You can easly handle data from twitter, jabber, wikipedia, irc, flickr, rss and incorporate it in your real time data flow diagram. Qweb library is written in python, using pyext from Thomas Grill and the powerfull pattern library from Clips-

Still is under development, but you can try it from our svn jf you wish:

svn co http://code.autistici.org/svn/planetQ/satellite/trunk/common/source/Qweb/

This library will be incorporated in pantaliQa asap

The aim is to make easier the connections between OSC supported application and normal midi application (for example reactOSC and LMMS).

Code writing is almost finished; still I miss note midi integration and some further testing. I hope to release it in two weeks.

if you want to check the code:

svn co http://code.autistici.org/svn/planetQ/satellite/trunk/common/control/robOSC-2.0/

Soñando Satelites have been selected for the Linux Audio Conference 2012 in San Francisco.

Badly they don’t have enough money to pay my ticket and I don’t have time/idea how to make some founding in one month. So it will be next time, but it’s really a pity!

Only available in spanish.

Accepted paper for Student Usability in Educational Software and Games: Improving Experiences book. It has been wrote together with Euridice Cabañes Martinez as Arsgames members. Below the full abstract:

1. Present context:

We are immersed in what Lévy and Kerckhove define as the “third age of communication”, in which “a new language has taken shape that is even more universal than the alphabet, i.e. the digital language. An age that has followed those of orality and of writing”. (ref)

The so-called “new media”, based on the technological advances derived from the digitalization of contents, have brought about a revolution in the domain of audiovisual languages. This implies not only that a new type of contents being is being developed, but ―simultaneously and inextricably― a new way of relating to them has appeared and, in this sense, the interactivity that emerges from the use of new technologies is determinant: “The interactivity modifies not only the way an author deals with her task, but also the contents themselves that she creates and even the role of the spectator. In fact, the latter is now usually more properly called user” (Marín, 2009).

2. Implications of this educational context:

Every education system must carry out a previous analysis of the social context if it is to achieve the aim of providing students with an effective education. And, as shown above, this context is characterized by a massive consumption of the new media that is not accompanied by an appropriate knowledge of their codes and languages, especially when those are the languages that are modeling new cognitive styles and configuring modes of appropriation of reality.

In this context, education should provide students with a “digital literacy” that allow these users of the new communication and information languages to code and decode messages, as well as to develop a full awareness of its use that involve a critical and creative utilization.¹

This is important inasmuch as we are no longer mere receivers of the information created by a small and limited number of producers, not only because ICT have multiplied exponentially the number of content generators, but also because we ourselves are producing those contents.

3. The role of video games

Video games are one among other usual forms in which we are related to technology.²

Moreover, video games represent a paradigmatic example of interactive narrative structures which make possible ―within a ludic environment― the training of students to acquire the technical know-how required for the use of computers and to facilitate the development of certain competences related to the new media. There are several different ways of introducing these technologies into the classroom, that range from using conventional video games with educational purposes to using educational video games proper or, bearing most interest to us, to teaching students how to create their own video games. As Neil Gershenfeld, researcher at the MIT, has pointed,“it is when people are able to create their own technology that passion gets aroused”. Undoubtedly, playing video games can be very amusing and educational, but being able to generate your own video games bears a greater interest and at different levels:

Firstly, in our highly technological society in which computers are ubiquitous, it is not sufficient to know how to use the basic tools, but it becomes increasingly necessary to acquire programming knowledge that allow a full-fledged utilization of those tools. Learning to program video games provides with this knowledge within a very stimulating environment for users.

Secondly, if, as seen above, in the digital era we are not only content consumers but we also produce them, we will need the technical knowledge required to generate contents and express ourselves in the new media. In this respect, learning to program video games is extremely useful in that it involves learning to use audio and video, to generate interactive contents, etc.

4. Scratch:

The developers of Scratch, the research group “Lifelong Kindergarten” of the MIT MediaLab, know these advantages and have created a new, user-friendly programming environment that enables the exploration of basic programming principles without the syntax complications characteristic of other languages.

