Sometimes the online world reveals unsuspected parallel dimensions. This is an unknown restyle of Neural independently (and secretly as we never knew about it) made by NY-based Motion and Graphic Designer, Clarke Blackham. Very nicely made, perhaps only a bit glossier for the magazine’s line, it testifies once more how even your most familiar outcomes can have another life somewhere else.
The urban area of Innsbruck hides two small wireless server that the windows of the Head of the store Wholly Cow Cafe and send, or rather trying to send pictures to other devices on the go. The vendors are nothing if not phones, notebooks, laptops, PDAs, guests in the pockets of passers-by their owners. In addition to the server a message that invites recipients to bring the images to 'kunstpavillion', where they will be decoded in alphabetic texts visible on the screen of the receiver. This is Decoy01 by Rainer Mandl, a project based on bluetooth technology that invests urban space transforming individuals on-carrier. Decoy is a lure that draws attention to the size herziana of the subjects in which they are immersed, but which do not seem to realize. In fact, if the data is accessible almost anywhere via the Internet, the interaction with the network is geographically located and bound to the nodes and wired connections. In the space wireless bluetooth connector instead is the individual himself, active synapses that physically moves through the city carrying information. Then the urban space becomes network and virtual community materializes in the art gallery. The content of the message does not matter. The network-enabled performance is entirely self-referential. There are numerous examples of art from wireless to be able to quote comparison, the Active Posters of HP Labs in Bristol, the Pervasive Connections in London, from mobile music of Location 33 in Culver City (California) to Taxi Madrid by Anne Lorenz & Rebekka Reich. As different as they are all united by the need to anchor the intangible dimension of radio frequencies and infrared, which triggers the transmission of signals, visible and tactile space of the city, forcing the individual to the movement, to a net surfing and not more virtual static, but dynamic and physical. In a sense the military decoy is a decoy which scavenge the enemy. In this case, the opposition becomes a man-machine collaboration in solidarity, in contrast to the classical model of Shannon and Weaver information: man is neither source nor receiver of information, but medium.