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Reprogramabilidade, Esttica e Diferena

Um percurso de pesquisa (2008-2016)

Daniel Hora
Braslia, outubro de 2016
sumrio

_1 apresentao
_2 temticas
_3 abordagens
_4 rotas a seguir
percurso acadmico:
1996-2000: bacharelado em Comunicao Social,
ECA/USP

2004-2005: especializao em Crtica de Arte,


Universidad Complutense de Madrid

2008-2010: mestrado em Artes, UnB.


Orientao: Profa. Dra. Ftima Burgos

2011-2015: doutorado em Artes, UnB. Orientao:


Profa. Dra. Beatriz Medeiros

2015 - atual: bolsista de ps-doutorado (Capes) e


pesquisador colaborador do PPG-FAU, UnB
Superviso: Prof. Dr. Miguel Gally
textos: revistas, jornais e web
2004-2008
textos em catlogos
2011: nacional
2008: internacional
dissertao de mestrado
Arte + Hackeamento

[] Free Beer, 2005 Superfex

[] Blinkenlights, 2001 - Chaos Computer Club


palavras-chave

cultura hacker

reprogramabilidade
(es)ttica

dissenso diferena
cultura hacker

tica hacker

contracultura

hacktivismo software/cultura livre


tese de doutorado
Teoria da Arte Hacker: Esttica, Diferena e
Transgresso Tecnolgica

aparelhos sonoros, Orquestra Gambionlia, 2009


coletivos Gambiologia, Marginalia Lab e Azucrina Noise
Imagem: https://www.fickr.com/photos/marginalialab/
Super Mario Clouds v2k3, 2002, Cory Arcangel
http://www.coryarcangel.com/things-i-made/supermarioclouds
Cartucho de videogame violado
Super Mario Clouds v2k3, 2002, Cory Arcangel
http://www.coryarcangel.com/things-i-made/supermarioclouds
Instalao. Museu Leopold, Viena, 2013
Imagem: Mirko Tobias Schfer (CC BY 2.0)
Carnivore Personal Edition - Zero Client, 2001, Radical Software Group
http://r-s-g.org/RSG-CPE0C-1/RSG-CPE0C-1/index.htm
diferena (tecnolgica)
Wark, 2004 Jordan, 2008
diferena (tecnolgica)
Wark, 2004 Jordan, 2008
diffrance: Derrida, 1967
diffrent/ciation: Deleuze, 1968
http://mutt.jp/
Caritipo do genoma humano.
https://raceandarchitecture.wordpress.com
_ metodologia: linguagem e materialismo, segundo
pensamento da diferena + realismo especulativo e
OOO (ontologia orientada ao objeto)
est-tica
Hacker
Steven Levy, 1984
hackers: explorao
hackers: transgresso
Tech Model Railroad Club, dcada de 1960
Imagem: https://medium.com/
Tech Model Railroad Club, dcada de 1960
Imagem: https://medium.com/
Derivadas de uma imagem, 1969, Waldemar Cordeiro
Imagem: http://commons.wikimedia.org/
Bob Lash, membro do Homebrew Computer Club, com
minicomputador de 12 bits construdo por ele, 1975
Imagem: http://www.bambi.net/bob/homebrew.html
Steve Jobs () e Steve Wozniak () testam o computador Apple-1, 1976
Imagem: Joe Melena, Apple (c) - http://www.computerhistory.org/
Das Coisas Quebradas, 2012, Lucas Bambozzi
Instalao. III Mostra 3M de Arte Digital Tecnofagias, So Paulo.
http://www.lucasbambozzi.net/projetosprojects/das-coisas-quebradas
Transborder Immigrant Tool, 2007- , Electronic Disturbance Theater
http://bang.transreal.org/transborder-immigrant-tool/
Imagem: Brett Stalbaum - http://commons.wikimedia.org/
Mapa do videogame Mistery House, 1980, On-Line Systems (c)
Imagem: http://www.vgmaps.com/Atlas/AppleII/
Publicidade do Atari 2600, 1981
Imagem: http://oldschoolpics.org/
SOD, 1999, Jodi
http://sod.jodi.org/
Richard Stallman (Software Livre) e Julian Assange
(WikiLeaks) seguram retrato de Edward Snowden, 2013
Imagem: http://stallman.org/rms-assange-snowden.jpg
Free Range Grain, 2003-2004, Critical Art Ensemble
Imagens: http://www.critical-art.net/
http://www.rochester.edu/in_visible_culture/
worm WANK, 1989
Tela com mensagem de protesto antinuclear, deixada aps
invaso de sistema da NASA usado por fsicos e engenheiros
Imagem: http://oldschoolpics.org/
Perpetual Self Dis/Infecting Machine, biennale.py,
2001, Eva & Franco Mattes e epidemiC
Imagem: http://0100101110101101.org/
Amoreiras, 2010, Grupo Poticas Digitais
Imagem: https://poeticasdigitais.wordpress.com/
Sumrio
1. Teorias estticas (autores contemporneos)
2. Alteridade operacional (games e net arte)
3. Alteridade operacional (cdigo aberto e acidente)
4. Dobra do meio (an-arqueologia, heterotopias)
5. In/de/cises (hacktivismo e performance)
alteridade operacional
ex-apropriao, Derrida
nome prprio, Deleuze
Potemkin Panic! 4, 2008, Gabriel Menotti
Imagem: http://bogotissimo.com/
Police State (Carnivore Client), 2002, Jonah
Brucker-Cohen
Imagem: http://www.coin-operated.com/
Collapse of PAL, 2010, Rosa Menkman
Imagem: https://youtu.be/DuDwaQDzOZc
dobra do meio
espao-tempo
anarqueologia da mdia
- Zielinski, Parikka, Kittler, Huhtamo
The Messenger, 1998/2005, Paul DeMarinis
Imagem: Marius Watz (CC BY BC SA 2.0) -
https://www.fickr.com/photos/watz/
The Messenger, 1998/2005, Paul DeMarinis
Imagem: Marius Watz (CC BY BC SA 2.0) -
https://www.fickr.com/photos/watz/
The Messenger, 1998/2005, Paul DeMarinis
Imagem: http://90.146.8.18/en/archives/
Sem Ttulo (fipbook), 2002, Milton Marques
Imagem: Ita Cultural (mostra Cinema Sim)
in/de/cises
indecidibilidade, Derrida
snteses disjuntivas, Deleuze, 1974
diferendo, Lyotard, 1983
Amazon Noir, 2006, Paolo Cirio,
Alessandro Ludovico e UBERMORGEN.COM
http://www.amazon-noir.com/
Face to Facebook, 2011, Paolo Cirio e
Alessandro Ludovico
http://face-to-facebook.net/
Blinkenlights, 2001, Chaos Computer Club
http://blinkenlights.net/
Imagem: Thomas Fiedler (c) - http://www.archdaily.com/
Surveillance Chess, 2012, !Mediengruppe Bitnik
https://wwwwwwwwwwwwwwwwwwwwww.bitnik.org/
consideraes
inessencialidade do agenciamento maqunico
simbioses, multides, acaso, virulncia
corporificao e cdigo so coproduzidos
teoria hacker reprogramvel
dobradomeio.cc
arquitetura digital
Processos de produo e transformao
computacional da forma: morfognese digital

