collaborations and projects that was initiated as a result of artists meeting at the festival.<br /> Themes will range among the Piksel theme: Electronic art and Free/Libre technologies and subtopics: artistic practices related to politics and surveillance in information technologies, open source biokitchen art, visual/sound instruments made by electronics using Free/Libre software and hardware (FLOSS), and open networks and communities around FLOSS. <br /> <br /> The book is divided into 5 parts: 20 years of Piksel, Piksel on politics, The Piksel Kitchen bioart, Electronic instruments FLOSS based, and Piksel Open Networks. <br /> <br /> The publication includes ‘ad hoc’ written articles by Norwegian and international Piksel guest artists and special contribution from the writer Frode Grytten, an author based in Bergen. <br /> Among the invited artists, Per Platou (Motherboard) and Grethe Melby, Norwegian electronic arts pioneers, and art critic writer at Scenkunst, Dr.Jonatan Kemp, an artist, researcher and main editor of the Icon - The Institute of Conservation, Icon is the professional body and the lead voice for the conservation and restoration of cultural heritage (objects, collections and buildings, from stones to hard disks) in the UK, Aymeric Mansoux (Goto10) + Marloes de Valk, artists and editors of the well known book FLOSS+Art, Robertina Šebjanič and Marc Duseiller, main figures of the biokitchen artistic practices worldwide, Malte Steiner, artist and developer practitioner, and the open networks APO33, Asimtria / Marco Valdivia (Perú) / Paola Torres Núñez del Prado as representatives of Piksel Pulse, those international projects carried by Piksel abroad. <br /> <br /> The editorial team has been carefully chosen. The editor and in charge of the Piksel history chapter is Dušan Barok, an artist, researcher and organiser. He is founding editor of Monoskop, a research platform for the arts and humanities. His work deals with digital culture, memory studies and activism. The deepest knowledge of Dusan Barok in the field of new media art and the free artists communities and the fact that he has been editing the book last year edited by BEK: 20 years of BEK, made us to decide he is the right person to carry on the job. He has already deep knowledge in the Norwegian electronic media culture and scene. With this book we try to add to that history, not to repeat. It is important to work with somebody in the field also in a geographical approach. <br /> <br /> The book also intends to reflect the artistic part of Piksel as an artist book. The goal is to bring special attention also to its design. Jenny Picket is a Goldsmith artist designer who has developed Piksel design along the years. Working with FLOSS technologies she will create an outstanding front page and artistic book including more than 100 colour pictures.<br /> <br /> The book will be printed in one of the best printers in Bergen, specialized in artist book and exhibition catalogues Bodoni. Printed on matte, 120grs paper and hardcovers.<br /> Apart form the 500 copies we intend to do, we will open a process of “printing on demand” online.</div>

Maite https://wiki.piksel.org/index.php?title=PIKSEL_XX._20_years_of_Libre_Electronic_Art_2022-24&diff=9536 2023-04-13T10:04:46Z

<p>Maite: </p> <hr /> <div>Bergen 2022<br /> <br /> ''“The development, and therefore use, of digital technology today is mainly controlled by multinational corporations. Despite the prospects of technology expanding the means of artistic expression, the commercial demands of the software industries severely limit them instead. <br /> <br /> Piksel is focusing on the Free/Libre and Open Source movement as a strategy for regaining artistic control of the technology, but also a means to bring attention to the close connections between art, politics, technology and economy.”''<br /> <br /> '''― Piksel festival'''<br /> <br /> '''2003-2022 – 20 years of the Piksel in Norway.'''<br /> <br /> In November 2003 the first edition of p1k5el, or Piksel, takes place at BEK, Landmark and the Art Academy. The instigator of the event is Gisle Frøysland whose original intention was to organise a workshop around ‘real-time media’ tools, particularly the MøB platform which has reached a state where it may prove useful for other artists. Participants include Artem Baguinski, Antoine van de Ven and Simon de Bakker from V2_ Rotterdam, Tom Schouten from Belgium, Yves Degoyon from France, Jaromil from Italy, Pedro Soler from Spain, Amy Alexander from the USA, Martin Howse from the UK and Kentaro Fukuchi from Japan, altogether about 30 artists and developers. #video #vjing #software #workshop #realtime #freesoftware<br /> <br /> From 2005 Piksel widens its scope to focus more broadly on the aesthetics and politics of open source, adopting the subtitle ‘Festival for Free, Libre and Open Source Audiovisual Software and Art’. About 60 participants gather at the event, from the collectives and organisations Goto10, dyne.org, Hackitectura, De Waag, Free Software Foundation and others. <br /> <br /> By 2007, the exclusive reliance on free software as opposed to proprietary tools is without precedent in the context of arts events. With further editions to follow ever since, Piksel would established itself as the leading event for open-source arts internationally. Like-minded festivals would follow including Make Art, organised by Goto10 in Poitiers between 2006-2010, and LiWoLi in Linz from 2008, later called Art Meets Radical Openness. By now, Piksel has also established an informal support network with the audiovisual arts and digital culture festival Pixelache which took place in April at Kiasma Museum in Helsinki and its offshoot Mau au Pixel planned for the following April in Paris. Tatiana Bazzichelli (Aksioma) in Italy, servus.at in Austria and APO33 in France.<br /> <br /> Over the 20 years, Piksel has become a strong international network and annual event for electronic art and technological freedom. Part workshop, part festival, it is based in a mixed artists selections, part curated and partially selected by the open call, it mixes different artists and programmers generations, all FLOSS practitioners.<br /> <br /> As the head of PNEK Stahl Stenslie stated in the 2015 Piksel edition, after 12 yeas of existence, “Piksel is more than a festival. It is a contemporary academy in the experimental arts. Organized by Gisle Frøysland and Maite Cajaraville, Piksel turns Bergen into a creative explosion of new, emerging forms of creative expressions and strangely attractive experiments. The 2015 version saw anything from deep noise concerts to workshops in Do-It-Yourself, open source biokitchen art to electro-mechanical sculptures and surveillance bots. It was an event not just for visitors, but also an exquisite arena for the exchange of ideas and inspirations between artists. The feeling of the festival was intimate and local, yet a temporary home to a wide number of international guests from all over the world. Piksel is what PNEK is about: getting stronger through networking and building bonds across boundaries of thinking and acting.”<br /> <br /> '''Piksel = Open source + art'''<br /> <br /> Gisle Froysland, the director of Piksel Festival over the years, started BEK (Bergen Elektronik Kunst, together with Jorgen Larsson who states about him “Gisle did amazing video installations, a real 8-bit steampunk. Gisle was the video guy for Bakruppen and played guitar in Alle Tiders Duster. He was a legend. We approached him and he said yes! Gisle Froysland.<br /> Both Gisle and I had a kind of contrary thinking: technology is a way to get your own infrastructure by building something that is on the side of, or contrary to, commercially available tools. To get the tools into de workers’ house, to own your own tools. That was actually a very important part of early BEK. To have control over infrastructure and tools was really important. Very early on, Gisle knew how this all fitted together technologically, he knew how to work with Unix systems, create open-souce, free software and tools. He was so clear; he was older than me and had already been working a lot with this, and his ideology was really important for us at BEK at the time. Jorgen Larsson 2020 – pag. 125<br /> Piksel influenced the Norwegian electronic art scene opening up new inspiration and tools to Norwegian artists.<br /> Piksel was, an still is, a large international scene. Thirty to forty artists and programmers would come to BEK every year, and we filled Landmark and other venues with days of jamming and trying out different things. This scene was very much focusing on Linux. I was really influenced by the artists such as Martin Howse, Jonathan Kemp and Erich Berger. For me, Piksel was a huge inspiration in terms of research. Ellen Roed, 2020 -pag 128.<br /> <br /> As a pioneer, Piksel was the first festival in the world devoted to free/libre technologies applied to arts. The festival model was promptly followed along Europe for many other artists associations and collectives. That situation also brought Bergen as the centre of the free media art.<br /> Piksel was a big part of my work at BEK in the first years. What is interesting is that Piksel not as much part of the local and national, but rather of the international field. For many people abroad, the only thing they know about Bergen is that Piksel is happening here. Roar Sletteland, 2020. - pag128<br /> Locally and internationally Piksel has written the story of new media art using Free and Libre technologies, after 20 years there is a lot to tell to new generations. <br /> As Dušan Barok, the founding editor of Monoskop, a research platform for the arts and humanities, states: “Through the Piksel history we can know the history of Free/Libre Open Source and Software movement”, that is the importance of the Piksel festivals in Norway and its impact in the international arenas.<br /> To preserve the history of contemporary art in Norway, the electronic and experimental art scene that Norway triggered internationally through the Piksel festival, and to open it to new generations is the goal of this book.<br /> <br /> '''Piksel 20 years. The book.'''<br /> <br /> The book “Piksel. Celebrating 20 years of New Media Art and Free/Libre technologies in Norway” intends to collect the history of Piksel and the reflections, thoughts, collaborations and projects that was initiated as a result of artists meeting at the festival.<br /> Themes will range among the Piksel theme: Electronic art and Free/Libre technologies and subtopics: artistic practices related to politics and surveillance in information technologies, open source biokitchen art, visual/sound instruments made by electronics using Free/Libre software and hardware (FLOSS), and open networks and communities around FLOSS. <br /> The book is divided into 5 parts: 20 years of Piksel, Piksel on politics, The Piksel Kitchen bioart, Electronic instruments FLOSS based, and Piksel Open Networks. <br /> The publication includes ‘ad hoc’ written articles by Norwegian and international Piksel guest artists and special contribution from the writer Frode Grytten, an author based in Bergen. <br /> Among the invited artists, Per Platou (Motherboard) and Grethe Melby, Norwegian electronic arts pioneers, and art critic writer at Scenkunst, Dr.Jonatan Kemp, an artist, researcher and main editor of the Icon - The Institute of Conservation, Icon is the professional body and the lead voice for the conservation and restoration of cultural heritage (objects, collections and buildings, from stones to hard disks) in the UK, Aymeric Mansoux (Goto10) + Marloes de Valk, artists and editors of the well known book FLOSS+Art, Robertina Šebjanič and Marc Duseiller, main figures of the biokitchen artistic practices worldwide, Malte Steiner, artist and developer practitioner, and the open networks APO33, Asimtria / Marco Valdivia (Perú) / Paola Torres Núñez del Prado as representatives of Piksel Pulse, those international projects carried by Piksel abroad. <br /> <br /> The editorial team has been carefully chosen. The editor and in charge of the Piksel history chapter is Dušan Barok, an artist, researcher and organiser. He is founding editor of Monoskop, a research platform for the arts and humanities. His work deals with digital culture, memory studies and activism. The deepest knowledge of Dusan Barok in the field of new media art and the free artists communities and the fact that he has been editing the book last year edited by BEK: 20 years of BEK, made us to decide he is the right person to carry on the job. He has already deep knowledge in the Norwegian electronic media culture and scene. With this book we try to add to that history, not to repeat. It is important to work with somebody in the field also in a geographical approach. <br /> <br /> The book also intends to reflect the artistic part of Piksel as an artist book. The goal is to bring special attention also to its design. Jenny Picket is a Goldsmith artist designer who has developed Piksel design along the years. Working with FLOSS technologies she will create an outstanding front page and artistic book including more than 100 colour pictures.<br /> The book will be printed in one of the best printers in Bergen, specialized in artist book and exhibition catalogues Bodoni. Printed on matte, 120grs paper and hardcovers.<br /> Apart form the 500 copies we intend to do, we will open a process of “printing on demand” online.</div>

Maite https://wiki.piksel.org/index.php?title=PIKSEL_XX._20_years_of_Libre_Electronic_Art_2022-24&diff=9535 2023-04-13T10:03:10Z

