A Trombeta do Cisne

  • Karen ann Donnachie independent
  • Andy Simionato RMIT University
Palavras-chave: arte eletrónica, máquinas de desenhar, arte robótica, twitterbots, média sociais

Resumo

Este artigo descreve a conceção, a contexto e o desenvolvimento da obra de arte eletrónica The Trumpet of the Swan [A Trombeta do Cisne] (Donnachie & Simionato, 2017) apresentada pelos autores na conferência Electronic Literature Organisation no Porto, Portugal, em 2017. A obra de arte é um robô-desenhador programado que inscreve automaticamente, em meio natural, cada post publicado no perfil pessoal do Twitter do 45º Presidente dos Estados Unidos da América, Donald Trump, identificado no Twitter como @realDonaldTrump. A máquina, cuja aparência é reminiscente de um cisne, incluindo o amplo “corpo” largo sobre duas pernas curtas que terminam em “pés” palmípedes, é um robô semi-autónomo que escreve com uma caneta, coroada por uma longa pluma branca, sobre um rolo contínuo de papel enquanto vai produzindo sons semelhantes a pássaros. O robô-desenhador permanece em estado de alerta permanente e a sequência demonstrada de ações só pode ser desencadeada remotamente pelo 45º Presidente dos EUA (ou, mais precisamente, por quem publica um novo tweet através de sua conta no Twitter '@realDonaldTrump'). Por outras palavras, para tomar de empréstimo uma expressão popular extraída da propaganda da Guerra Fria do século XX: somente o presidente tem a capacidade de “lançar” esta obra de arte que, de outra forma, permanece latente, à espera.

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Biografias Autor

Karen ann Donnachie, independent

Karen ann Donnachie (b. 1970) is an electronic artist & scholar. From 1990 through 2010 she was based in Milan, Italy where, alongside her studio practice, she co-founded and curated the award winning experimental art periodical This is (not) a Magazine (from 2002) and later the imprint Atomic Activity Books (from 2008), from which a number of monographic artists’ books and compendia of internet art have been published, all distributed by Idea Books, Amsterdam.

Karen ann’s artistic activity overlaps fields as diverse as photography, video, performance, algorithmic and Internet art. Her work has won international awards and critical recognition, and is featured in a number of publications, including Lauren Parker’s Interplay (2004) on Internet art, and Princeton Architectural Press’ recent Come Together: The Rise of Cooperative Art and Design (2014). Karen ann has exhibited in solo and group exhibitions in Argentina, Australia, Denmark, France, Germany, Italy, Luxembourg, and the USA; she has been guest speaker at Semi-Permanent, Sydney, ARCO art fair, Madrid; has conducted workshops in institutions such as the Hochschule Liechtenstein, UIAV Venice, Italy, the LCC, London, and at festivals such as Next Festival, Vilnius, Lithuania and Stuttgarter Filmwinter, Germany. She also teaches in the fields of contemporary image, data-visualisation and human-computer interfaces.

Karen ann completed her PhD (Art) at Curtin University, her research “The Human Use of the Human Face” explores the selfie as action and artefact, and its effect on contemporary photography and digital identity.

Andy Simionato, RMIT University

Andy Simionato
Andy Simionato is a designer who works in the fields of speculative design, experimental publishing and machinic writing. From the early 2000s, alongside his polivalent studio practice, he founded and curated the award winning experimental art periodical ​This is a Magazine ​(about nothing) and later the imprint ​Atomic Activity Books​ with his partner Karen ann Donnachie. His work has been published internationally and exhibited in the Museum of Modern Art of Arnhem (the Netherlands), the Fondazione Mazzotta Museum of Art (Italy) and most recently was included in the Triennale Design Museum of Milan’s historic retrospective of Italian design (2012). After receiving his PhD in Design (Edith Cowan University, Australia), on the future of the book in electronic space, he was awarded his current teaching and research Fellowship at the School of Media and Communication, RMIT University, Australia.

Referências

ANTHONY, Robert (2017). “Trump Tweets Photo Of Him ‘Writing' Inauguration Speech With A Sharpie.” Elite Daily, January 18, 2017. http://elitedaily.com/news/politics/trump-writing-inauguration-speech-with-sharpie-photo/1757715/

DONNACHIE, Karen ann and Andy Simionato (2017). This is a Magazine: Live Draw, Milan: Edicola Radetzky.

GRIGG, Brandon (2012). “Twitter's bird logo gets a makeover,” CNN, 6 June 2012. http://edition.cnn.com/2012/06/06/tech/social-media/twitter-bird-logo/index.html

GROYS, Boris (2011). “Google: Words Beyond Grammar.” Documenta 13: 100 Notizen-100 Gedanken 46.

HERSHEY, Allen V (1967). Calligraphy for Computers. Dahlgren, VA: U.S. Naval Weapons Laboratory.

INGRAM, Matthew (2017). “Here’s Why Donald Trump Says He Loves Twitter and Plans to Keep Tweeting.” Fortune. New York:Time inc. 17 January 2017. http://fortune.com/2017/01/17/trump-loves-twitter/

KLEE, Paul (1922). Twittering Machine (Die Zwitscher-Maschine).

WHITE, Elwyn B (1970). The Trumpet of the Swan. New York: Harper & Row; London: Hamish Hamilton.
Publicado
2018-08-10
Secção
Mediarama | Mediascape