Conceitos fundamentais:

Espao topolgico
Superfcies isomrficas
Movimento dinmico e cinemtico
Animao por chaves de formato
Design paramtrico
Algoritmos genticos
arquitetura topolgica

Fluidez e continuidade curvilnea: dobras (Deleuze


+ Cache)

Da geometria euclidiana/cartesiana para a


geometria de elasticidade NURBS (spline* bsico
racional no uniforme) *curva diferencivel
definida em pores por meio de polinmios

Em vez de objetos discretos representveis por


equaes, utiliza-se funes paramtricas para a
indicao de possibilidades
Bubble (pavilho para feira da BMW, Frankfurt), 1999 Bernhard Franken
Bubble (pavilho para feira da BMW, Frankfurt), 1999 Bernhard Franken
Bubble (pavilho para feira da BMW, Frankfurt), 1999 Bernhard Franken
arquitetura isomrfica

agregados amorfos (blobs) e metaballs (modelos


orgnicos n-dimensionais)

Objetos paramtricos mutuamente influentes com


foras internas de massa e atrao

Variao de formas pela interao entre objetos


campos de influncia ou relacionalidade
Igreja Presbiteriana Coreana (Sunnyside, Queens, NYC), 1999 Greg Lynn
Igreja Presbiteriana Coreana (Sunnyside, Queens, NYC), 1999 Greg Lynn
arquitetura por animao

Copresena de movimento e fora no instante da


concepo formal

Movimento dinmico (campos de fora) e


cinemtico (movimento)
Kinetower (projeto), Kinetura
Crsital Mesh Facade (ILUMA Urban Entertainment Centre, Singapore),
2009 - WOHA Architects
arquitetura metamrfica

Animao por chaves de formato (computao de


transies intermedirias entre estgios de
mutao)

Deformaes do espao de modelao (objetos se


conformam s alteraes geomtricas do espao)
National Stadium, 2007-2008 - Herzog & de Meuron, ArupSport, China
Architectural Design & Research Group e Ai Weiwei (consultor artstico)
G. I. SCHOOL (projeto, Mumbai, ndia), Sanjay Puri
arquitetura paramtrica