<p>Maite: Created page with &quot;Bergen 2022 &#039;&#039;“The development, and therefore use, of digital technology today is mainly controlled by multinational corporations. Despite the prospects of technology expanding the means of artistic expression, the commercial demands of the software industries severely limit them instead. Piksel is focusing on the Free/Libre and Open Source movement as a strategy for regaining artistic control of the technology, but also a means to bring attention to the close conne...&quot;</p> <hr /> <div>Bergen 2022<br /> <br /> ''“The development, and therefore use, of digital technology today is mainly controlled by multinational corporations. Despite the prospects of technology expanding the means of artistic expression, the commercial demands of the software industries severely limit them instead. <br /> <br /> Piksel is focusing on the Free/Libre and Open Source movement as a strategy for regaining artistic control of the technology, but also a means to bring attention to the close connections between art, politics, technology and economy.”''<br /> <br /> '''― Piksel festival'''<br /> <br /> '''2003-2022 – 20 years of the Piksel in Norway.'''<br /> <br /> In November 2003 the first edition of p1k5el, or Piksel, takes place at BEK, Landmark and the Art Academy. The instigator of the event is Gisle Frøysland whose original intention was to organise a workshop around ‘real-time media’ tools, particularly the MøB platform which has reached a state where it may prove useful for other artists. Participants include Artem Baguinski, Antoine van de Ven and Simon de Bakker from V2_ Rotterdam, Tom Schouten from Belgium, Yves Degoyon from France, Jaromil from Italy, Pedro Soler from Spain, Amy Alexander from the USA, Martin Howse from the UK and Kentaro Fukuchi from Japan, altogether about 30 artists and developers. #video #vjing #software #workshop #realtime #freesoftware<br /> From 2005 Piksel widens its scope to focus more broadly on the aesthetics and politics of open source, adopting the subtitle ‘Festival for Free, Libre and Open Source Audiovisual Software and Art’. About 60 participants gather at the event, from the collectives and organisations Goto10, dyne.org, Hackitectura, De Waag, Free Software Foundation and others. <br /> By 2007, the exclusive reliance on free software as opposed to proprietary tools is without precedent in the context of arts events. With further editions to follow ever since, Piksel would established itself as the leading event for open-source arts internationally. Like-minded festivals would follow including Make Art, organised by Goto10 in Poitiers between 2006-2010, and LiWoLi in Linz from 2008, later called Art Meets Radical Openness. By now, Piksel has also established an informal support network with the audiovisual arts and digital culture festival Pixelache which took place in April at Kiasma Museum in Helsinki and its offshoot Mau au Pixel planned for the following April in Paris. Tatiana Bazzichelli (Aksioma) in Italy, servus.at in Austria and APO33 in France.<br /> Over the 20 years, Piksel has become a strong international network and annual event for electronic art and technological freedom. Part workshop, part festival, it is based in a mixed artists selections, part curated and partially selected by the open call, it mixes different artists and programmers generations, all FLOSS practitioners.<br /> As the head of PNEK Stahl Stenslie stated in the 2015 Piksel edition, after 12 yeas of existence, “Piksel is more than a festival. It is a contemporary academy in the experimental arts. Organized by Gisle Frøysland and Maite Cajaraville, Piksel turns Bergen into a creative explosion of new, emerging forms of creative expressions and strangely attractive experiments. The 2015 version saw anything from deep noise concerts to workshops in Do-It-Yourself, open source biokitchen art to electro-mechanical sculptures and surveillance bots. It was an event not just for visitors, but also an exquisite arena for the exchange of ideas and inspirations between artists. The feeling of the festival was intimate and local, yet a temporary home to a wide number of international guests from all over the world. Piksel is what PNEK is about: getting stronger through networking and building bonds across boundaries of thinking and acting.”<br /> <br /> '''Piksel = Open source + art'''<br /> <br /> Gisle Froysland, the director of Piksel Festival over the years, started BEK (Bergen Elektronik Kunst, together with Jorgen Larsson who states about him “Gisle did amazing video installations, a real 8-bit steampunk. Gisle was the video guy for Bakruppen and played guitar in Alle Tiders Duster. He was a legend. We approached him and he said yes! Gisle Froysland.<br /> Both Gisle and I had a kind of contrary thinking: technology is a way to get your own infrastructure by building something that is on the side of, or contrary to, commercially available tools. To get the tools into de workers’ house, to own your own tools. That was actually a very important part of early BEK. To have control over infrastructure and tools was really important. Very early on, Gisle knew how this all fitted together technologically, he knew how to work with Unix systems, create open-souce, free software and tools. He was so clear; he was older than me and had already been working a lot with this, and his ideology was really important for us at BEK at the time. Jorgen Larsson 2020 – pag. 125<br /> Piksel influenced the Norwegian electronic art scene opening up new inspiration and tools to Norwegian artists.<br /> Piksel was, an still is, a large international scene. Thirty to forty artists and programmers would come to BEK every year, and we filled Landmark and other venues with days of jamming and trying out different things. This scene was very much focusing on Linux. I was really influenced by the artists such as Martin Howse, Jonathan Kemp and Erich Berger. For me, Piksel was a huge inspiration in terms of research. Ellen Roed, 2020 -pag 128.<br /> <br /> As a pioneer, Piksel was the first festival in the world devoted to free/libre technologies applied to arts. The festival model was promptly followed along Europe for many other artists associations and collectives. That situation also brought Bergen as the centre of the free media art.<br /> Piksel was a big part of my work at BEK in the first years. What is interesting is that Piksel not as much part of the local and national, but rather of the international field. For many people abroad, the only thing they know about Bergen is that Piksel is happening here. Roar Sletteland, 2020. - pag128<br /> Locally and internationally Piksel has written the story of new media art using Free and Libre technologies, after 20 years there is a lot to tell to new generations. <br /> As Dušan Barok, the founding editor of Monoskop, a research platform for the arts and humanities, states: “Through the Piksel history we can know the history of Free/Libre Open Source and Software movement”, that is the importance of the Piksel festivals in Norway and its impact in the international arenas.<br /> To preserve the history of contemporary art in Norway, the electronic and experimental art scene that Norway triggered internationally through the Piksel festival, and to open it to new generations is the goal of this book.<br /> <br /> '''Piksel 20 years. The book.'''<br /> <br /> The book “Piksel. Celebrating 20 years of New Media Art and Free/Libre technologies in Norway” intends to collect the history of Piksel and the reflections, thoughts, collaborations and projects that was initiated as a result of artists meeting at the festival.<br /> Themes will range among the Piksel theme: Electronic art and Free/Libre technologies and subtopics: artistic practices related to politics and surveillance in information technologies, open source biokitchen art, visual/sound instruments made by electronics using Free/Libre software and hardware (FLOSS), and open networks and communities around FLOSS. <br /> The book is divided into 5 parts: 20 years of Piksel, Piksel on politics, The Piksel Kitchen bioart, Electronic instruments FLOSS based, and Piksel Open Networks. <br /> The publication includes ‘ad hoc’ written articles by Norwegian and international Piksel guest artists and special contribution from the writer Frode Grytten, an author based in Bergen. <br /> Among the invited artists, Per Platou (Motherboard) and Grethe Melby, Norwegian electronic arts pioneers, and art critic writer at Scenkunst, Dr.Jonatan Kemp, an artist, researcher and main editor of the Icon - The Institute of Conservation, Icon is the professional body and the lead voice for the conservation and restoration of cultural heritage (objects, collections and buildings, from stones to hard disks) in the UK, Aymeric Mansoux (Goto10) + Marloes de Valk, artists and editors of the well known book FLOSS+Art, Robertina Šebjanič and Marc Duseiller, main figures of the biokitchen artistic practices worldwide, Malte Steiner, artist and developer practitioner, and the open networks APO33, Asimtria / Marco Valdivia (Perú) / Paola Torres Núñez del Prado as representatives of Piksel Pulse, those international projects carried by Piksel abroad. <br /> <br /> The editorial team has been carefully chosen. The editor and in charge of the Piksel history chapter is Dušan Barok, an artist, researcher and organiser. He is founding editor of Monoskop, a research platform for the arts and humanities. His work deals with digital culture, memory studies and activism. The deepest knowledge of Dusan Barok in the field of new media art and the free artists communities and the fact that he has been editing the book last year edited by BEK: 20 years of BEK, made us to decide he is the right person to carry on the job. He has already deep knowledge in the Norwegian electronic media culture and scene. With this book we try to add to that history, not to repeat. It is important to work with somebody in the field also in a geographical approach. <br /> <br /> The book also intends to reflect the artistic part of Piksel as an artist book. The goal is to bring special attention also to its design. Jenny Picket is a Goldsmith artist designer who has developed Piksel design along the years. Working with FLOSS technologies she will create an outstanding front page and artistic book including more than 100 colour pictures.<br /> The book will be printed in one of the best printers in Bergen, specialized in artist book and exhibition catalogues Bodoni. Printed on matte, 120grs paper and hardcovers.<br /> Apart form the 500 copies we intend to do, we will open a process of “printing on demand” online.</div>

Maite https://wiki.piksel.org/index.php?title=Main_Page&diff=9534 2023-04-13T09:54:04Z

<p>Maite: </p> <hr /> <div>[[File:PIKSEL-Logo-GOOD 150mm.png|600px|none]]<br /> <br /> &lt;big&gt;'''Welcome to the new Piksel wiki!'''&lt;/big&gt;<br /> <br /> <br /> This is the home for planning and documenting collaborative and participatory projects connected to [http://piksel.no/pulse Piksel Pulse] and [http://piksel.no/festival Piksel Festival] events. <br /> <br /> The old Piksel wiki (&lt; 2009) is now offline, but hopefully it will be restored for archival reasons.<br /> <br /> == Projects ==<br /> * 2022<br /> ** [[Inkluderende Digitalt Laboratorium for Eksperimentell Kunst (IDLE) 2022-24]]<br /> ** [[PIKSEL XX. 20 years of Libre Electronic Art 2022-24]]<br /> * 2021<br /> ** [[TransPiksel 2021]]<br /> * 2020<br /> ** [[TransPiksel 2020]]<br /> ** [[BAS Digital Challenge Program]]<br /> ** [[Piksel meets IoT]]<br /> * 2019<br /> ** [[TransPiksel 2019]]<br /> * 2018<br /> ** [[TransPiksel 2018]]<br /> * 2017<br /> ** [[TransPiksel 2017]]<br /> * 2016<br /> ** [[TransPiksel 2016]]<br /> ** [[Sushi Roulette: Novel plastic pollutants - byproducts of novel &amp; emerging technologies explored using novel DIY science techniques]]<br /> * 2015<br /> ** [[PIKSEL15 - Get A-Life!]]<br /> ** [[Pikslo deep diving / underwater interception of the nordic sea]]<br /> * 2012<br /> ** [[OpenSound Bergen]]<br /> * 2010<br /> ** [[Piksel SummerCamp 2010]]<br /> ** [[Regnskog]]<br /> * 2009<br /> ** [[Piksel Plenum]]<br /> <br /> ----</div>

Maite https://wiki.piksel.org/index.php?title=TransPiksel_2021&diff=9509 2021-03-01T13:50:01Z