The idea underlying this ‘software’ is to leave behind the lines of code and to make possible programming of animations as if it were like playing with a LEGO toy, that is bringing together ‘bricks’ that contain all sorts of instructions. This feature makes programming easier and more intuitive than other programming languages, although it requires a learning period. This program has been designed for children from 8 years up, although it can be used by adults as well.

The intention of Scratch creators is to make programming accessible to anyone, since it was designed pursuing educational goals, as Mitchel Resnick, one of the people in charge of the program, explains: “We want the children to be creators. We want them to do interesting and dynamic things with the computer”.

5. Conclusions:

If in the digital era we confront a new language, we should not only understand the values and meanings that are transmitted through the new media, but it is also urgent to know its grammar (basic programming notions), given the fact that unless we master this, we will only be receivers and we will never be able to express ourselves in such language, though.

That is the reason why learning to program video games is not only a way to develop basic skills for the use of technology, but it provides the necessary knowledge in order to analyse the processes that govern the functioning of video games ―and, in general, that of every audiovisual language― and to identify the conceptual framework and the values they support.

References:

Alfageme González, M. B. & Sanchez Rodríguez, P. A. (2003) “Un instrumento para evaluar el uso y las actitudes hacia los videojuegos”. Pixel-Bit. Revista de Medios y Educación , 20, 17-32

Jenkins, H. Confronting the Chalenges of the Parcipatory Culture: Media Education for the 21^st Century. Available at: http://www.newmedialiteracies.org/files/working/NMLWhitePaper.pdf

Marín, A. (2009) New media ¿viejas o nuevas realidades? [On line document]. Available at: http://mosaic.uoc.edu/2006/10/20/new-media-%C2%BFviejas-o-nuevas-realidades/

Pérez Rodriguez, M.A. (2009) Un nuevo lenguaje para una comunicación global. Available at:

http://www.uhu.es/agora/version01/digital/numeros/03/03-articulos/monografico/pdf3/perez.PDF

Pérez Tornero, J.M. (2000): «El desarrollo de la sociedad de la información del paradigma de la cultura de masas al de la cultura multimedia», en PÉREZ TORNERO, J.M. (Comp.): Comunicación y educación en la sociedad de la información. Barcelona, Paidós; 17-34.

Rodríguez, A. (2009) Inteligencias en conexión. Hacia una sociedad de la Web. Available at:

http://www.javeriana.edu.co/relato_digital/r_digital/cibercultura/cibercultura.html

Scratch en la educación escolar: http://www.eduteka.org/modulos.php?catx=9&idSubX=278

2Alfageme González, M. B. & Sanchez Rodríguez, P. A. (2003) “Un instrumento para evaluar el uso y las actitudes hacia los videojuegos”. Pixel-Bit. Revista de Medios y Educación , 20, 17-32

Only available in spanish

RobOSC is a OSC router suposes to work with all kind of application that support OSC protocol. Through a xml description file robOSC imports OSC paths for incoming and outcoming signals. Once XMLs are imported you can connect all the listed proprierties in a patchbay gui. You can import inside robOSC as much application as you want. The goal of this application is to easy connect all OSC application that don’t let user to manage OSC path freely. Using robOSC as a bridge between application it will be far easy and fast. This code is to be meant a proof-of-concept.

A video demonstration of the program

Instructions and downloads

“Give me tree words” is a distribute installation playing on the concept of work. It invites spectator to define work individual context, revealing the intimacy day life in the extreme shortness of three word sentence: noun, verb and object.

It is a collective narrative platform for a reconnaissance of the immaginery around the word work. It has been developed and presented  during “Logos – festival della parola” in Rome.

Satellites are all around us. Floating in the space there are more than 13000 pieces of metal streaming all kind of data. Our concept of space and time changed since we can base our day life on tools like google maps, gps and others satellite stuffs. There is a continuous stream of information in and out from our planet that define a new way to live the globe. New connections, old surveillance methods and a new geospacial territory are possible in order to get autonomy. In this sense satellites are a narrative platform where build all together different connections between people, a stronger way to empower local communities. All this information should be free cause free is the space: the last place still not privatized where all our data and dreams persist over time.