Apenas os parmetros so estabelecidos, e no a


forma

Diferentes objetos e configuraes de objetos de


geometria associativa podem ser produzidas

Descrio topolgica e espacial instvel da forma


Generator Project (1976-79), Cedric Price, Julia e John Frazer
Beijing National Aquatics Center, 20042008 - PTW Architects, CSCEC,
CCDI, e Arup
arquitetura evolucionria

Modelo evolutivo da natureza para gerao de


formas

Conceitos expressos como regras generativas

Algoritmos genticos para simulao de prottipos


(populaes) para avaliao de performance,
seleo, cruzamento e mutao em ambientes
simulados
arquitetura digital
Implicaes:

Dinmica e campos de fora


Emergncia e campos de indeterminao
Customizao em massa
RepRap Project: Version 2 'Mendel' holding recently printed physical object next to
the driving PC showing a model of the object on-screen
DIY Pavilion by Hybrid Space Lab at the Hong Kong & Shenzhen Bi-city
Biennial of Urbanism and Architecture 2009-2010; photo by Andy Tam
In architecture, the temptation has been to see the
advent of digital fabrication and parametric
automation as an opportunity to indulge in ever more
extravagant forms. However, the real disruption lies in
the power of these tools not to raise the bar, but to
radically lower the social thresholds, to change
architectures economic equation in the face of
complexity. 00s WikiHouse14 was conceived as an
experiment to explore that disruption. Its aim is to
make it possible for a global community of designers to
share designs and design tools that make it possible
to download, adapt and print parts for a house from
a standard sheet material like plywood, which can be
assembled, in effect like a large IKEA kit, very quickly
and without traditional construction skills, so that even
amateurs can do it.

(Alastair PARVIN, 2013, p. 94)


teorias
sociologia e antropologia
filosofia
teoria da mdia, design, arte
obrigado!

hora.daniel@gmail.com
Reprogramabilidade, Esttica e Diferena
Um percurso de pesquisa (2008-2016)

Daniel Hora
Braslia, outubro de 2016
sumrio

_1 apresentao
_2 temticas
_3 abordagens
_4 rotas a seguir
percurso acadmico:
1996-2000: bacharelado em Comunicao Social,
ECA/USP

2004-2005: especializao em Crtica de Arte,


Universidad Complutense de Madrid

2008-2010: mestrado em Artes, UnB.


Orientao: Profa. Dra. Ftima Burgos

2011-2015: doutorado em Artes, UnB. Orientao:


Profa. Dra. Beatriz Medeiros

2015 - atual: bolsista de ps-doutorado (Capes) e


pesquisador colaborador do PPG-FAU, UnB
Superviso: Prof. Dr. Miguel Gally
textos: revistas, jornais e web
2004-2008
textos em catlogos
2011: nacional
2008: internacional
dissertao de mestrado
Arte + Hackeamento

[] Free Beer, 2005 Superfex

[] Blinkenlights, 2001 - Chaos Computer Club


palavras-chave

cultura hacker

reprogramabilidade
(es)ttica

dissenso diferena
cultura hacker

tica hacker

contracultura

hacktivismo software/cultura livre


tese de doutorado
Teoria da Arte Hacker: Esttica, Diferena e
Transgresso Tecnolgica

aparelhos sonoros, Orquestra Gambionlia, 2009


coletivos Gambiologia, Marginalia Lab e Azucrina Noise
Imagem: https://www.fickr.com/photos/marginalialab/

Dessas referncias artsticas e tericas, extramos


trs conceitos que orientam a construo de nossa
tese
Super Mario Clouds v2k3, 2002, Cory Arcangel
http://www.coryarcangel.com/things-i-made/supermarioclouds
Cartucho de videogame violado

2. A transgresso de Cory Arcangel, quando o artista


viola o cartucho de Super Mario Bros., insere ali
um chip com linhas de cdigo e reduz o videogame
s nuvens sobre fundo celeste
Super Mario Clouds v2k3, 2002, Cory Arcangel
http://www.coryarcangel.com/things-i-made/supermarioclouds
Instalao. Museu Leopold, Viena, 2013
Imagem: Mirko Tobias Schfer (CC BY 2.0)
Carnivore Personal Edition - Zero Client, 2001, Radical Software Group
http://r-s-g.org/RSG-CPE0C-1/RSG-CPE0C-1/index.htm

4. A transgresso do coletivo Radical Software


Group, que desenvolve um software livre para
espionar redes locais de internet, em uma pardia
da espionagem ciberntica do FBI
diferena (tecnolgica)
Wark, 2004 Jordan, 2008

7. Encontramos a afirmao: hackear diferir,


produzir diferena.
Para McKenzie Wark, essa ao hacker ocorre nos
mais diversos campos de atividade (a filosofia, a
arte, a biologia, a tecnologia).
Para Tim Jordan, essa ao hacker sobretudo
tecnolgica, sustentada na instrumentalidade
informacional e nos hbitos que inspira.
diferena (tecnolgica)
Wark, 2004 Jordan, 2008

8. Porm, segundo uma compreenso alargada das


aplicaes ou metforas da computabilidade (da
capacidade de processamento da informao), a
concepo de Jordan se amplia para os contornos
de Wark
diffrance: Derrida, 1967
diffrent/ciation: Deleuze, 1968

11. Retrocedemos ento duas heterologias


bastante influentes na teoria da arte
contempornea.