<p>Maite: </p> <hr /> <div>[[File:Bannerwiki.jpg|1000px]]<br /> <br /> [[File:Logo_small.jpg|100px]]<br /> <br /> =='''Transpiksel, Laboratorios sobre arte electrónico y cultura digital en Abya Yala | Free Digital Culture Labs in Latinamerica'''==<br /> <br /> [[TransPiksel 2020]]<br /> <br /> [[TransPiksel 2019]]<br /> <br /> [[TransPiksel 2018]]<br /> <br /> [[TransPiksel 2017]]<br /> <br /> [[TransPiksel 2016]]<br /> <br /> == '''Transpiksel 2021, Paray mitapim Transpikselniqa''' ==<br /> <br /> Transpiksel es una red de colectivos en arte y tecnología de España, México, Noruega y Perú, quienes junto a otras organizaciones y colectivos proponen anualmente un festival itinerante, sucedido desde el año 2016 en Colombia, Chile, Ecuador, México, Perú y República Dominicana.<br /> <br /> En el 2021 propone una edición especial durante el verano austral, que presenta transmisiones de conciertos y performances audiovisuales desde Arequipa, Cusco, Huancayo, Lima y Ayacucho en Perú, Madrid en España y Ciudad de México, un programa de talleres virtuales y un espacio que reúne obras en VR y 3D, entre el 8 y el 26 febrero.<br /> <br /> ----<br /> <br /> ==='''''COMPILACIÓN DE ESCULTURAS 3D Y ESPACIOS DE REALIDAD VIRTUAL + PIKSEL QUARANTINE'''''===<br /> <br /> <br /> '''Lunes 08 Febrero'''<br /> <br /> :'''00h [MX] | 01h [PE] | 07h [Es/No]''' <br /> <br /> ::Apertura de recorridos, disponible hasta el 26 de febrero en https://asimtria.org/transpiksel/?page_id=203<br /> <br /> :::Pensamiento Vertical | [https://asimtria.org/transpiksel/?p=202 Analucia Roeder] [PE]<br /> <br /> :::COLINEALES | [https://asimtria.org/transpiksel/?p=207 Eleazar Herrera] [PE]<br /> <br /> :::Ancestros y Futuro | [https://asimtria.org/transpiksel/?p=213 Giovanna Pillaca Morote] [PE]<br /> <br /> :::Hibernación | [https://asimtria.org/transpiksel/?p=218 Jesper Frederiksen (Jesperino)] [PE/DK]<br /> <br /> :::LAYERING CORPUS | [https://asimtria.org/transpiksel/?p=223 Malitzin Cortes CNDSD] [MX]<br /> <br /> :::“Las redes son cromáticas” | [https://asimtria.org/transpiksel/?p=226 Santiago Ramírez Camarena] [PE]<br /> <br /> :::POLLEN GLITCH | [https://asimtria.org/transpiksel/?p=230 Yannet Vilela (N3t4)] [PE]<br /> <br /> :::Entidad Akakor, la experiencia VR | [https://asimtria.org/transpiksel/?p=235 Jennifer Durand - Daniel Escobar - Claudia Garcia - Giovanna Pillaca - Jose Luis Vintimilla] [PE/US/ES/EC]<br /> <br /> ::SELECCIÓN DE PIKSEL QUARANTINE<br /> <br /> :::BIO-CREA | [https://asimtria.org/transpiksel/?p=317 Hamilton Mestizo] [MX]<br /> <br /> :::Luftslott | [https://asimtria.org/transpiksel/?p=321 Alexandra Cárdenas] | [https://asimtria.org/transpiksel/?p=323 Camilla Vatne Barrat-Due] [MX/CO/NO]<br /> <br /> :::And in the future the cracks will also be a home. EcoPoetics. | [https://asimtria.org/transpiksel/?p=3195 Jaime Lobato] [MX]<br /> <br /> ==='''''Programa de Conciertos'''''===<br /> <br /> Transmisiones desde:<br /> <br /> : https://asimtria.org/Transpiksel<br /> : https://facebook.com/TransPiksel<br /> : https://www.youtube.com/asimtria<br /> : https://www.twitch.tv/pikselfest<br /> <br /> '''Martes 09 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 10) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/wasicleta/ Wasicleta], Cusco [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=77 Gladys Conde, en compañía de Omar Vargas] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=96 Rosa Naid Cruz Tica] – Electrónica, [https://asimtria.org/transpiksel/?p=96 María Luisa Ochoa Justiniani] – Improvisación Cello [PE]<br /> :::[https://asimtria.org/transpiksel/?p=116 TAKAU] [PE]<br /> <br /> <br /> <br /> '''Jueves 11 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 12) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Arequipa [PE], con la colaboración de [http://monopelao.pe/ Monopelao]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=120 r1ffm4nn] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=76 DMTh5] [PE]<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=134 Gabriel Tanta Chavez] [PE]<br /> <br /> <br /> <br /> '''Martes 16 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 17) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://www.cholacontravisual.com/la-munay-casa La Munay], Huancayo [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=150 Zorzal] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=153 Paraedolia Espectral] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=156 JoJoss.exe] [PE]<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Thu 18) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=159 Enrique Trelles] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=162 Karen Chalco] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=165 Patricia Saucedo] [PE]<br /> <br /> <br /> <br /> '''Jueves 18 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 19) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://asimitria.org asimtria.org], Ayacucho [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=273 Brageiki] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=276 Hanuna] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=279 '###'] [PE]<br /> <br /> <br /> <br /> '''Martes 23 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 24) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/toplap.mx/ Toplap MX], Ciudad de México [MX]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=194 Sonidazo La Verga] [MX] <br /> :::[https://asimtria.org/transpiksel/?p=196 César Ch + Arrehola] [MX]<br /> :::[https://asimtria.org/transpiksel/?p=199 NUT] [MX]<br /> <br /> <br /> <br /> '''Jueves 25 febrero'''<br /> <br /> :'''12h [MX] | 13h [PE] | 19h [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Madrid [ES], en colaboración con [http://villtank.com/ Villtank] y [https://piksel.no/ Piksel], Bergen [NO]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES] <br /> :::[https://asimtria.org/transpiksel/?p=187 Guillem Bayo] + [https://asimtria.org/transpiksel/?p=289 Me-Lenna (Luis González)] [ES]<br /> :::[https://asimtria.org/transpiksel/?p=291 Maite Cajaraville] + [https://asimtria.org/transpiksel/?p=293 Gisle Frøysland] [ES/NO]<br /> :::[https://asimtria.org/transpiksel/?p=291 David Brown - Gisle Frøysland + Anders G] [NO]<br /> <br /> ==='''''Talleres'''''===<br /> <br /> '''Lunes 15 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Pure Data para la síntesis y procesamiento de audio | [https://asimtria.org/transpiksel/?p=178 Abel Castro] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=30<br /> <br /> Pure Data es un potente software libre para procesamiento de datos, audio y video. En este curso veremos procesamiento de audio y síntesis. Empezaremos de manera experimental reutilizando, conectando y modificando algoritmos ya producidos. En una segunda parte introduciremos la parte teórica de las síntesis de audio y el flujo de datos.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 16) [Es/No]''' <br /> <br /> ::Introducción a Hydra – Visuales en vivo con lenguajes de programación | [https://asimtria.org/transpiksel/?p=175 SENSÁFONA] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=41<br /> <br /> Taller introductorio de Hydra como una herramienta que genera vínculos entre la tecnología libre y las artes para generar visuales en vivo haciendo uso de lenguajes de programación y plataformas colaborativas interdisciplinarias.<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''13h [MX] | 14h [PE] | 20h [Es/No]''' <br /> <br /> ::Diseño y fabricación de circuitos electrónicos | [https://asimtria.org/transpiksel/?p=187 Guillem Bayo] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> En el taller se analizarán proyectos de hardware libre de instrumentos autónomos, módulos eurorack y piezas de arte electrónico. Los participantes aprenderán a desarrollar sus propios proyectos e instrumentos partiendo de un núcleo de Arduino y a generar los Gerbers para encargar la fabricación de cualquier proyecto open source.<br /> <br /> El taller está dirigido a cualquier persona interesada en el desarrollo y la fabricación de instrumentos o piezas electrónicas.<br /> <br /> Los asistentes necesitarán un ordenador para seguir el taller y, a ser posible, tener instaladas las versiones gratuitas de KiCAD y EAGLE..<br /> <br /> <br /> <br /> '''Lunes 22 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Supercollider. Introducción a la programación textual para la ejecución musical | [https://asimtria.org/transpiksel/?p=172 Jorge Luis Quispe Córdova] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> El taller permitirá conocer e interactuar con la plataforma Supercollider como herramienta para la generación de material musical e intervención en vivo.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 23) [Es/No]''' <br /> <br /> ::Paisaje sonoro: técnicas y usos para contar historias a distancia | [https://asimtria.org/transpiksel/?p=169 Vanessa Valencia y Cinthya Robles] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=51<br /> <br /> Este taller virtual va dirigido para las todas personas interesadas en introducirse en el paisaje sonoro y poner en práctica su escucha atenta a través dispositivos móviles, la web y en tiempo real. Entendemos que el paisaje sonoro tiene una relación transversal con los seres vivos, las máquinas y el sistema. Por ello, en esta oportunidad, nuestro objetivo es reconocer al paisaje sonoro que nos rodea desde nuestras casas, nuestras ventanas y cómo nos relacionamos con éste. Tendremos sesiones de escucha, exploraremos técnicas de registro del paisaje sonoro, sus tipologías y el cómo contar una historia con este elemento del lenguaje radiofónico, desde las experiencias de lxs participantes. Esta experiencia colectiva brindará herramientas para que sus participantes puedan retratar la sonoridad de sus lugares. Creando una memoria colectiva digital sonora ad portas del Bicentenario. Finalmente, el resultado del taller serán las producciones de estas piezas sonoras con una duración no mayor de 10’ cada una de ellas.<br /> <br /> <br /> <br /> '''Miércoles 24 Febrero'''<br /> <br /> :'''09h [MX] | 10h [PE] | 16h [Es/No]''' <br /> <br /> ::HTML SAMIZDAT | [https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=352<br /> <br /> El término samizdat fue acuñado como un juego de palabras creado por el poeta ruso Nikolai Glazkov en la década de 1940, que mecanografiaba copias de sus poemas indicando en su primera página самсебяизда́т (samsebiaizdat, “auto-editorial”). HTML SAMIZDAT es una propuesta de creación web directamente desde el navegador, colectiva, abierta y visible al instante. A partir de la web como soporte y lienzo, se propone la realización de una página conjunta, un samizdat, a través de la apropiación del código html y de objetos multimedia. Para ello, trabajaremos a partir de la herramienta Hotglue, desarrollada por Gottfried Haider y Danja Vasiliev, y worm.org.<br /> <br /> Solo necesitas un ordenador con Firefox instalado. No es necesario tener conocimientos de programación ni de código.</div>

Maite https://wiki.piksel.org/index.php?title=TransPiksel_2021&diff=9508 2021-03-01T13:49:08Z

<p>Maite: </p> <hr /> <div>[[File:Bannerwiki.jpg|1000px]]<br /> <br /> =='''Transpiksel, Laboratorios sobre arte electrónico y cultura digital en Abya Yala | Free Digital Culture Labs in Latinamerica'''==<br /> <br /> [[TransPiksel 2020]]<br /> <br /> [[TransPiksel 2019]]<br /> <br /> [[TransPiksel 2018]]<br /> <br /> [[TransPiksel 2017]]<br /> <br /> [[TransPiksel 2016]]<br /> <br /> == '''Transpiksel 2021, Paray mitapim Transpikselniqa''' ==<br /> <br /> Transpiksel es una red de colectivos en arte y tecnología de España, México, Noruega y Perú, quienes junto a otras organizaciones y colectivos proponen anualmente un festival itinerante, sucedido desde el año 2016 en Colombia, Chile, Ecuador, México, Perú y República Dominicana.<br /> <br /> En el 2021 propone una edición especial durante el verano austral, que presenta transmisiones de conciertos y performances audiovisuales desde Arequipa, Cusco, Huancayo, Lima y Ayacucho en Perú, Madrid en España y Ciudad de México, un programa de talleres virtuales y un espacio que reúne obras en VR y 3D, entre el 8 y el 26 febrero.<br /> <br /> ----<br /> <br /> ==='''''COMPILACIÓN DE ESCULTURAS 3D Y ESPACIOS DE REALIDAD VIRTUAL + PIKSEL QUARANTINE'''''===<br /> <br /> <br /> '''Lunes 08 Febrero'''<br /> <br /> :'''00h [MX] | 01h [PE] | 07h [Es/No]''' <br /> <br /> ::Apertura de recorridos, disponible hasta el 26 de febrero en https://asimtria.org/transpiksel/?page_id=203<br /> <br /> :::Pensamiento Vertical | [https://asimtria.org/transpiksel/?p=202 Analucia Roeder] [PE]<br /> <br /> :::COLINEALES | [https://asimtria.org/transpiksel/?p=207 Eleazar Herrera] [PE]<br /> <br /> :::Ancestros y Futuro | [https://asimtria.org/transpiksel/?p=213 Giovanna Pillaca Morote] [PE]<br /> <br /> :::Hibernación | [https://asimtria.org/transpiksel/?p=218 Jesper Frederiksen (Jesperino)] [PE/DK]<br /> <br /> :::LAYERING CORPUS | [https://asimtria.org/transpiksel/?p=223 Malitzin Cortes CNDSD] [MX]<br /> <br /> :::“Las redes son cromáticas” | [https://asimtria.org/transpiksel/?p=226 Santiago Ramírez Camarena] [PE]<br /> <br /> :::POLLEN GLITCH | [https://asimtria.org/transpiksel/?p=230 Yannet Vilela (N3t4)] [PE]<br /> <br /> :::Entidad Akakor, la experiencia VR | [https://asimtria.org/transpiksel/?p=235 Jennifer Durand - Daniel Escobar - Claudia Garcia - Giovanna Pillaca - Jose Luis Vintimilla] [PE/US/ES/EC]<br /> <br /> ::SELECCIÓN DE PIKSEL QUARANTINE<br /> <br /> :::BIO-CREA | [https://asimtria.org/transpiksel/?p=317 Hamilton Mestizo] [MX]<br /> <br /> :::Luftslott | [https://asimtria.org/transpiksel/?p=321 Alexandra Cárdenas] | [https://asimtria.org/transpiksel/?p=323 Camilla Vatne Barrat-Due] [MX/CO/NO]<br /> <br /> :::And in the future the cracks will also be a home. EcoPoetics. | [https://asimtria.org/transpiksel/?p=3195 Jaime Lobato] [MX]<br /> <br /> ==='''''Programa de Conciertos'''''===<br /> <br /> Transmisiones desde:<br /> <br /> : https://asimtria.org/Transpiksel<br /> : https://facebook.com/TransPiksel<br /> : https://www.youtube.com/asimtria<br /> : https://www.twitch.tv/pikselfest<br /> <br /> '''Martes 09 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 10) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/wasicleta/ Wasicleta], Cusco [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=77 Gladys Conde, en compañía de Omar Vargas] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=96 Rosa Naid Cruz Tica] – Electrónica, [https://asimtria.org/transpiksel/?p=96 María Luisa Ochoa Justiniani] – Improvisación Cello [PE]<br /> :::[https://asimtria.org/transpiksel/?p=116 TAKAU] [PE]<br /> <br /> <br /> <br /> '''Jueves 11 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 12) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Arequipa [PE], con la colaboración de [http://monopelao.pe/ Monopelao]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=120 r1ffm4nn] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=76 DMTh5] [PE]<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=134 Gabriel Tanta Chavez] [PE]<br /> <br /> <br /> <br /> '''Martes 16 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 17) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://www.cholacontravisual.com/la-munay-casa La Munay], Huancayo [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=150 Zorzal] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=153 Paraedolia Espectral] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=156 JoJoss.exe] [PE]<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Thu 18) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=159 Enrique Trelles] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=162 Karen Chalco] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=165 Patricia Saucedo] [PE]<br /> <br /> <br /> <br /> '''Jueves 18 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 19) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://asimitria.org asimtria.org], Ayacucho [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=273 Brageiki] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=276 Hanuna] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=279 '###'] [PE]<br /> <br /> <br /> <br /> '''Martes 23 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 24) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/toplap.mx/ Toplap MX], Ciudad de México [MX]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=194 Sonidazo La Verga] [MX] <br /> :::[https://asimtria.org/transpiksel/?p=196 César Ch + Arrehola] [MX]<br /> :::[https://asimtria.org/transpiksel/?p=199 NUT] [MX]<br /> <br /> <br /> <br /> '''Jueves 25 febrero'''<br /> <br /> :'''12h [MX] | 13h [PE] | 19h [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Madrid [ES], en colaboración con [http://villtank.com/ Villtank] y [https://piksel.no/ Piksel], Bergen [NO]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES] <br /> :::[https://asimtria.org/transpiksel/?p=187 Guillem Bayo] + [https://asimtria.org/transpiksel/?p=289 Me-Lenna (Luis González)] [ES]<br /> :::[https://asimtria.org/transpiksel/?p=291 Maite Cajaraville] + [https://asimtria.org/transpiksel/?p=293 Gisle Frøysland] [ES/NO]<br /> :::[https://asimtria.org/transpiksel/?p=291 David Brown - Gisle Frøysland + Anders G] [NO]<br /> <br /> ==='''''Talleres'''''===<br /> <br /> '''Lunes 15 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Pure Data para la síntesis y procesamiento de audio | [https://asimtria.org/transpiksel/?p=178 Abel Castro] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=30<br /> <br /> Pure Data es un potente software libre para procesamiento de datos, audio y video. En este curso veremos procesamiento de audio y síntesis. Empezaremos de manera experimental reutilizando, conectando y modificando algoritmos ya producidos. En una segunda parte introduciremos la parte teórica de las síntesis de audio y el flujo de datos.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 16) [Es/No]''' <br /> <br /> ::Introducción a Hydra – Visuales en vivo con lenguajes de programación | [https://asimtria.org/transpiksel/?p=175 SENSÁFONA] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=41<br /> <br /> Taller introductorio de Hydra como una herramienta que genera vínculos entre la tecnología libre y las artes para generar visuales en vivo haciendo uso de lenguajes de programación y plataformas colaborativas interdisciplinarias.<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''13h [MX] | 14h [PE] | 20h [Es/No]''' <br /> <br /> ::Diseño y fabricación de circuitos electrónicos | [https://asimtria.org/transpiksel/?p=187 Guillem Bayo] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> En el taller se analizarán proyectos de hardware libre de instrumentos autónomos, módulos eurorack y piezas de arte electrónico. Los participantes aprenderán a desarrollar sus propios proyectos e instrumentos partiendo de un núcleo de Arduino y a generar los Gerbers para encargar la fabricación de cualquier proyecto open source.<br /> <br /> El taller está dirigido a cualquier persona interesada en el desarrollo y la fabricación de instrumentos o piezas electrónicas.<br /> <br /> Los asistentes necesitarán un ordenador para seguir el taller y, a ser posible, tener instaladas las versiones gratuitas de KiCAD y EAGLE..<br /> <br /> <br /> <br /> '''Lunes 22 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Supercollider. Introducción a la programación textual para la ejecución musical | [https://asimtria.org/transpiksel/?p=172 Jorge Luis Quispe Córdova] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> El taller permitirá conocer e interactuar con la plataforma Supercollider como herramienta para la generación de material musical e intervención en vivo.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 23) [Es/No]''' <br /> <br /> ::Paisaje sonoro: técnicas y usos para contar historias a distancia | [https://asimtria.org/transpiksel/?p=169 Vanessa Valencia y Cinthya Robles] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=51<br /> <br /> Este taller virtual va dirigido para las todas personas interesadas en introducirse en el paisaje sonoro y poner en práctica su escucha atenta a través dispositivos móviles, la web y en tiempo real. Entendemos que el paisaje sonoro tiene una relación transversal con los seres vivos, las máquinas y el sistema. Por ello, en esta oportunidad, nuestro objetivo es reconocer al paisaje sonoro que nos rodea desde nuestras casas, nuestras ventanas y cómo nos relacionamos con éste. Tendremos sesiones de escucha, exploraremos técnicas de registro del paisaje sonoro, sus tipologías y el cómo contar una historia con este elemento del lenguaje radiofónico, desde las experiencias de lxs participantes. Esta experiencia colectiva brindará herramientas para que sus participantes puedan retratar la sonoridad de sus lugares. Creando una memoria colectiva digital sonora ad portas del Bicentenario. Finalmente, el resultado del taller serán las producciones de estas piezas sonoras con una duración no mayor de 10’ cada una de ellas.<br /> <br /> <br /> <br /> '''Miércoles 24 Febrero'''<br /> <br /> :'''09h [MX] | 10h [PE] | 16h [Es/No]''' <br /> <br /> ::HTML SAMIZDAT | [https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=352<br /> <br /> El término samizdat fue acuñado como un juego de palabras creado por el poeta ruso Nikolai Glazkov en la década de 1940, que mecanografiaba copias de sus poemas indicando en su primera página самсебяизда́т (samsebiaizdat, “auto-editorial”). HTML SAMIZDAT es una propuesta de creación web directamente desde el navegador, colectiva, abierta y visible al instante. A partir de la web como soporte y lienzo, se propone la realización de una página conjunta, un samizdat, a través de la apropiación del código html y de objetos multimedia. Para ello, trabajaremos a partir de la herramienta Hotglue, desarrollada por Gottfried Haider y Danja Vasiliev, y worm.org.<br /> <br /> Solo necesitas un ordenador con Firefox instalado. No es necesario tener conocimientos de programación ni de código.<br /> <br /> <br /> [[Powered by:]] 4bytes.<br /> <br /> [[File:Logo_small.jpg|200px]]</div>