Soñando Satelites [Dreaming Satellites in Spanish] is a ritual of re-appropriation, a celebrations of the fact we are involved in the same data-space that could control bodies or change relations between entities. A real time satellite sound track that invite to dream and propose to look over our head as a land to explore and hack.

It is a generative sound track connected to a realtime multi tracking satellites system called Gpredict. David Pello developped a patch# for the program to get object orbit calculation sent as OSC protocol. This feature was request# first time to Gpredict’s developer during interactivos?10 workshop from Alejandro Duque but just at Orbitando Satelites that patch has been made. This piece of software was the connection bridge between satellite domain and different [data] worlds. It lets extrapolate satellite data from original context in order to make it a creative prime material for something “completelly” different.

Soñando Satelites has been made using “din – din is noise” at first, a free sound software by S. Jagannathan. By drawing Bezier curves is possible to sketch audio like in a vector paint software.

Lately the recording was used as prime material inside a Puredata patch to add reverb, spazialization, wave distortion and interaction with satellite data. The patch used for that work was originally made by Alberto Zin# an modifyed by adding a wavedistorsion and a bitcrusher filter and was mixed with field recording of satellite communication done during the workshop. This recordings are real communication between an (italian) astronaut from ISS# and an italian radio amateur catched with an amateur radio by us. The patch get real time data from Gpredict and connect the presence of satellite in our geographical position to the audio filters. The mapping between audio and data is linear, synchronous: after a check of the presence of the satellite in our station, the altitute controls the filter directly. The composition is not to be considered a recording, the on-line material is provided only as example. It is a real time generated sound scape interacting with a plane of reality we don’t see but strong in his reflection.

Production environment

This work borns from my personal experience during last past years in Movimento do Sem Satelites [SatelliteLess Movement in Portuguese], an international nomadic collective originally from Brazil. Throught satellite metaphor we share a narrative and we create temporary autonomy zones that looks at satellite as a contemporary material to manipulate and play with.

The workshop Orbitando Satelites, at Laboral centro de Arte y Creación Industrial [Gijón, Spain] was a poetic, political and technical research workshop on satellites runed in may 2011 where this sound track was made. During the workshop organized by Pedro Solar and animated by many artist and activists with different skills we set up a space for collaboration where investigating satellite science and philosophy.

Orbitando satélites proposed an exercise on the visibilisation of these objects which hold a great and hidden influence on our daily lives in spite of being concealed from the human eye. Research was conducted on how they operate, gaining access to their signals by fabricating antennae and using radio systems; showing how to locate and observe them through the use of free software.

Following the tradition of independent communities involved in the creation of Free Information infrastructures, the meeting brought together experts and amateurs from different countries and cultures to draw up a declaration that poetically sketches a map of the possible uses of satellite-technology based systems.

Installation

The installation pretend to create an immersive audio/visual space for the audience. Public should enter in a dark room with just projection. If it is possible should be consider to make the installation in little dome, for a 180* view. Projection depends from founding and possibility and it adapts to the space. A 3 screen projection is best choose. The video projected is a real time 3d satellite tracking system from Makoto Kamada# that works from any web browser. If internet connection is not available Gpredict visualization will be preferred.

Audio is handled by headphones, that should be wireless, letting people to freely move into the room.

Performance

The performance is sound act about 20 minutes. During the performance will be used same tools that for installation production. will involve others sound artists during the performance distributing satellites to every one of them. Every musician will be invited to play with that data in order to make part of the performance.