A differnce em Derrida, como ruptura com o


predomnio fontico (racional e masculino) na
compreenso da linguagem, destinada
recuperao dos sentidos etimolgicos de
prorrogao, distanciamento e dissenso relativos
ao diferir.
A diferenciao em Deleuze, entendida como
atualizao do virtual que irredutvel mmese
representativa conforme as ocorrncias do
clculo diferencial na matemtica e a
diferenciao celular na biologia
http://mutt.jp/

11. Retrocedemos ento duas heterologias


bastante influentes na teoria da arte
contempornea.

A differnce em Derrida, como ruptura com o


predomnio fontico (racional e masculino) na
compreenso da linguagem, destinada
recuperao dos sentidos etimolgicos de
prorrogao, distanciamento e dissenso relativos
ao diferir.
A diferenciao em Deleuze, entendida como
atualizao do virtual que irredutvel mmese
representativa conforme as ocorrncias do
clculo diferencial na matemtica e a
diferenciao celular na biologia
Caritipo do genoma humano.
https://raceandarchitecture.wordpress.com
_ metodologia: linguagem e materialismo, segundo
pensamento da diferena + realismo especulativo e
OOO (ontologia orientada ao objeto)
est-tica
Hacker
Steven Levy, 1984

13. De ambas as concepes da diferena, adotamos


o entrelaamento entre a cognio de base
sensorial (relativo esttica) e a orientao crtica
do comportamento (a tica)
hackers: explorao
hackers: transgresso
Tech Model Railroad Club, dcada de 1960
Imagem: https://medium.com/

Assim, remetemos a esttica da arte hacker tica


da livre informao e da horizontalidade
normativa, discutida por Steven Levy com base no
relato geracional da produo hacker

Do uso da computao em ambientes universitrios,


como no de controle de modelos ferrovirios, no
MIT, na dcada de 1960
Tech Model Railroad Club, dcada de 1960
Imagem: https://medium.com/
Derivadas de uma imagem, 1969, Waldemar Cordeiro
Imagem: http://commons.wikimedia.org/

Que encontra paralelo em artistas com acesso aos


computadores dentro das universidades
Bob Lash, membro do Homebrew Computer Club, com
minicomputador de 12 bits construdo por ele, 1975
Imagem: http://www.bambi.net/bob/homebrew.html

16. Do desenvolvimento de computadores nas


garagens da Califrnia, na dcada de 1960
Steve Jobs () e Steve Wozniak () testam o computador Apple-1, 1976
Imagem: Joe Melena, Apple (c) - http://www.computerhistory.org/
Das Coisas Quebradas, 2012, Lucas Bambozzi
Instalao. III Mostra 3M de Arte Digital Tecnofagias, So Paulo.
http://www.lucasbambozzi.net/projetosprojects/das-coisas-quebradas

5. A transgresso Lucas Bambozzi, que constri uma


mquina trituradora de celulares descartados,
impulsionada pela intensidade de transmisso de
sinais a partir dos dispositivos em uso
Transborder Immigrant Tool, 2007- , Electronic Disturbance Theater
http://bang.transreal.org/transborder-immigrant-tool/
Imagem: Brett Stalbaum - http://commons.wikimedia.org/

6. A transgresso do coletivo Electronic Disturbance


Theater, responsvel pela distribuio de um
aplicativo para celulares destinado a auxiliar o
imigrante mexicano clandestino a sobreviver
travessia pelo deserto rumo aos EUA

Dadas essas distintas formas de ruptura e expanso


da fruio dos usos da tecnologia, buscamos um
conceito aglutinador
Mapa do videogame Mistery House, 1980, On-Line Systems (c)
Imagem: http://www.vgmaps.com/Atlas/AppleII/

18. O desenvolvimento de videogames na dcada


1980
Publicidade do Atari 2600, 1981
Imagem: http://oldschoolpics.org/
SOD, 1999, Jodi
http://sod.jodi.org/

E os games desconstrudos por operaes de


subtrao de seus recursos grficos
Richard Stallman (Software Livre) e Julian Assange
(WikiLeaks) seguram retrato de Edward Snowden, 2013
Imagem: http://stallman.org/rms-assange-snowden.jpg

21. O desenvolvimento de software livre e a difuso


aberta da informao de interesse pblico
Free Range Grain, 2003-2004, Critical Art Ensemble
Imagens: http://www.critical-art.net/
http://www.rochester.edu/in_visible_culture/