Maite https://wiki.piksel.org/index.php?title=TransPiksel_2021&diff=9507 2021-03-01T13:47:51Z

<p>Maite: </p> <hr /> <div>[[File:Bannerwiki.jpg|1000px]]<br /> <br /> =='''Transpiksel, Laboratorios sobre arte electrónico y cultura digital en Abya Yala | Free Digital Culture Labs in Latinamerica'''==<br /> <br /> [[TransPiksel 2020]]<br /> <br /> [[TransPiksel 2019]]<br /> <br /> [[TransPiksel 2018]]<br /> <br /> [[TransPiksel 2017]]<br /> <br /> [[TransPiksel 2016]]<br /> <br /> == '''Transpiksel 2021, Paray mitapim Transpikselniqa''' ==<br /> <br /> Transpiksel es una red de colectivos en arte y tecnología de España, México, Noruega y Perú, quienes junto a otras organizaciones y colectivos proponen anualmente un festival itinerante, sucedido desde el año 2016 en Colombia, Chile, Ecuador, México, Perú y República Dominicana.<br /> <br /> En el 2021 propone una edición especial durante el verano austral, que presenta transmisiones de conciertos y performances audiovisuales desde Arequipa, Cusco, Huancayo, Lima y Ayacucho en Perú, Madrid en España y Ciudad de México, un programa de talleres virtuales y un espacio que reúne obras en VR y 3D, entre el 8 y el 26 febrero.<br /> <br /> ----<br /> <br /> ==='''''COMPILACIÓN DE ESCULTURAS 3D Y ESPACIOS DE REALIDAD VIRTUAL + PIKSEL QUARANTINE'''''===<br /> <br /> <br /> '''Lunes 08 Febrero'''<br /> <br /> :'''00h [MX] | 01h [PE] | 07h [Es/No]''' <br /> <br /> ::Apertura de recorridos, disponible hasta el 26 de febrero en https://asimtria.org/transpiksel/?page_id=203<br /> <br /> :::Pensamiento Vertical | [https://asimtria.org/transpiksel/?p=202 Analucia Roeder] [PE]<br /> <br /> :::COLINEALES | [https://asimtria.org/transpiksel/?p=207 Eleazar Herrera] [PE]<br /> <br /> :::Ancestros y Futuro | [https://asimtria.org/transpiksel/?p=213 Giovanna Pillaca Morote] [PE]<br /> <br /> :::Hibernación | [https://asimtria.org/transpiksel/?p=218 Jesper Frederiksen (Jesperino)] [PE/DK]<br /> <br /> :::LAYERING CORPUS | [https://asimtria.org/transpiksel/?p=223 Malitzin Cortes CNDSD] [MX]<br /> <br /> :::“Las redes son cromáticas” | [https://asimtria.org/transpiksel/?p=226 Santiago Ramírez Camarena] [PE]<br /> <br /> :::POLLEN GLITCH | [https://asimtria.org/transpiksel/?p=230 Yannet Vilela (N3t4)] [PE]<br /> <br /> :::Entidad Akakor, la experiencia VR | [https://asimtria.org/transpiksel/?p=235 Jennifer Durand - Daniel Escobar - Claudia Garcia - Giovanna Pillaca - Jose Luis Vintimilla] [PE/US/ES/EC]<br /> <br /> ::SELECCIÓN DE PIKSEL QUARANTINE<br /> <br /> :::BIO-CREA | [https://asimtria.org/transpiksel/?p=317 Hamilton Mestizo] [MX]<br /> <br /> :::Luftslott | [https://asimtria.org/transpiksel/?p=321 Alexandra Cárdenas] | [https://asimtria.org/transpiksel/?p=323 Camilla Vatne Barrat-Due] [MX/CO/NO]<br /> <br /> :::And in the future the cracks will also be a home. EcoPoetics. | [https://asimtria.org/transpiksel/?p=3195 Jaime Lobato] [MX]<br /> <br /> ==='''''Programa de Conciertos'''''===<br /> <br /> Transmisiones desde:<br /> <br /> : https://asimtria.org/Transpiksel<br /> : https://facebook.com/TransPiksel<br /> : https://www.youtube.com/asimtria<br /> : https://www.twitch.tv/pikselfest<br /> <br /> '''Martes 09 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 10) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/wasicleta/ Wasicleta], Cusco [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=77 Gladys Conde, en compañía de Omar Vargas] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=96 Rosa Naid Cruz Tica] – Electrónica, [https://asimtria.org/transpiksel/?p=96 María Luisa Ochoa Justiniani] – Improvisación Cello [PE]<br /> :::[https://asimtria.org/transpiksel/?p=116 TAKAU] [PE]<br /> <br /> <br /> <br /> '''Jueves 11 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 12) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Arequipa [PE], con la colaboración de [http://monopelao.pe/ Monopelao]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=120 r1ffm4nn] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=76 DMTh5] [PE]<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=134 Gabriel Tanta Chavez] [PE]<br /> <br /> <br /> <br /> '''Martes 16 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 17) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://www.cholacontravisual.com/la-munay-casa La Munay], Huancayo [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=150 Zorzal] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=153 Paraedolia Espectral] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=156 JoJoss.exe] [PE]<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Thu 18) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=159 Enrique Trelles] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=162 Karen Chalco] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=165 Patricia Saucedo] [PE]<br /> <br /> <br /> <br /> '''Jueves 18 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 19) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://asimitria.org asimtria.org], Ayacucho [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=273 Brageiki] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=276 Hanuna] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=279 '###'] [PE]<br /> <br /> <br /> <br /> '''Martes 23 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 24) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/toplap.mx/ Toplap MX], Ciudad de México [MX]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=194 Sonidazo La Verga] [MX] <br /> :::[https://asimtria.org/transpiksel/?p=196 César Ch + Arrehola] [MX]<br /> :::[https://asimtria.org/transpiksel/?p=199 NUT] [MX]<br /> <br /> <br /> <br /> '''Jueves 25 febrero'''<br /> <br /> :'''12h [MX] | 13h [PE] | 19h [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Madrid [ES], en colaboración con [http://villtank.com/ Villtank] y [https://piksel.no/ Piksel], Bergen [NO]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES] <br /> :::[https://asimtria.org/transpiksel/?p=187 Guillem Bayo] + [https://asimtria.org/transpiksel/?p=289 Me-Lenna (Luis González)] [ES]<br /> :::[https://asimtria.org/transpiksel/?p=291 Maite Cajaraville] + [https://asimtria.org/transpiksel/?p=293 Gisle Frøysland] [ES/NO]<br /> :::[https://asimtria.org/transpiksel/?p=291 David Brown - Gisle Frøysland + Anders G] [NO]<br /> <br /> ==='''''Talleres'''''===<br /> <br /> '''Lunes 15 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Pure Data para la síntesis y procesamiento de audio | [https://asimtria.org/transpiksel/?p=178 Abel Castro] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=30<br /> <br /> Pure Data es un potente software libre para procesamiento de datos, audio y video. En este curso veremos procesamiento de audio y síntesis. Empezaremos de manera experimental reutilizando, conectando y modificando algoritmos ya producidos. En una segunda parte introduciremos la parte teórica de las síntesis de audio y el flujo de datos.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 16) [Es/No]''' <br /> <br /> ::Introducción a Hydra – Visuales en vivo con lenguajes de programación | [https://asimtria.org/transpiksel/?p=175 SENSÁFONA] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=41<br /> <br /> Taller introductorio de Hydra como una herramienta que genera vínculos entre la tecnología libre y las artes para generar visuales en vivo haciendo uso de lenguajes de programación y plataformas colaborativas interdisciplinarias.<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''13h [MX] | 14h [PE] | 20h [Es/No]''' <br /> <br /> ::Diseño y fabricación de circuitos electrónicos | [https://asimtria.org/transpiksel/?p=187 Guillem Bayo] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> En el taller se analizarán proyectos de hardware libre de instrumentos autónomos, módulos eurorack y piezas de arte electrónico. Los participantes aprenderán a desarrollar sus propios proyectos e instrumentos partiendo de un núcleo de Arduino y a generar los Gerbers para encargar la fabricación de cualquier proyecto open source.<br /> <br /> El taller está dirigido a cualquier persona interesada en el desarrollo y la fabricación de instrumentos o piezas electrónicas.<br /> <br /> Los asistentes necesitarán un ordenador para seguir el taller y, a ser posible, tener instaladas las versiones gratuitas de KiCAD y EAGLE..<br /> <br /> <br /> <br /> '''Lunes 22 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Supercollider. Introducción a la programación textual para la ejecución musical | [https://asimtria.org/transpiksel/?p=172 Jorge Luis Quispe Córdova] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> El taller permitirá conocer e interactuar con la plataforma Supercollider como herramienta para la generación de material musical e intervención en vivo.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 23) [Es/No]''' <br /> <br /> ::Paisaje sonoro: técnicas y usos para contar historias a distancia | [https://asimtria.org/transpiksel/?p=169 Vanessa Valencia y Cinthya Robles] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=51<br /> <br /> Este taller virtual va dirigido para las todas personas interesadas en introducirse en el paisaje sonoro y poner en práctica su escucha atenta a través dispositivos móviles, la web y en tiempo real. Entendemos que el paisaje sonoro tiene una relación transversal con los seres vivos, las máquinas y el sistema. Por ello, en esta oportunidad, nuestro objetivo es reconocer al paisaje sonoro que nos rodea desde nuestras casas, nuestras ventanas y cómo nos relacionamos con éste. Tendremos sesiones de escucha, exploraremos técnicas de registro del paisaje sonoro, sus tipologías y el cómo contar una historia con este elemento del lenguaje radiofónico, desde las experiencias de lxs participantes. Esta experiencia colectiva brindará herramientas para que sus participantes puedan retratar la sonoridad de sus lugares. Creando una memoria colectiva digital sonora ad portas del Bicentenario. Finalmente, el resultado del taller serán las producciones de estas piezas sonoras con una duración no mayor de 10’ cada una de ellas.<br /> <br /> <br /> <br /> '''Miércoles 24 Febrero'''<br /> <br /> :'''09h [MX] | 10h [PE] | 16h [Es/No]''' <br /> <br /> ::HTML SAMIZDAT | [https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=352<br /> <br /> El término samizdat fue acuñado como un juego de palabras creado por el poeta ruso Nikolai Glazkov en la década de 1940, que mecanografiaba copias de sus poemas indicando en su primera página самсебяизда́т (samsebiaizdat, “auto-editorial”). HTML SAMIZDAT es una propuesta de creación web directamente desde el navegador, colectiva, abierta y visible al instante. A partir de la web como soporte y lienzo, se propone la realización de una página conjunta, un samizdat, a través de la apropiación del código html y de objetos multimedia. Para ello, trabajaremos a partir de la herramienta Hotglue, desarrollada por Gottfried Haider y Danja Vasiliev, y worm.org.<br /> <br /> Solo necesitas un ordenador con Firefox instalado. No es necesario tener conocimientos de programación ni de código.<br /> <br /> <br /> [['''Powered by:''']] 4bytes.<br /> <br /> [[File:Logo_small.jpg|200px]]</div>