Get the code:

http://code.autistici.org/svn/planetQ/sonandosatelites/

https://github.com/ladecadence/GPredict—OSC

Michel De Certeau – The Practice of everyday life

“Be spectator is a hazard practice”

Rafael Sanchez, Mateos Paniagua – Cuerpo suspendido, una imagen-cuerpo contemporanea,

.Enter

DistópiaVisuál is an experiment, a work in progress.
DistópiaVisuál is a surgery, a brief reticular examination of human eye.
DistópiaVisuál is jorney into central contemporary human condition.
DistópiaVisuál is not a lonely jorney but an ocular travel togheter with J.G. Ballard and Michel De certeau.
DistópiaVisuál is a game of lack of attention.

Gaze is the privilege sense of contemporary society.
Every thing is knew primary through sight, vision.
Through images accumulation we learn behaviour, we code rules, acquire social values.

In hyper-mediatic society we build our image of world, in whom eye is the barycentre.

The below material is a starting point. It is our raw material upon on build our investigation and verify our postulate.
We start from a surgery as a research, asking if it self could be a answer.
A permanent modification of gaze could be considered as an active action of resistance against hypertrophy of the vision.

.Video

A surgery to both eyes. Three screen composition from surveillance camera from all around the world. A synthetic voice reads J.G. Ballard’s I beleive first, and Michel De Certeau’s The practice of every daylife then. A dreamlike music, floating, alienating than moving images but strictly connected to them at the same time.
This are the elements used on that video. A video realized as starting material for our artist research and as video for public screening introducing the project. Twelve minuts travel surgery inside the contemporary distopia.

.Performance

It is a meeting between two subjects. The first, an inconscious spectator of extended and multiply vision of surveillance technology. The second one, a dancing subject, through movements try to engage a reaction to spectator condition. The dancer’s movements are an invitation to each other partecipation, spectator, spectators.
A shock to the torpor of spectator that push him to became a partecipant eye of the reality surrounds him. As for the surgery which he have been spectator, this attendance will bring him to a permanent change of his daylife condition.
Destroy his own glasses will be the only symbolic act left him to liberation of the imposed gaze.

.How

In order to develop  DIstópia Visuál we used just free software.
For the video editing part we used puredata-extended and a specific framework, developed by the collective, pantaliQa. The raw video is scientific material about a real surgery plus the recording from surviellance camera from different parts of the world taked from opentopia.com web community. Audio and video are executed and controllated in real-time from performer and have been recorded using gtk-recordMyDesktop software and final rendered with piTiVi.
The performance provides a video reproduction in the back and a stereo sound system for the audio Both audio and video are controlled in rea-time by the dacenr’s movements using a wiimote. During hte performance the public will be recorded and that material will slowly substitute the surviellance video screen.
The interactive installation will analize the position of the eye through openCV system in order to show online surviellance camera from all the world using opentopia community.

.Future Development

Our goal is to create a audio/visual interactive dance piece 20 minutes at least. Once we finished the first chapter, the gaze, we will continues focusing on the touch domain. Feeling of touch as re-discover of the world, as a conscious act of reappropriation of what we have all around; this is the main focus of our future investigation. Accepting a permanent vision’s modification the performer begins a chain reaction will push her/him to disclose other senses in the discovering of the world. For this new chapter we want to create a collection of sound tactil objects: every one will be created “in situ” and will be strictly connected at the place where they are realized (residence’s place), We want to use this objects on the stage and use them as tactil instruments played by performers and people. We want to engage an investigation on the sound and DIY and low cost technologies for the creation of that objects: contact microphonnes, lowcost biosensor, recycled hardware, are some of the technologies we are interested for experiment with.

The cartographer is a live audio/visual documentary about the power of cartography, the possibility, through map visualization and border drawing, to reinvent a space, to give it a different connotation.

By focusing on specific features and components, a map is deliberately drawn to omit some elements (that are considered superfluous or inconvenient) in order to better express the inherent narrative/message that information has to convey to other users.

As the sociologist Benedict Anderson noted in his book Imagined Communities, the role of cartography has been central to the origin of the common and conventional concept of Nation throughout the centuries. Without a universal visualization (an abstraction) of the space shared and lived in by a community it would have been impossible to develop the idea of Nationalism, and to disseminate a sense of national pride and belonging as we understand it in the present day.