Os laboratrios de biologia hacker para


decodificao e rastreamento de organismos
geneticamente modificados, presentes em nossa
alimentao
Os laboratrios de biologia hacker para
decodificao e rastreamento de organismos
geneticamente modificados, presentes em nossa
alimentao
worm WANK, 1989
Tela com mensagem de protesto antinuclear, deixada aps
invaso de sistema da NASA usado por fsicos e engenheiros
Imagem: http://oldschoolpics.org/

20. O uso de programas para invaso e protesto


Perpetual Self Dis/Infecting Machine, biennale.py,
2001, Eva & Franco Mattes e epidemiC
Imagem: http://0100101110101101.org/

A exibio de um vrus computacional na Bienal de


Veneza
22. As geraes recentes de entusiastas do faa-
voc-mesmo
23. e suas exploraes de campos antes restritos aos
cientistas profissionais
Amoreiras, 2010, Grupo Poticas Digitais
Imagem: https://poeticasdigitais.wordpress.com/

O uso do arduino e programas livres como PureData


para implementaes de sistemas que fazem
rvores reagir fuligem despejada sobre elas
pelos escapamentos de carros das grandes cidades
Sumrio
1. Teorias estticas (autores contemporneos)
2. Alteridade operacional (games e net arte)
3. Alteridade operacional (cdigo aberto e acidente)
4. Dobra do meio (an-arqueologia, heterotopias)
5. In/de/cises (hacktivismo e performance)
alteridade operacional
ex-apropriao, Derrida
nome prprio, Deleuze

A alteridade operacional descreve como o


contraponto da singularidade em sistemas
generativos distintos propulsiona a arte hacker

Com a alteridade operacional, recuperamos as


noes de ex-apropriao (o prprio como parte
do imprprio) em Derrida ou das funes dos
nomes prprios em Deleuze
Potemkin Panic! 4, 2008, Gabriel Menotti
Imagem: http://bogotissimo.com/

A alteridade operacional se manifesta, de um lado,


na pirataria, na recombinao e na interferncia
sobre as tecnologias proprietrias
Police State (Carnivore Client), 2002, Jonah
Brucker-Cohen
Imagem: http://www.coin-operated.com/

De outro lado, se manifesta no compartilhamento,


na produo coletivista e colaborativa e
Collapse of PAL, 2010, Rosa Menkman
Imagem: https://youtu.be/DuDwaQDzOZc

na afeco acidental, sem propriedade requerida, do


defeito e da contaminao
dobra do meio
espao-tempo
anarqueologia da mdia
- Zielinski, Parikka, Kittler, Huhtamo

A dobra do meio faz aluso s reacomodaes da


temporalidade e da espacialidade sob o impacto
informacional e as tticas de anarqueologia da
mdia.

Essa perspectiva adverte sobre o suposto progesso


linear tecnocientfico e as consequentes
demarcaes entre o avanado e o obsoleto, o
centro e a periferia da hiper-racionalidade
instrumental

Temos a produo de imagem-algo/ritmo,


fenmenos sensoriais de espacializao e
temporalizao obtidas pela frequncia, ou ritmo,
de processamento dos cdigos
The Messenger, 1998/2005, Paul DeMarinis
Imagem: Marius Watz (CC BY BC SA 2.0) -
https://www.fickr.com/photos/watz/

Alm disso, a prorrogao da obsolescncia nos


conduz heterotopia e heterocronia des-locativa,
meios de trnsito e transitoriedade da diferena
que operam em condies no hegemnicas
The Messenger, 1998/2005, Paul DeMarinis
Imagem: Marius Watz (CC BY BC SA 2.0) -
https://www.fickr.com/photos/watz/

Alm disso, a prorrogao da obsolescncia nos


conduz heterotopia e heterocronia des-locativa,
meios de trnsito e transitoriedade da diferena
que operam em condies no hegemnicas
The Messenger, 1998/2005, Paul DeMarinis
Imagem: http://90.146.8.18/en/archives/

Alm disso, a prorrogao da obsolescncia nos


conduz heterotopia e heterocronia des-locativa,
meios de trnsito e transitoriedade da diferena
que operam em condies no hegemnicas
Sem Ttulo (fipbook), 2002, Milton Marques
Imagem: Ita Cultural (mostra Cinema Sim)

Alm disso, a prorrogao da obsolescncia nos


conduz heterotopia e heterocronia des-locativa,
meios de trnsito e transitoriedade da diferena
que operam em condies no hegemnicas
in/de/cises
indecidibilidade, Derrida
snteses disjuntivas, Deleuze, 1974
diferendo, Lyotard, 1983

As in/de/cises demonstram a concatenao


esttica e poltica da arte hacker, em que a
oscilao entre linguagem e corporificao nos
conduz da mdia ttica desobedincia civil
eletrnica e biotecnologia contestatria.
Amazon Noir, 2006, Paolo Cirio,
Alessandro Ludovico e UBERMORGEN.COM
http://www.amazon-noir.com/