Maite https://wiki.piksel.org/index.php?title=File:Logo_small.jpg&diff=9506 2021-03-01T13:47:10Z

<p>Maite: </p> <hr /> <div></div>

Maite https://wiki.piksel.org/index.php?title=TransPiksel_2021&diff=9502 2021-02-05T13:03:53Z

<p>Maite: /* Programa de Conciertos */</p> <hr /> <div>[[File:Bannerwiki.jpg|1000px]]<br /> <br /> =='''Transpiksel, Laboratorios sobre arte electrónico y cultura digital en Abya Yala | Free Digital Culture Labs in Latinamerica'''==<br /> <br /> [[TransPiksel 2020]]<br /> <br /> [[TransPiksel 2019]]<br /> <br /> [[TransPiksel 2018]]<br /> <br /> [[TransPiksel 2017]]<br /> <br /> [[TransPiksel 2016]]<br /> <br /> == '''Transpiksel 2021, Paray mitapim Transpikselniqa''' ==<br /> <br /> Transpiksel es una red de colectivos en arte y tecnología de España, México, Noruega y Perú, quienes junto a otras organizaciones y colectivos proponen anualmente un festival itinerante, sucedido desde el año 2016 en Colombia, Chile, Ecuador, México, Perú y República Dominicana.<br /> <br /> En el 2021 propone una edición especial durante el verano austral, que presenta transmisiones de conciertos y performances audiovisuales desde Arequipa, Cusco, Huancayo, Lima y Ayacucho en Perú, Madrid en España y Ciudad de México, un programa de talleres virtuales y un espacio que reúne obras en VR y 3D, entre el 8 y el 26 febrero.<br /> <br /> ----<br /> <br /> ==='''''Esculturas 3D y Espacios VR'''''===<br /> <br /> <br /> '''Lunes 08 Febrero'''<br /> <br /> :'''00h [MX] | 01h [PE] | 07h [Es/No]''' <br /> <br /> ::Apertura de recorridos, disponible hasta el 26 de febrero en https://asimtria.org/transpiksel/?page_id=203<br /> <br /> :::Pensamiento Vertical | [https://asimtria.org/transpiksel/?p=202 Analucia Roeder] [PE]<br /> <br /> :::COLINEALES | [https://asimtria.org/transpiksel/?p=207 Eleazar Herrera] [PE]<br /> <br /> :::Ancestros y Futuro | [https://asimtria.org/transpiksel/?p=213 Giovanna Pillaca Morote] [PE]<br /> <br /> :::Hibernación | [https://asimtria.org/transpiksel/?p=218 Jesper Frederiksen (Jesperino)] [PE/DK]<br /> <br /> :::LAYERING CORPUS | [https://asimtria.org/transpiksel/?p=223 Malitzin Cortes CNDSD] [MX]<br /> <br /> :::“Las redes son cromáticas” | [https://asimtria.org/transpiksel/?p=226 Santiago Ramírez Camarena] [PE]<br /> <br /> :::POLLEN GLITCH | [https://asimtria.org/transpiksel/?p=230 Yannet Vilela (N3t4)] [PE]<br /> <br /> :::Entidad Akakor, la experiencia VR | [https://asimtria.org/transpiksel/?p=235 Jennifer Durand - Daniel Escobar - Claudia Garcia - Giovanna Pillaca - Jose Luis Vintimilla] [PE/US/ES/EC]<br /> <br /> :::BIO-CREA | [https://asimtria.org/transpiksel/?p=317 Hamilton Mestizo] [MX]<br /> <br /> :::Luftslott | [https://asimtria.org/transpiksel/?p=321 Alexandra Cárdenas] | [https://asimtria.org/transpiksel/?p=323 Camilla Vatne Barrat-Due] [MX/CO/NO]<br /> <br /> :::And in the future the cracks will also be a home. EcoPoetics. | [https://asimtria.org/transpiksel/?p=3195 Jaime Lobato] [MX]<br /> <br /> ==='''''Programa de Conciertos'''''===<br /> <br /> '''Martes 09 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 10) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/wasicleta/ Wasicleta], Cusco [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=77 Gladys Conde, en compañía de Omar Vargas] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=96 Rosa Naid Cruz Tica] – Electrónica, [https://asimtria.org/transpiksel/?p=96 María Luisa Ochoa Justiniani] – Improvisación Cello [PE]<br /> :::[https://asimtria.org/transpiksel/?p=116 TAKAU] [PE]<br /> <br /> <br /> <br /> '''Jueves 11 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 12) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Arequipa [PE], con la colaboración de [http://monopelao.pe/ Monopelao]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=120 r1ffm4nn] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=76 DMTh5] [PE]<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=134 Gabriel Tanta Chavez] [PE]<br /> <br /> <br /> <br /> '''Martes 16 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 17) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://www.cholacontravisual.com/la-munay-casa La Munay], Huancayo [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=150 Zorzal] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=153 Paraedolia Espectral] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=156 JoJoss.exe] [PE]<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Thu 18) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=159 Enrique Trelles] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=162 Karen Chalco] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=165 Patricia Saucedo] [PE]<br /> <br /> <br /> <br /> '''Jueves 18 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 19) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://asimitria.org asimtria.org], Ayacucho [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=273 Brageiki] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=276 Hanuna] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=279 '###'] [PE]<br /> <br /> <br /> <br /> '''Martes 23 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 24) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/toplap.mx/ Toplap MX], Ciudad de México [MX]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=194 Sonidazo La Verga] [MX] <br /> :::[https://asimtria.org/transpiksel/?p=196 César Ch + Arrehola] [MX]<br /> :::[https://asimtria.org/transpiksel/?p=199 NUT] [MX]<br /> <br /> <br /> <br /> '''Jueves 25 febrero'''<br /> <br /> :'''12h [MX] | 13h [PE] | 19h [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Madrid [ES], en colaboración con [http://villtank.com/ Villtank] y [https://piksel.no/ Piksel], Bergen [NO]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES] <br /> :::[https://asimtria.org/transpiksel/?p=187 Guillem Bayo] + [https://asimtria.org/transpiksel/?p=289 Me-Lenna (Luis González)] [ES]<br /> :::[https://asimtria.org/transpiksel/?p=291 Maite Cajaraville] + [https://asimtria.org/transpiksel/?p=293 Gisle Frøysland] [ES/NO]<br /> :::[https://asimtria.org/transpiksel/?p=291 David Brown - Gisle Frøysland + Anders G] [NO]<br /> <br /> ==='''''Talleres'''''===<br /> <br /> '''Lunes 15 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Pure Data para la síntesis y procesamiento de audio | [https://asimtria.org/transpiksel/?p=178 Abel Castro] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=30<br /> <br /> Pure Data es un potente software libre para procesamiento de datos, audio y video. En este curso veremos procesamiento de audio y síntesis. Empezaremos de manera experimental reutilizando, conectando y modificando algoritmos ya producidos. En una segunda parte introduciremos la parte teórica de las síntesis de audio y el flujo de datos.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 16) [Es/No]''' <br /> <br /> ::Introducción a Hydra – Visuales en vivo con lenguajes de programación | [https://asimtria.org/transpiksel/?p=175 SENSÁFONA] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=41<br /> <br /> Taller introductorio de Hydra como una herramienta que genera vínculos entre la tecnología libre y las artes para generar visuales en vivo haciendo uso de lenguajes de programación y plataformas colaborativas interdisciplinarias.<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''13h [MX] | 14h [PE] | 20h [Es/No]''' <br /> <br /> ::Diseño y fabricación de circuitos electrónicos | [https://asimtria.org/transpiksel/?p=187 Guillem Bayo] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> En el taller se analizarán proyectos de hardware libre de instrumentos autónomos, módulos eurorack y piezas de arte electrónico. Los participantes aprenderán a desarrollar sus propios proyectos e instrumentos partiendo de un núcleo de Arduino y a generar los Gerbers para encargar la fabricación de cualquier proyecto open source.<br /> <br /> El taller está dirigido a cualquier persona interesada en el desarrollo y la fabricación de instrumentos o piezas electrónicas.<br /> <br /> Los asistentes necesitarán un ordenador para seguir el taller y, a ser posible, tener instaladas las versiones gratuitas de KiCAD y EAGLE..<br /> <br /> <br /> <br /> '''Lunes 22 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Supercollider. Introducción a la programación textual para la ejecución musical | [https://asimtria.org/transpiksel/?p=172 Jorge Luis Quispe Córdova] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> El taller permitirá conocer e interactuar con la plataforma Supercollider como herramienta para la generación de material musical e intervención en vivo.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 23) [Es/No]''' <br /> <br /> ::Paisaje sonoro: técnicas y usos para contar historias a distancia | [https://asimtria.org/transpiksel/?p=169 Vanessa Valencia y Cinthya Robles] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=51<br /> <br /> Este taller virtual va dirigido para las todas personas interesadas en introducirse en el paisaje sonoro y poner en práctica su escucha atenta a través dispositivos móviles, la web y en tiempo real. Entendemos que el paisaje sonoro tiene una relación transversal con los seres vivos, las máquinas y el sistema. Por ello, en esta oportunidad, nuestro objetivo es reconocer al paisaje sonoro que nos rodea desde nuestras casas, nuestras ventanas y cómo nos relacionamos con éste. Tendremos sesiones de escucha, exploraremos técnicas de registro del paisaje sonoro, sus tipologías y el cómo contar una historia con este elemento del lenguaje radiofónico, desde las experiencias de lxs participantes. Esta experiencia colectiva brindará herramientas para que sus participantes puedan retratar la sonoridad de sus lugares. Creando una memoria colectiva digital sonora ad portas del Bicentenario. Finalmente, el resultado del taller serán las producciones de estas piezas sonoras con una duración no mayor de 10’ cada una de ellas.<br /> <br /> <br /> <br /> '''Miércoles 24 Febrero'''<br /> <br /> :'''09h [MX] | 10h [PE] | 16h [Es/No]''' <br /> <br /> ::HTML SAMIZDAT | [https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=352<br /> <br /> El término samizdat fue acuñado como un juego de palabras creado por el poeta ruso Nikolai Glazkov en la década de 1940, que mecanografiaba copias de sus poemas indicando en su primera página самсебяизда́т (samsebiaizdat, “auto-editorial”). HTML SAMIZDAT es una propuesta de creación web directamente desde el navegador, colectiva, abierta y visible al instante. A partir de la web como soporte y lienzo, se propone la realización de una página conjunta, un samizdat, a través de la apropiación del código html y de objetos multimedia. Para ello, trabajaremos a partir de la herramienta Hotglue, desarrollada por Gottfried Haider y Danja Vasiliev, y worm.org.<br /> <br /> Solo necesitas un ordenador con Firefox instalado. No es necesario tener conocimientos de programación ni de código.</div>

Maite https://wiki.piksel.org/index.php?title=TransPiksel_2021&diff=9501 2021-02-05T13:03:29Z

<p>Maite: /* Programa de Conciertos */</p> <hr /> <div>[[File:Bannerwiki.jpg|1000px]]<br /> <br /> =='''Transpiksel, Laboratorios sobre arte electrónico y cultura digital en Abya Yala | Free Digital Culture Labs in Latinamerica'''==<br /> <br /> [[TransPiksel 2020]]<br /> <br /> [[TransPiksel 2019]]<br /> <br /> [[TransPiksel 2018]]<br /> <br /> [[TransPiksel 2017]]<br /> <br /> [[TransPiksel 2016]]<br /> <br /> == '''Transpiksel 2021, Paray mitapim Transpikselniqa''' ==<br /> <br /> Transpiksel es una red de colectivos en arte y tecnología de España, México, Noruega y Perú, quienes junto a otras organizaciones y colectivos proponen anualmente un festival itinerante, sucedido desde el año 2016 en Colombia, Chile, Ecuador, México, Perú y República Dominicana.<br /> <br /> En el 2021 propone una edición especial durante el verano austral, que presenta transmisiones de conciertos y performances audiovisuales desde Arequipa, Cusco, Huancayo, Lima y Ayacucho en Perú, Madrid en España y Ciudad de México, un programa de talleres virtuales y un espacio que reúne obras en VR y 3D, entre el 8 y el 26 febrero.<br /> <br /> ----<br /> <br /> ==='''''Esculturas 3D y Espacios VR'''''===<br /> <br /> <br /> '''Lunes 08 Febrero'''<br /> <br /> :'''00h [MX] | 01h [PE] | 07h [Es/No]''' <br /> <br /> ::Apertura de recorridos, disponible hasta el 26 de febrero en https://asimtria.org/transpiksel/?page_id=203<br /> <br /> :::Pensamiento Vertical | [https://asimtria.org/transpiksel/?p=202 Analucia Roeder] [PE]<br /> <br /> :::COLINEALES | [https://asimtria.org/transpiksel/?p=207 Eleazar Herrera] [PE]<br /> <br /> :::Ancestros y Futuro | [https://asimtria.org/transpiksel/?p=213 Giovanna Pillaca Morote] [PE]<br /> <br /> :::Hibernación | [https://asimtria.org/transpiksel/?p=218 Jesper Frederiksen (Jesperino)] [PE/DK]<br /> <br /> :::LAYERING CORPUS | [https://asimtria.org/transpiksel/?p=223 Malitzin Cortes CNDSD] [MX]<br /> <br /> :::“Las redes son cromáticas” | [https://asimtria.org/transpiksel/?p=226 Santiago Ramírez Camarena] [PE]<br /> <br /> :::POLLEN GLITCH | [https://asimtria.org/transpiksel/?p=230 Yannet Vilela (N3t4)] [PE]<br /> <br /> :::Entidad Akakor, la experiencia VR | [https://asimtria.org/transpiksel/?p=235 Jennifer Durand - Daniel Escobar - Claudia Garcia - Giovanna Pillaca - Jose Luis Vintimilla] [PE/US/ES/EC]<br /> <br /> :::BIO-CREA | [https://asimtria.org/transpiksel/?p=317 Hamilton Mestizo] [MX]<br /> <br /> :::Luftslott | [https://asimtria.org/transpiksel/?p=321 Alexandra Cárdenas] | [https://asimtria.org/transpiksel/?p=323 Camilla Vatne Barrat-Due] [MX/CO/NO]<br /> <br /> :::And in the future the cracks will also be a home. EcoPoetics. | [https://asimtria.org/transpiksel/?p=3195 Jaime Lobato] [MX]<br /> <br /> ==='''''Programa de Conciertos'''''===<br /> <br /> '''Martes 09 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 10) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/wasicleta/ Wasicleta], Cusco [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=77 Gladys Conde, en compañía de Omar Vargas] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=96 Rosa Naid Cruz Tica] – Electrónica, [https://asimtria.org/transpiksel/?p=96 María Luisa Ochoa Justiniani] – Improvisación Cello [PE]<br /> :::[https://asimtria.org/transpiksel/?p=116 TAKAU] [PE]<br /> <br /> <br /> <br /> '''Jueves 11 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 12) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Arequipa [PE], con la colaboración de [http://monopelao.pe/ Monopelao]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=120 r1ffm4nn] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=76 DMTh5] [PE]<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=134 Gabriel Tanta Chavez] [PE]<br /> <br /> <br /> <br /> '''Martes 16 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 17) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://www.cholacontravisual.com/la-munay-casa La Munay], Huancayo [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=150 Zorzal] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=153 Paraedolia Espectral] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=156 JoJoss.exe] [PE]<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Thu 18) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=159 Enrique Trelles] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=162 Karen Chalco] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=165 Patricia Saucedo] [PE]<br /> <br /> <br /> <br /> '''Jueves 18 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 19) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://asimitria.org asimtria.org], Ayacucho [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=273 Brageiki] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=276 Hanuna] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=279 '###'] [PE]<br /> <br /> <br /> <br /> '''Martes 23 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 24) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/toplap.mx/ Toplap MX], Ciudad de México [MX]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=194 Sonidazo La Verga] [MX] <br /> :::[https://asimtria.org/transpiksel/?p=196 César Ch + Arrehola] [MX]<br /> :::[https://asimtria.org/transpiksel/?p=199 NUT] [MX]<br /> <br /> <br /> <br /> '''Jueves 25 febrero'''<br /> <br /> :'''12h [MX] | 13h [PE] | 19h [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Madrid [ES], en colaboración con [http://villtank.com/ Villtank] y [https://piksel.no/ Piksel], Bergen [NO]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES] <br /> :::[https://asimtria.org/transpiksel/?p=187 Guillem Bayo] + [https://asimtria.org/transpiksel/?p=289 Me-Lenna (Luis González)] [ES]<br /> :::[https://asimtria.org/transpiksel/?p=291 Maite Cajaraville] + [https://asimtria.org/transpiksel/?p=293 Gisle Frøysland] [ES/NO]<br /> :::[https://asimtria.org/transpiksel/?p=291 DAvid Brown - Gisle Frøysland + Anders G] [NO]<br /> <br /> ==='''''Talleres'''''===<br /> <br /> '''Lunes 15 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Pure Data para la síntesis y procesamiento de audio | [https://asimtria.org/transpiksel/?p=178 Abel Castro] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=30<br /> <br /> Pure Data es un potente software libre para procesamiento de datos, audio y video. En este curso veremos procesamiento de audio y síntesis. Empezaremos de manera experimental reutilizando, conectando y modificando algoritmos ya producidos. En una segunda parte introduciremos la parte teórica de las síntesis de audio y el flujo de datos.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 16) [Es/No]''' <br /> <br /> ::Introducción a Hydra – Visuales en vivo con lenguajes de programación | [https://asimtria.org/transpiksel/?p=175 SENSÁFONA] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=41<br /> <br /> Taller introductorio de Hydra como una herramienta que genera vínculos entre la tecnología libre y las artes para generar visuales en vivo haciendo uso de lenguajes de programación y plataformas colaborativas interdisciplinarias.<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''13h [MX] | 14h [PE] | 20h [Es/No]''' <br /> <br /> ::Diseño y fabricación de circuitos electrónicos | [https://asimtria.org/transpiksel/?p=187 Guillem Bayo] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> En el taller se analizarán proyectos de hardware libre de instrumentos autónomos, módulos eurorack y piezas de arte electrónico. Los participantes aprenderán a desarrollar sus propios proyectos e instrumentos partiendo de un núcleo de Arduino y a generar los Gerbers para encargar la fabricación de cualquier proyecto open source.<br /> <br /> El taller está dirigido a cualquier persona interesada en el desarrollo y la fabricación de instrumentos o piezas electrónicas.<br /> <br /> Los asistentes necesitarán un ordenador para seguir el taller y, a ser posible, tener instaladas las versiones gratuitas de KiCAD y EAGLE..<br /> <br /> <br /> <br /> '''Lunes 22 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Supercollider. Introducción a la programación textual para la ejecución musical | [https://asimtria.org/transpiksel/?p=172 Jorge Luis Quispe Córdova] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> El taller permitirá conocer e interactuar con la plataforma Supercollider como herramienta para la generación de material musical e intervención en vivo.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 23) [Es/No]''' <br /> <br /> ::Paisaje sonoro: técnicas y usos para contar historias a distancia | [https://asimtria.org/transpiksel/?p=169 Vanessa Valencia y Cinthya Robles] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=51<br /> <br /> Este taller virtual va dirigido para las todas personas interesadas en introducirse en el paisaje sonoro y poner en práctica su escucha atenta a través dispositivos móviles, la web y en tiempo real. Entendemos que el paisaje sonoro tiene una relación transversal con los seres vivos, las máquinas y el sistema. Por ello, en esta oportunidad, nuestro objetivo es reconocer al paisaje sonoro que nos rodea desde nuestras casas, nuestras ventanas y cómo nos relacionamos con éste. Tendremos sesiones de escucha, exploraremos técnicas de registro del paisaje sonoro, sus tipologías y el cómo contar una historia con este elemento del lenguaje radiofónico, desde las experiencias de lxs participantes. Esta experiencia colectiva brindará herramientas para que sus participantes puedan retratar la sonoridad de sus lugares. Creando una memoria colectiva digital sonora ad portas del Bicentenario. Finalmente, el resultado del taller serán las producciones de estas piezas sonoras con una duración no mayor de 10’ cada una de ellas.<br /> <br /> <br /> <br /> '''Miércoles 24 Febrero'''<br /> <br /> :'''09h [MX] | 10h [PE] | 16h [Es/No]''' <br /> <br /> ::HTML SAMIZDAT | [https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=352<br /> <br /> El término samizdat fue acuñado como un juego de palabras creado por el poeta ruso Nikolai Glazkov en la década de 1940, que mecanografiaba copias de sus poemas indicando en su primera página самсебяизда́т (samsebiaizdat, “auto-editorial”). HTML SAMIZDAT es una propuesta de creación web directamente desde el navegador, colectiva, abierta y visible al instante. A partir de la web como soporte y lienzo, se propone la realización de una página conjunta, un samizdat, a través de la apropiación del código html y de objetos multimedia. Para ello, trabajaremos a partir de la herramienta Hotglue, desarrollada por Gottfried Haider y Danja Vasiliev, y worm.org.<br /> <br /> Solo necesitas un ordenador con Firefox instalado. No es necesario tener conocimientos de programación ni de código.</div>

Maite https://wiki.piksel.org/index.php?title=TransPiksel_2021&diff=9500 2021-02-05T12:56:05Z