Nesses percurso, nos deparamos com snteses


disjuntivas de medi-ao in-direta, tacticalidade e
biomdia. Aspectos presentes na arte hacktivista

A diferena leva disrupo, ao diferendo da


incongruncia de discursos e paralogia radical de
experimentos em artefatos cotidianos e biomdia
Face to Facebook, 2011, Paolo Cirio e
Alessandro Ludovico
http://face-to-facebook.net/

A diferena leva disrupo, ao diferendo da


incongruncia de discursos e paralogia radical de
experimentos em artefatos cotidianos e biomdia
Blinkenlights, 2001, Chaos Computer Club
http://blinkenlights.net/
Imagem: Thomas Fiedler (c) - http://www.archdaily.com/

9. Decorre dessa maleabilidade a afirmao da arte


hacker que conjuga o tecnolgico com o no
tecnolgico em estrito sentido

Um prdio abandonado no centro de Berlim


transformado em painel interativo de uso pblico,
para jogos, animaes e quadro de mensagens
Surveillance Chess, 2012, !Mediengruppe Bitnik
https://wwwwwwwwwwwwwwwwwwwwww.bitnik.org/

Equipped with an interfering transmitter !


Mediengruppe Bitnik hacks surveillance cameras
in pre-Olympic London and assumes control. The
artist collective replaces real-time surveillance
images with an invitation to play a game of chess.
The security staff's surveillance monitor located in
the control room becomes a game console.
consideraes
inessencialidade do agenciamento maqunico

A arte hacker lida com a tecnologia de modo


abrangente. A tcnica assumida como base
relacional entre objetividade e subjetividade

Uma tecnicidade originria, segundo Arthur Bradley,


embora no seja uma origem substancial, mas sim
diferencial

A arte no hacker somente por ao de um hacker,


mas tambm pelo suporte que convoca o
hackeamento
simbioses, multides, acaso, virulncia

Em vez de subjetivismo, a arte hacker suscita a


simbiose entre sistemas, os comportamentos
multitudinrios, o aproveitamento do acaso
contido na deriva, o contato que contamina e
propaga a diferena
corporificao e cdigo so coproduzidos

A arte hacker abala a suposio de


informacionalismo puramente cognitivo, bem
como o materialismo cego

Conforme a condio ps-conceitual da arte


contempornea em Peter Osborne, temos a
esttica como o recurso ineliminvel, ainda que
insuficiente, para acesso ao inteligvel

infraestrutura e supraestrutura, hardware e


software, se revezam em sua mtua influncia
teoria hacker reprogramvel

Ao entender a hackabilidade sem fim como trajeto


contnuo rumo ao Outro, conforme Steven
Shaviro, 2009

Propomos uma teoria da arte hacker que tambm


deve se comportar como teoria hacker da arte

Aborda a reprogramabilidade e reprogramvel


dobradomeio.cc
arquitetura digital
Processos de produo e transformao
computacional da forma: morfognese digital

Conceitos fundamentais:

Espao topolgico
Superfcies isomrficas
Movimento dinmico e cinemtico
Animao por chaves de formato
Design paramtrico
Algoritmos genticos
arquitetura topolgica

Fluidez e continuidade curvilnea: dobras (Deleuze


+ Cache)

Da geometria euclidiana/cartesiana para a


geometria de elasticidade NURBS (spline* bsico
racional no uniforme) *curva diferencivel
definida em pores por meio de polinmios

Em vez de objetos discretos representveis por


equaes, utiliza-se funes paramtricas para a
indicao de possibilidades
Long before sustainability became a fashionable word, at
the first BMW trade fair presentation realized by
Franken, driving with clean energy from water and the
sun was symbolized in the form of an iconic structure: a
drop of water. A drop simulation computer program was
used to create this shape. The Bubble was one of the
first structures in the world which was completely
created with digital means, from the design through to
construction.
Long before sustainability became a fashionable word, at
the first BMW trade fair presentation realized by
Franken, driving with clean energy from water and the
sun was symbolized in the form of an iconic structure: a
drop of water. A drop simulation computer program was
used to create this shape. The Bubble was one of the
first structures in the world which was completely
created with digital means, from the design through to
construction.
Long before sustainability became a fashionable word, at
the first BMW trade fair presentation realized by
Franken, driving with clean energy from water and the
sun was symbolized in the form of an iconic structure: a
drop of water. A drop simulation computer program was
used to create this shape. The Bubble was one of the
first structures in the world which was completely
created with digital means, from the design through to
construction.
arquitetura isomrfica

agregados amorfos (blobs) e metaballs (modelos


orgnicos n-dimensionais)

Objetos paramtricos mutuamente influentes com


foras internas de massa e atrao

Variao de formas pela interao entre objetos


campos de influncia ou relacionalidade
the korean presbyterian church located in queens,
new york by californian-based architect greg lynn is
a 1500 capacity sanctuary situated on the roof of a
renovated laundry factory. the undulating skin is an
addition constructed out of wooden planks braced
in a steel frame inviting the visitors of the
congregation. the layering of the sections allow an
openness to the facade creating framed sight lines
into the community. the interior space features a
canopy structure mimicking the exterior which
produces an open air-like environment leading the
visitors eye to the central preaching area. the inner
flaps are back lit to generate an intimate ambiance
to the sermon.
Igreja Presbiteriana Coreana (Sunnyside, Queens, NYC), 1999 Greg Lynn
arquitetura por animao

Copresena de movimento e fora no instante da


concepo formal

Movimento dinmico (campos de fora) e


cinemtico (movimento)
Kinetower (projeto), Kinetura
Ornamental and granulated light and media facade for the ILUMA Urban Entertainment Centre in Singapore.
Video documentary of the first configuration and testing program in march 2009. Full project completion and
inauguration scheduled for 12/2009.
Building architecture: WOHA Architects
Crystal Mesh Facade:
realities:united, Studio for Art and Architecture
in collaboration with WOHA Architects
Software development: thismedia
Animation on facade: autokolor with realities:united
For the ILUMA building in Singapore RU created a light and media facade, which had to be effective both during day
and night. The project is part of a new development (Urban Entertainment Center) designed by WOHA architects1.
In various ways this concept blurs boundaries as it actively merges the concept of a media screen with an ornamental
architectural screen filtering air and light and as it blends abstract futuristic shapes with a 1970s Vegas style.
The screen facade is formed by a tessellated pattern made up by physical plastic bodies. A regular matrix of
fluorescent lamps is superimposed onto (into) this idiosyncratic physical structure. That produces a display screen,
which however is vividly distorted by the strong geometry of the individual light fixture and which is peppered by
the regular perforations of the physical screen as well as by variations in the arrangements of the light fixture
objects.
By intention a complex and ambivalent impression. On one side there is the impression of an ultra large media screen,
which is not yet fully there. It appears to be still deep frozen under a surface of ice, cracking and thawing. A herald
of a fundamental change of architecture, which is about to transform from a static to a dynamic art.
On the other side the individual blinking crystals carry a strong reminiscence to the look of the modern city of the 20th
century. The idea of entertainment linked to flashing neon signs and excessive baroque carpets of light bulbs
with its on-off moving aesthetic.
Because there will be change. Being the first development inside the new officially promoted Bugis night life area of
Singapore the project anticipates the arrival of several competitors over the next 15 years. Instead of starting a
race in latest tech LED glamour, which the project would soon loose to its younger competitors the project
concentrates on establishing a superb size and lighting power in combination with a striking visual appearance
thereby building the claim of becoming the areas first and lasting land mark.
Location: Victoria Street (Lot 976a), Singapore, Singapore
arquitetura metamrfica

Animao por chaves de formato (computao de


transies intermedirias entre estgios de
mutao)

Deformaes do espao de modelao (objetos se


conformam s alteraes geomtricas do espao)
To achieve the optimum design, the team relied
heavily on parametric design software. This helped
to work out the sightlines, the bowl geometry,
airflow to keep the grass in good condition, seismic
studies and the design of the external envelope.
G. I. SCHOOL The facade of this educational
institute is the one of the most visually engaging
aspects of the design. This porous membrane
modulates itself across the levels to allow light,
ventilation and also encompass activity within its
honeycomb like structure. Varying levels of porosity
also offer different degrees of privacy and
interaction within the building.
This is located in a densely populated residential
area. So to provide privacy and to make it more
energy-efficient, hes created a second skin or
sheath of hexagonal modules around the entire
building. And hes also created smaller open
spaces at every floor for students to play or sit out.
arquitetura paramtrica

Apenas os parmetros so estabelecidos, e no a


forma

Diferentes objetos e configuraes de objetos de


geometria associativa podem ser produzidas

Descrio topolgica e espacial instvel da forma


The Generator, an early investigation into artificially intelligent architecture,
was designed with no specific program, but only a desired end-effect, in
mind.
The project was commissioned by Howard Gilman for a site at the Gilman
Paper Corporation's White Oak Plantation in Florida to provide a facility to
house dance, theater, and visiting artists. Cedric Price explored a type of
architecture that, like medicine, would operate less as a remedy for the
ills of society and more as a preventive system, creating flexible
conditions previously thought impossible within a socially beneficial
environment. This complicated project, for which many drawings and
diagrams were made, was essentially a system of cubelike elements that
could be moved and combined with others or with additional elements to
create temporary structures for a rehearsal or performance space,
housing, or just contemplation within a lush natural setting. It was
intended to operate by means of a central computer with which a visitor
would combine any of 150 of the Generator's four-by-four meter, fully
serviced, air-conditioned cubes, or walls, screens, gangways, and
communications channels into a structure. The computer would
encourage the visitor to continually refine and improve his or her design.
In fact, change and artistic freedom are the underlying ideas of the
Generator; they were considered prerequisites, and the computer was to
be programmed to make unsolicited alterations should the framework
remain static. Price's intricate scheme to provide an environment
dedicated to nurturing the arts was never built.
Beijing National Aquatics Center, 20042008 - PTW Architects, CSCEC,
CCDI, e Arup
arquitetura evolucionria