<p>Maite: /* Esculturas 3D y Espacios VR */</p> <hr /> <div>[[File:Bannerwiki.jpg|1000px]]<br /> <br /> =='''Transpiksel, Laboratorios sobre arte electrónico y cultura digital en Abya Yala | Free Digital Culture Labs in Latinamerica'''==<br /> <br /> [[TransPiksel 2020]]<br /> <br /> [[TransPiksel 2019]]<br /> <br /> [[TransPiksel 2018]]<br /> <br /> [[TransPiksel 2017]]<br /> <br /> [[TransPiksel 2016]]<br /> <br /> == '''Transpiksel 2021, Paray mitapim Transpikselniqa''' ==<br /> <br /> Transpiksel es una red de colectivos en arte y tecnología de España, México, Noruega y Perú, quienes junto a otras organizaciones y colectivos proponen anualmente un festival itinerante, sucedido desde el año 2016 en Colombia, Chile, Ecuador, México, Perú y República Dominicana.<br /> <br /> En el 2021 propone una edición especial durante el verano austral, que presenta transmisiones de conciertos y performances audiovisuales desde Arequipa, Cusco, Huancayo, Lima y Ayacucho en Perú, Madrid en España y Ciudad de México, un programa de talleres virtuales y un espacio que reúne obras en VR y 3D, entre el 8 y el 26 febrero.<br /> <br /> ----<br /> <br /> ==='''''Esculturas 3D y Espacios VR'''''===<br /> <br /> <br /> '''Lunes 08 Febrero'''<br /> <br /> :'''00h [MX] | 01h [PE] | 07h [Es/No]''' <br /> <br /> ::Apertura de recorridos, disponible hasta el 26 de febrero en https://asimtria.org/transpiksel/?page_id=203<br /> <br /> :::Pensamiento Vertical | [https://asimtria.org/transpiksel/?p=202 Analucia Roeder] [PE]<br /> <br /> :::COLINEALES | [https://asimtria.org/transpiksel/?p=207 Eleazar Herrera] [PE]<br /> <br /> :::Ancestros y Futuro | [https://asimtria.org/transpiksel/?p=213 Giovanna Pillaca Morote] [PE]<br /> <br /> :::Hibernación | [https://asimtria.org/transpiksel/?p=218 Jesper Frederiksen (Jesperino)] [PE/DK]<br /> <br /> :::LAYERING CORPUS | [https://asimtria.org/transpiksel/?p=223 Malitzin Cortes CNDSD] [MX]<br /> <br /> :::“Las redes son cromáticas” | [https://asimtria.org/transpiksel/?p=226 Santiago Ramírez Camarena] [PE]<br /> <br /> :::POLLEN GLITCH | [https://asimtria.org/transpiksel/?p=230 Yannet Vilela (N3t4)] [PE]<br /> <br /> :::Entidad Akakor, la experiencia VR | [https://asimtria.org/transpiksel/?p=235 Jennifer Durand - Daniel Escobar - Claudia Garcia - Giovanna Pillaca - Jose Luis Vintimilla] [PE/US/ES/EC]<br /> <br /> :::BIO-CREA | [https://asimtria.org/transpiksel/?p=317 Hamilton Mestizo] [MX]<br /> <br /> :::Luftslott | [https://asimtria.org/transpiksel/?p=321 Alexandra Cárdenas] | [https://asimtria.org/transpiksel/?p=323 Camilla Vatne Barrat-Due] [MX/CO/NO]<br /> <br /> :::And in the future the cracks will also be a home. EcoPoetics. | [https://asimtria.org/transpiksel/?p=3195 Jaime Lobato] [MX]<br /> <br /> ==='''''Programa de Conciertos'''''===<br /> <br /> '''Martes 09 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 10) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/wasicleta/ Wasicleta], Cusco [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=77 Gladys Conde, en compañía de Omar Vargas] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=96 Rosa Naid Cruz Tica] – Electrónica, [https://asimtria.org/transpiksel/?p=96 María Luisa Ochoa Justiniani] – Improvisación Cello [PE]<br /> :::[https://asimtria.org/transpiksel/?p=116 TAKAU] [PE]<br /> <br /> <br /> <br /> '''Jueves 11 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 12) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Arequipa [PE], con la colaboración de [http://monopelao.pe/ Monopelao]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=120 r1ffm4nn] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=76 DMTh5] [PE]<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=134 Gabriel Tanta Chavez] [PE]<br /> <br /> <br /> <br /> '''Martes 16 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 17) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://www.cholacontravisual.com/la-munay-casa La Munay], Huancayo [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=150 Zorzal] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=153 Paraedolia Espectral] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=156 JoJoss.exe] [PE]<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Thu 18) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=159 Enrique Trelles] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=162 Karen Chalco] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=165 Patricia Saucedo] [PE]<br /> <br /> <br /> <br /> '''Jueves 18 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 19) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://asimitria.org asimtria.org], Ayacucho [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=273 Brageiki] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=276 Hanuna] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=279 '###'] [PE]<br /> <br /> <br /> <br /> '''Martes 23 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 24) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/toplap.mx/ Toplap MX], Ciudad de México [MX]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=194 Sonidazo La Verga] [MX] <br /> :::[https://asimtria.org/transpiksel/?p=196 César Ch + Arrehola] [MX]<br /> :::[https://asimtria.org/transpiksel/?p=199 NUT] [MX]<br /> <br /> <br /> <br /> '''Jueves 25 febrero'''<br /> <br /> :'''12h [MX] | 13h [PE] | 19h [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Madrid [ES], en colaboración con [http://villtank.com/ Villtank] y [https://piksel.no/ Piksel], Bergen [NO]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES] <br /> :::[https://asimtria.org/transpiksel/?p=187 Guillem Bayo] + [https://asimtria.org/transpiksel/?p=289 Me-Lenna (Luis González)] [ES]<br /> :::[https://asimtria.org/transpiksel/?p=291 Maite Cajaraville] + [https://asimtria.org/transpiksel/?p=293 Gisle Frøysland] [ES/NO]<br /> <br /> ==='''''Talleres'''''===<br /> <br /> '''Lunes 15 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Pure Data para la síntesis y procesamiento de audio | [https://asimtria.org/transpiksel/?p=178 Abel Castro] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=30<br /> <br /> Pure Data es un potente software libre para procesamiento de datos, audio y video. En este curso veremos procesamiento de audio y síntesis. Empezaremos de manera experimental reutilizando, conectando y modificando algoritmos ya producidos. En una segunda parte introduciremos la parte teórica de las síntesis de audio y el flujo de datos.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 16) [Es/No]''' <br /> <br /> ::Introducción a Hydra – Visuales en vivo con lenguajes de programación | [https://asimtria.org/transpiksel/?p=175 SENSÁFONA] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=41<br /> <br /> Taller introductorio de Hydra como una herramienta que genera vínculos entre la tecnología libre y las artes para generar visuales en vivo haciendo uso de lenguajes de programación y plataformas colaborativas interdisciplinarias.<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''13h [MX] | 14h [PE] | 20h [Es/No]''' <br /> <br /> ::Diseño y fabricación de circuitos electrónicos | [https://asimtria.org/transpiksel/?p=187 Guillem Bayo] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> En el taller se analizarán proyectos de hardware libre de instrumentos autónomos, módulos eurorack y piezas de arte electrónico. Los participantes aprenderán a desarrollar sus propios proyectos e instrumentos partiendo de un núcleo de Arduino y a generar los Gerbers para encargar la fabricación de cualquier proyecto open source.<br /> <br /> El taller está dirigido a cualquier persona interesada en el desarrollo y la fabricación de instrumentos o piezas electrónicas.<br /> <br /> Los asistentes necesitarán un ordenador para seguir el taller y, a ser posible, tener instaladas las versiones gratuitas de KiCAD y EAGLE..<br /> <br /> <br /> <br /> '''Lunes 22 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Supercollider. Introducción a la programación textual para la ejecución musical | [https://asimtria.org/transpiksel/?p=172 Jorge Luis Quispe Córdova] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> El taller permitirá conocer e interactuar con la plataforma Supercollider como herramienta para la generación de material musical e intervención en vivo.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 23) [Es/No]''' <br /> <br /> ::Paisaje sonoro: técnicas y usos para contar historias a distancia | [https://asimtria.org/transpiksel/?p=169 Vanessa Valencia y Cinthya Robles] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=51<br /> <br /> Este taller virtual va dirigido para las todas personas interesadas en introducirse en el paisaje sonoro y poner en práctica su escucha atenta a través dispositivos móviles, la web y en tiempo real. Entendemos que el paisaje sonoro tiene una relación transversal con los seres vivos, las máquinas y el sistema. Por ello, en esta oportunidad, nuestro objetivo es reconocer al paisaje sonoro que nos rodea desde nuestras casas, nuestras ventanas y cómo nos relacionamos con éste. Tendremos sesiones de escucha, exploraremos técnicas de registro del paisaje sonoro, sus tipologías y el cómo contar una historia con este elemento del lenguaje radiofónico, desde las experiencias de lxs participantes. Esta experiencia colectiva brindará herramientas para que sus participantes puedan retratar la sonoridad de sus lugares. Creando una memoria colectiva digital sonora ad portas del Bicentenario. Finalmente, el resultado del taller serán las producciones de estas piezas sonoras con una duración no mayor de 10’ cada una de ellas.<br /> <br /> <br /> <br /> '''Miércoles 24 Febrero'''<br /> <br /> :'''09h [MX] | 10h [PE] | 16h [Es/No]''' <br /> <br /> ::HTML SAMIZDAT | [https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=352<br /> <br /> El término samizdat fue acuñado como un juego de palabras creado por el poeta ruso Nikolai Glazkov en la década de 1940, que mecanografiaba copias de sus poemas indicando en su primera página самсебяизда́т (samsebiaizdat, “auto-editorial”). HTML SAMIZDAT es una propuesta de creación web directamente desde el navegador, colectiva, abierta y visible al instante. A partir de la web como soporte y lienzo, se propone la realización de una página conjunta, un samizdat, a través de la apropiación del código html y de objetos multimedia. Para ello, trabajaremos a partir de la herramienta Hotglue, desarrollada por Gottfried Haider y Danja Vasiliev, y worm.org.<br /> <br /> Solo necesitas un ordenador con Firefox instalado. No es necesario tener conocimientos de programación ni de código.</div>

Maite https://wiki.piksel.org/index.php?title=TransPiksel_2021&diff=9499 2021-02-05T12:55:25Z

<p>Maite: /* Esculturas 3D y Espacios VR */</p> <hr /> <div>[[File:Bannerwiki.jpg|1000px]]<br /> <br /> =='''Transpiksel, Laboratorios sobre arte electrónico y cultura digital en Abya Yala | Free Digital Culture Labs in Latinamerica'''==<br /> <br /> [[TransPiksel 2020]]<br /> <br /> [[TransPiksel 2019]]<br /> <br /> [[TransPiksel 2018]]<br /> <br /> [[TransPiksel 2017]]<br /> <br /> [[TransPiksel 2016]]<br /> <br /> == '''Transpiksel 2021, Paray mitapim Transpikselniqa''' ==<br /> <br /> Transpiksel es una red de colectivos en arte y tecnología de España, México, Noruega y Perú, quienes junto a otras organizaciones y colectivos proponen anualmente un festival itinerante, sucedido desde el año 2016 en Colombia, Chile, Ecuador, México, Perú y República Dominicana.<br /> <br /> En el 2021 propone una edición especial durante el verano austral, que presenta transmisiones de conciertos y performances audiovisuales desde Arequipa, Cusco, Huancayo, Lima y Ayacucho en Perú, Madrid en España y Ciudad de México, un programa de talleres virtuales y un espacio que reúne obras en VR y 3D, entre el 8 y el 26 febrero.<br /> <br /> ----<br /> <br /> ==='''''Esculturas 3D y Espacios VR'''''===<br /> <br /> <br /> '''Lunes 08 Febrero'''<br /> <br /> :'''00h [MX] | 01h [PE] | 07h [Es/No]''' <br /> <br /> ::Apertura de recorridos, disponible hasta el 26 de febrero en https://asimtria.org/transpiksel/?page_id=203<br /> <br /> :::Pensamiento Vertical | [https://asimtria.org/transpiksel/?p=202 Analucia Roeder] [PE]<br /> <br /> :::COLINEALES | [https://asimtria.org/transpiksel/?p=207 Eleazar Herrera] [PE]<br /> <br /> :::Ancestros y Futuro | [https://asimtria.org/transpiksel/?p=213 Giovanna Pillaca Morote] [PE]<br /> <br /> :::Hibernación | [https://asimtria.org/transpiksel/?p=218 Jesper Frederiksen (Jesperino)] [PE/DK]<br /> <br /> :::LAYERING CORPUS | [https://asimtria.org/transpiksel/?p=223 Malitzin Cortes CNDSD] [MX]<br /> <br /> :::“Las redes son cromáticas” | [https://asimtria.org/transpiksel/?p=226 Santiago Ramírez Camarena] [PE]<br /> <br /> :::POLLEN GLITCH | [https://asimtria.org/transpiksel/?p=230 Yannet Vilela (N3t4)] [PE]<br /> <br /> :::Entidad Akakor, la experiencia VR | [https://asimtria.org/transpiksel/?p=235 Jennifer Durand - Daniel Escobar - Claudia Garcia - Giovanna Pillaca - Jose Luis Vintimilla] [PE/US/ES/EC]<br /> <br /> :::BIO-CREA | [https://asimtria.org/transpiksel/?p=317 Hamilton Mestizo] [MX]<br /> <br /> :::Luftslott | [https://asimtria.org/transpiksel/?p=321 Alexandra Cárdenas [MX/CO/NO] | [https://asimtria.org/transpiksel/?p=323 Camilla Vatne Barrat-Due]<br /> <br /> :::And in the future the cracks will also be a home. EcoPoetics. | [https://asimtria.org/transpiksel/?p=3195 Jaime Lobato] [MX]<br /> <br /> ==='''''Programa de Conciertos'''''===<br /> <br /> '''Martes 09 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 10) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/wasicleta/ Wasicleta], Cusco [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=77 Gladys Conde, en compañía de Omar Vargas] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=96 Rosa Naid Cruz Tica] – Electrónica, [https://asimtria.org/transpiksel/?p=96 María Luisa Ochoa Justiniani] – Improvisación Cello [PE]<br /> :::[https://asimtria.org/transpiksel/?p=116 TAKAU] [PE]<br /> <br /> <br /> <br /> '''Jueves 11 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 12) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Arequipa [PE], con la colaboración de [http://monopelao.pe/ Monopelao]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=120 r1ffm4nn] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=76 DMTh5] [PE]<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=134 Gabriel Tanta Chavez] [PE]<br /> <br /> <br /> <br /> '''Martes 16 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 17) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://www.cholacontravisual.com/la-munay-casa La Munay], Huancayo [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=150 Zorzal] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=153 Paraedolia Espectral] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=156 JoJoss.exe] [PE]<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Thu 18) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=159 Enrique Trelles] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=162 Karen Chalco] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=165 Patricia Saucedo] [PE]<br /> <br /> <br /> <br /> '''Jueves 18 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 19) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://asimitria.org asimtria.org], Ayacucho [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=273 Brageiki] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=276 Hanuna] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=279 '###'] [PE]<br /> <br /> <br /> <br /> '''Martes 23 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 24) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/toplap.mx/ Toplap MX], Ciudad de México [MX]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=194 Sonidazo La Verga] [MX] <br /> :::[https://asimtria.org/transpiksel/?p=196 César Ch + Arrehola] [MX]<br /> :::[https://asimtria.org/transpiksel/?p=199 NUT] [MX]<br /> <br /> <br /> <br /> '''Jueves 25 febrero'''<br /> <br /> :'''12h [MX] | 13h [PE] | 19h [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Madrid [ES], en colaboración con [http://villtank.com/ Villtank] y [https://piksel.no/ Piksel], Bergen [NO]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES] <br /> :::[https://asimtria.org/transpiksel/?p=187 Guillem Bayo] + [https://asimtria.org/transpiksel/?p=289 Me-Lenna (Luis González)] [ES]<br /> :::[https://asimtria.org/transpiksel/?p=291 Maite Cajaraville] + [https://asimtria.org/transpiksel/?p=293 Gisle Frøysland] [ES/NO]<br /> <br /> ==='''''Talleres'''''===<br /> <br /> '''Lunes 15 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Pure Data para la síntesis y procesamiento de audio | [https://asimtria.org/transpiksel/?p=178 Abel Castro] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=30<br /> <br /> Pure Data es un potente software libre para procesamiento de datos, audio y video. En este curso veremos procesamiento de audio y síntesis. Empezaremos de manera experimental reutilizando, conectando y modificando algoritmos ya producidos. En una segunda parte introduciremos la parte teórica de las síntesis de audio y el flujo de datos.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 16) [Es/No]''' <br /> <br /> ::Introducción a Hydra – Visuales en vivo con lenguajes de programación | [https://asimtria.org/transpiksel/?p=175 SENSÁFONA] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=41<br /> <br /> Taller introductorio de Hydra como una herramienta que genera vínculos entre la tecnología libre y las artes para generar visuales en vivo haciendo uso de lenguajes de programación y plataformas colaborativas interdisciplinarias.<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''13h [MX] | 14h [PE] | 20h [Es/No]''' <br /> <br /> ::Diseño y fabricación de circuitos electrónicos | [https://asimtria.org/transpiksel/?p=187 Guillem Bayo] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> En el taller se analizarán proyectos de hardware libre de instrumentos autónomos, módulos eurorack y piezas de arte electrónico. Los participantes aprenderán a desarrollar sus propios proyectos e instrumentos partiendo de un núcleo de Arduino y a generar los Gerbers para encargar la fabricación de cualquier proyecto open source.<br /> <br /> El taller está dirigido a cualquier persona interesada en el desarrollo y la fabricación de instrumentos o piezas electrónicas.<br /> <br /> Los asistentes necesitarán un ordenador para seguir el taller y, a ser posible, tener instaladas las versiones gratuitas de KiCAD y EAGLE..<br /> <br /> <br /> <br /> '''Lunes 22 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Supercollider. Introducción a la programación textual para la ejecución musical | [https://asimtria.org/transpiksel/?p=172 Jorge Luis Quispe Córdova] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> El taller permitirá conocer e interactuar con la plataforma Supercollider como herramienta para la generación de material musical e intervención en vivo.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 23) [Es/No]''' <br /> <br /> ::Paisaje sonoro: técnicas y usos para contar historias a distancia | [https://asimtria.org/transpiksel/?p=169 Vanessa Valencia y Cinthya Robles] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=51<br /> <br /> Este taller virtual va dirigido para las todas personas interesadas en introducirse en el paisaje sonoro y poner en práctica su escucha atenta a través dispositivos móviles, la web y en tiempo real. Entendemos que el paisaje sonoro tiene una relación transversal con los seres vivos, las máquinas y el sistema. Por ello, en esta oportunidad, nuestro objetivo es reconocer al paisaje sonoro que nos rodea desde nuestras casas, nuestras ventanas y cómo nos relacionamos con éste. Tendremos sesiones de escucha, exploraremos técnicas de registro del paisaje sonoro, sus tipologías y el cómo contar una historia con este elemento del lenguaje radiofónico, desde las experiencias de lxs participantes. Esta experiencia colectiva brindará herramientas para que sus participantes puedan retratar la sonoridad de sus lugares. Creando una memoria colectiva digital sonora ad portas del Bicentenario. Finalmente, el resultado del taller serán las producciones de estas piezas sonoras con una duración no mayor de 10’ cada una de ellas.<br /> <br /> <br /> <br /> '''Miércoles 24 Febrero'''<br /> <br /> :'''09h [MX] | 10h [PE] | 16h [Es/No]''' <br /> <br /> ::HTML SAMIZDAT | [https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=352<br /> <br /> El término samizdat fue acuñado como un juego de palabras creado por el poeta ruso Nikolai Glazkov en la década de 1940, que mecanografiaba copias de sus poemas indicando en su primera página самсебяизда́т (samsebiaizdat, “auto-editorial”). HTML SAMIZDAT es una propuesta de creación web directamente desde el navegador, colectiva, abierta y visible al instante. A partir de la web como soporte y lienzo, se propone la realización de una página conjunta, un samizdat, a través de la apropiación del código html y de objetos multimedia. Para ello, trabajaremos a partir de la herramienta Hotglue, desarrollada por Gottfried Haider y Danja Vasiliev, y worm.org.<br /> <br /> Solo necesitas un ordenador con Firefox instalado. No es necesario tener conocimientos de programación ni de código.</div>

Maite https://wiki.piksel.org/index.php?title=TransPiksel_2021&diff=9498 2021-02-05T12:54:03Z

<p>Maite: /* Esculturas 3D y Espacios VR */</p> <hr /> <div>[[File:Bannerwiki.jpg|1000px]]<br /> <br /> =='''Transpiksel, Laboratorios sobre arte electrónico y cultura digital en Abya Yala | Free Digital Culture Labs in Latinamerica'''==<br /> <br /> [[TransPiksel 2020]]<br /> <br /> [[TransPiksel 2019]]<br /> <br /> [[TransPiksel 2018]]<br /> <br /> [[TransPiksel 2017]]<br /> <br /> [[TransPiksel 2016]]<br /> <br /> == '''Transpiksel 2021, Paray mitapim Transpikselniqa''' ==<br /> <br /> Transpiksel es una red de colectivos en arte y tecnología de España, México, Noruega y Perú, quienes junto a otras organizaciones y colectivos proponen anualmente un festival itinerante, sucedido desde el año 2016 en Colombia, Chile, Ecuador, México, Perú y República Dominicana.<br /> <br /> En el 2021 propone una edición especial durante el verano austral, que presenta transmisiones de conciertos y performances audiovisuales desde Arequipa, Cusco, Huancayo, Lima y Ayacucho en Perú, Madrid en España y Ciudad de México, un programa de talleres virtuales y un espacio que reúne obras en VR y 3D, entre el 8 y el 26 febrero.<br /> <br /> ----<br /> <br /> ==='''''Esculturas 3D y Espacios VR'''''===<br /> <br /> <br /> '''Lunes 08 Febrero'''<br /> <br /> :'''00h [MX] | 01h [PE] | 07h [Es/No]''' <br /> <br /> ::Apertura de recorridos, disponible hasta el 26 de febrero en https://asimtria.org/transpiksel/?page_id=203<br /> <br /> :::Pensamiento Vertical | [https://asimtria.org/transpiksel/?p=202 Analucia Roeder] [PE]<br /> <br /> :::COLINEALES | [https://asimtria.org/transpiksel/?p=207 Eleazar Herrera] [PE]<br /> <br /> :::Ancestros y Futuro | [https://asimtria.org/transpiksel/?p=213 Giovanna Pillaca Morote] [PE]<br /> <br /> :::Hibernación | [https://asimtria.org/transpiksel/?p=218 Jesper Frederiksen (Jesperino)] [PE/DK]<br /> <br /> :::LAYERING CORPUS | [https://asimtria.org/transpiksel/?p=223 Malitzin Cortes CNDSD] [MX]<br /> <br /> :::“Las redes son cromáticas” | [https://asimtria.org/transpiksel/?p=226 Santiago Ramírez Camarena] [PE]<br /> <br /> :::POLLEN GLITCH | [https://asimtria.org/transpiksel/?p=230 Yannet Vilela (N3t4)] [PE]<br /> <br /> :::Entidad Akakor, la experiencia VR | [https://asimtria.org/transpiksel/?p=235 Jennifer Durand - Daniel Escobar - Claudia Garcia - Giovanna Pillaca - Jose Luis Vintimilla] [PE/US/ES/EC]<br /> <br /> :::BIO-CREA | [https://asimtria.org/transpiksel/?p=317 Hamilton Mestizo [MX]<br /> <br /> :::Luftslott | [https://asimtria.org/transpiksel/?p=321 Alexandra Cárdenas [MX/CO/NO | https://asimtria.org/transpiksel/?p=323 Camilla Vatne Barrat-Due]<br /> <br /> :::And in the future the cracks will also be a home. EcoPoetics. | [https://asimtria.org/transpiksel/?p=3195 Jaime Lobato [MX]<br /> <br /> ==='''''Programa de Conciertos'''''===<br /> <br /> '''Martes 09 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 10) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/wasicleta/ Wasicleta], Cusco [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=77 Gladys Conde, en compañía de Omar Vargas] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=96 Rosa Naid Cruz Tica] – Electrónica, [https://asimtria.org/transpiksel/?p=96 María Luisa Ochoa Justiniani] – Improvisación Cello [PE]<br /> :::[https://asimtria.org/transpiksel/?p=116 TAKAU] [PE]<br /> <br /> <br /> <br /> '''Jueves 11 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 12) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Arequipa [PE], con la colaboración de [http://monopelao.pe/ Monopelao]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=120 r1ffm4nn] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=76 DMTh5] [PE]<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=134 Gabriel Tanta Chavez] [PE]<br /> <br /> <br /> <br /> '''Martes 16 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 17) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://www.cholacontravisual.com/la-munay-casa La Munay], Huancayo [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=150 Zorzal] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=153 Paraedolia Espectral] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=156 JoJoss.exe] [PE]<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Thu 18) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://paraderocultural.com/ El Paradero], Lima [PE], con la colaboración de [https://web.facebook.com/sumaserv/ Suma]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=159 Enrique Trelles] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=162 Karen Chalco] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=165 Patricia Saucedo] [PE]<br /> <br /> <br /> <br /> '''Jueves 18 febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Fri 19) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://asimitria.org asimtria.org], Ayacucho [PE]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=273 Brageiki] [PE] <br /> :::[https://asimtria.org/transpiksel/?p=276 Hanuna] [PE]<br /> :::[https://asimtria.org/transpiksel/?p=279 '###'] [PE]<br /> <br /> <br /> <br /> '''Martes 23 Febrero'''<br /> <br /> :'''19h [MX] | 20h [PE] | 02h (Wed 24) [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde [https://web.facebook.com/toplap.mx/ Toplap MX], Ciudad de México [MX]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=194 Sonidazo La Verga] [MX] <br /> :::[https://asimtria.org/transpiksel/?p=196 César Ch + Arrehola] [MX]<br /> :::[https://asimtria.org/transpiksel/?p=199 NUT] [MX]<br /> <br /> <br /> <br /> '''Jueves 25 febrero'''<br /> <br /> :'''12h [MX] | 13h [PE] | 19h [Es/No]''' <br /> <br /> ::'''''AV Performances'''''<br /> <br /> ::Desde Madrid [ES], en colaboración con [http://villtank.com/ Villtank] y [https://piksel.no/ Piksel], Bergen [NO]<br /> <br /> :::[https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES] <br /> :::[https://asimtria.org/transpiksel/?p=187 Guillem Bayo] + [https://asimtria.org/transpiksel/?p=289 Me-Lenna (Luis González)] [ES]<br /> :::[https://asimtria.org/transpiksel/?p=291 Maite Cajaraville] + [https://asimtria.org/transpiksel/?p=293 Gisle Frøysland] [ES/NO]<br /> <br /> ==='''''Talleres'''''===<br /> <br /> '''Lunes 15 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Pure Data para la síntesis y procesamiento de audio | [https://asimtria.org/transpiksel/?p=178 Abel Castro] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=30<br /> <br /> Pure Data es un potente software libre para procesamiento de datos, audio y video. En este curso veremos procesamiento de audio y síntesis. Empezaremos de manera experimental reutilizando, conectando y modificando algoritmos ya producidos. En una segunda parte introduciremos la parte teórica de las síntesis de audio y el flujo de datos.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 16) [Es/No]''' <br /> <br /> ::Introducción a Hydra – Visuales en vivo con lenguajes de programación | [https://asimtria.org/transpiksel/?p=175 SENSÁFONA] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=41<br /> <br /> Taller introductorio de Hydra como una herramienta que genera vínculos entre la tecnología libre y las artes para generar visuales en vivo haciendo uso de lenguajes de programación y plataformas colaborativas interdisciplinarias.<br /> <br /> <br /> <br /> '''Miércoles 17 Febrero'''<br /> <br /> :'''13h [MX] | 14h [PE] | 20h [Es/No]''' <br /> <br /> ::Diseño y fabricación de circuitos electrónicos | [https://asimtria.org/transpiksel/?p=187 Guillem Bayo] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> En el taller se analizarán proyectos de hardware libre de instrumentos autónomos, módulos eurorack y piezas de arte electrónico. Los participantes aprenderán a desarrollar sus propios proyectos e instrumentos partiendo de un núcleo de Arduino y a generar los Gerbers para encargar la fabricación de cualquier proyecto open source.<br /> <br /> El taller está dirigido a cualquier persona interesada en el desarrollo y la fabricación de instrumentos o piezas electrónicas.<br /> <br /> Los asistentes necesitarán un ordenador para seguir el taller y, a ser posible, tener instaladas las versiones gratuitas de KiCAD y EAGLE..<br /> <br /> <br /> <br /> '''Lunes 22 Febrero'''<br /> <br /> :'''15h [MX] | 16h [PE] | 22h [Es/No]''' <br /> <br /> ::Supercollider. Introducción a la programación textual para la ejecución musical | [https://asimtria.org/transpiksel/?p=172 Jorge Luis Quispe Córdova] [PE]<br /> <br /> ::3 sesiones | 10 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=49<br /> <br /> El taller permitirá conocer e interactuar con la plataforma Supercollider como herramienta para la generación de material musical e intervención en vivo.<br /> <br /> :'''17h [MX] | 18h [PE] | 0h (Tue 23) [Es/No]''' <br /> <br /> ::Paisaje sonoro: técnicas y usos para contar historias a distancia | [https://asimtria.org/transpiksel/?p=169 Vanessa Valencia y Cinthya Robles] [PE]<br /> <br /> ::3 sesiones | 15 participantes | Virtual | Participación sólo a través de becas, aplicaciones hasta el 7 de febrero.<br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=51<br /> <br /> Este taller virtual va dirigido para las todas personas interesadas en introducirse en el paisaje sonoro y poner en práctica su escucha atenta a través dispositivos móviles, la web y en tiempo real. Entendemos que el paisaje sonoro tiene una relación transversal con los seres vivos, las máquinas y el sistema. Por ello, en esta oportunidad, nuestro objetivo es reconocer al paisaje sonoro que nos rodea desde nuestras casas, nuestras ventanas y cómo nos relacionamos con éste. Tendremos sesiones de escucha, exploraremos técnicas de registro del paisaje sonoro, sus tipologías y el cómo contar una historia con este elemento del lenguaje radiofónico, desde las experiencias de lxs participantes. Esta experiencia colectiva brindará herramientas para que sus participantes puedan retratar la sonoridad de sus lugares. Creando una memoria colectiva digital sonora ad portas del Bicentenario. Finalmente, el resultado del taller serán las producciones de estas piezas sonoras con una duración no mayor de 10’ cada una de ellas.<br /> <br /> <br /> <br /> '''Miércoles 24 Febrero'''<br /> <br /> :'''09h [MX] | 10h [PE] | 16h [Es/No]''' <br /> <br /> ::HTML SAMIZDAT | [https://asimtria.org/transpiksel/?p=287 Agnès Pe] [ES]<br /> <br /> ::1 sesión | 10 participantes | Virtual <br /> <br /> ::Más información y aplicaciones en https://asimtria.org/transpiksel/?p=352<br /> <br /> El término samizdat fue acuñado como un juego de palabras creado por el poeta ruso Nikolai Glazkov en la década de 1940, que mecanografiaba copias de sus poemas indicando en su primera página самсебяизда́т (samsebiaizdat, “auto-editorial”). HTML SAMIZDAT es una propuesta de creación web directamente desde el navegador, colectiva, abierta y visible al instante. A partir de la web como soporte y lienzo, se propone la realización de una página conjunta, un samizdat, a través de la apropiación del código html y de objetos multimedia. Para ello, trabajaremos a partir de la herramienta Hotglue, desarrollada por Gottfried Haider y Danja Vasiliev, y worm.org.<br /> <br /> Solo necesitas un ordenador con Firefox instalado. No es necesario tener conocimientos de programación ni de código.</div>

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