Modelo evolutivo da natureza para gerao de


formas

Conceitos expressos como regras generativas

Algoritmos genticos para simulao de prottipos


(populaes) para avaliao de performance,
seleo, cruzamento e mutao em ambientes
simulados
arquitetura digital
Implicaes:

Dinmica e campos de fora


Emergncia e campos de indeterminao
Customizao em massa
The RepRap project started as a British initiative to develop a 3D printer that can print most of its
own components and be a low-cost 3D printer, but it is now made up of hundreds of
collaborators world wide.[1] RepRap (short for replicating rapid prototyper) uses an additive
manufacturing technique called fused filament fabrication (FFF) to lay down material in layers;
a plastic filament or metal wire is unwound from a coil and supplies material to produce a part.
The project calls it Fused Filament Fabrication (FFF) to avoid trademark issues with the "fused
deposition modeling" term.
As an open design, all of the designs produced by the project are released under a free software
license, the GNU General Public License.[2]
The City Kit project led to the DIY Pavilion, first presented at the
waterfront promenade of Hong Kong within the framework of the
Hong Kong & Shenzhen Bi-city Biennial of Urbanism and
Architecture 2009-2010, and later set up at the Hong Kong
Jockey Club Creative Arts Centre and at the Kwai Tsing Theatre
in Hong Kong.
Following the City Kit concept, users can co-create their design of
the pavilion. The pavilion's architecture is based on an
architectural design principle with a flexible structure that can
adapt to site and program requirements, to different content,
context and spatial situations. The structure of the pavilion's
architectural design principle makes it possible to involve the
users in the design, building and transformation of the pavilion.
The pavilion consists of triangular plywood plates sewn together
with the help of cable binders. It is a flexible mobile structure to
be easily disassembled, transported, reassembled and sewn
together again, adjusting to the size of the site and the local
requirements.
Videos on urban issues were projected on the triangular crystalline
structure of the pavilions interior as the pavilion traveled to the
different locations for community education.
The City Kit project led to the DIY Pavilion, first presented at the
waterfront promenade of Hong Kong within the framework of the
Hong Kong & Shenzhen Bi-city Biennial of Urbanism and
Architecture 2009-2010, and later set up at the Hong Kong
Jockey Club Creative Arts Centre and at the Kwai Tsing Theatre
in Hong Kong.
Following the City Kit concept, users can co-create their design of
the pavilion. The pavilion's architecture is based on an
architectural design principle with a flexible structure that can
adapt to site and program requirements, to different content,
context and spatial situations. The structure of the pavilion's
architectural design principle makes it possible to involve the
users in the design, building and transformation of the pavilion.
The pavilion consists of triangular plywood plates sewn together
with the help of cable binders. It is a flexible mobile structure to
be easily disassembled, transported, reassembled and sewn
together again, adjusting to the size of the site and the local
requirements.
Videos on urban issues were projected on the triangular crystalline
structure of the pavilions interior as the pavilion traveled to the
different locations for community education.
WikiHouse, the open-source platform for designing
and sharing house designs that anyone can be
manufacture and assemble in days with no
construction skills, has unveiled 'WikiHouse 4.0'
their first ever two-storey design at this year's
London Design Festival. Built by a team of
volunteers and costing less than 50,000, the new
prototype on display at The Building Centre also
demonstrates the possibilities of other open source
systems, with the code for the electrics, ventilation
system and sensors all available on open-source
platforms.
In architecture, the temptation has been to see the
advent of digital fabrication and parametric
automation as an opportunity to indulge in ever more
extravagant forms. However, the real disruption lies in
the power of these tools not to raise the bar, but to
radically lower the social thresholds, to change
architectures economic equation in the face of
complexity. 00s WikiHouse14 was conceived as an
experiment to explore that disruption. Its aim is to
make it possible for a global community of designers to
share designs and design tools that make it possible
to download, adapt and print parts for a house from
a standard sheet material like plywood, which can be
assembled, in effect like a large IKEA kit, very quickly
and without traditional construction skills, so that even
amateurs can do it.

(Alastair PARVIN, 2013, p. 94)


teorias
sociologia e antropologia
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teoria da mdia, design, arte
obrigado!

hora.daniel@gmail.com