Cartography is nowadays fundamental in war political affairs: changing currents territories and remapping geographical borders is equivalent to manipulating culture and everyday habits. An example is the war the Israeli government (with the support of USA and Europe) has been carrying out in Palestine for the past 60 years.

After the erection of a wall to separate the newly formed nation (Israel) by Palestine, the latter is forced to take new form: new borders are drawn that embody, since the early days, a different way to inhabit the space. Some roads are closed and new practice space comes with the segregation politics. By building the wall, claiming parts of the Palestinian for themselves and renaming landmarks using Hebrew names, Israelis rob Palestinians of their land, history and identity. They rewrite geography and history. The new visitors (those lucky enough to get through the strict Israelian checks), will not arrive in Alquds, but in Orshalim.

The performance uses Pure Data real-time programming language as Concept Map tool and consists of three screens and an audio piece. The main screen displays the real-time visualization of the Pure Data live coding (the map), the second one shows video footage filmed in Palestine, the third one alternates quotes from Sacred Landscape by the Israeli cartographer Benvenisti that relate to the map that has been created on the main screen. The accompanying sound piece is a live remixed composition made from different recordings of the cartographer’s monologue. These recordings are the voices of artists and activists of different nationalities who were invited to read out the text in their own language thus creating an immersive global panorama of voices from all over the world.

.Background
The photo exhibition was born from the experience of the author in Palestine during the month of November 2009. The author with other members of the Italian computer hacklab bugslab has achieved a project of grassroots cooperation with the Popular Resistance Committee of Nihilin. Bugslab is a technology activist collective and in the last 10 years it mades different political activities in the city of Rome, Italy, to promote the conscious use of information technology, free software in general and the sharing of knowledge. From April 2009 it initiated a process of co-op with the Committee for Popular Resistance of Nihil, a city 30 km south of Ramallah, near the separation wall built by Israel Goverment in 2005. Since its first year of constructions a Popular Resistance Committee in Bihilin and subsequently in Nihilin and other West Bank towns were born to resist to the practice of apartheid placed by the Israelian government. Every Friday held a demonstration against the occupation shared by both local activists, women, men and children as by international as Israelis, Europeans and Americans in defense of the self-determination’s right of the Palestinian people. To support the process of the Palestinian struggle Bugslab, by mutual agreement with the People’s Committee, has initiated a process of information technology grassroots co-op. During the month of November 2009 members of the team helped the community in building a Nihilin’s medialab with 9 computers for use to achieve real-time news from the front. Simultaneously has been developed a website, www.nilin-palestine.org, organ of expression of the popular Committee, and a long trainig to teach participants how to use it, how to write news and how to capture a wild visibility in internet was made.

Unlike other similar projects, our intention was not to make a tecjnical tool for functional operations to use as “experts” but rather to share self-managed technology practice with the goal to establish a technical/journalism group that was autonomous from any external source (such as Bugslab itself). The action of grassroots co-op has been totally self-funded by the collective, no institutional financial aid has been requested to keep as much as possible the autonomous nature of the initiative.

.Photography
The photographs portray moments of daily life Nihilin. Its people and its uses. The exhibition consists of about 15 photographs. Is divided into three stages:

The town and the people who inhabit it 

The computer lab and computer course

The weekly friday demonstration, in particular the one coincided with the twentieth anniversary of the fall of the Berlin Wall.

[Show as slideshow]

.Sound
The sound part is made with Puredata software. Through reactivision visual markers we assign a specific sound track to each photo. Each time a picture is recognized by the device this sound track passes through a filter of granular synthesis and it will be played back directly through the headphones of the visitor. The original sound is recorded in the same place where the photo was taken and is closely related to the context represented visually. The granular synthesis filter decomposes the original sound to reconstruct it in real time, according to the movements of the viewer; in that way we generate a sound landscape that even if it loses the link with the direct object of the photo, it  acquires depth and evocative composition.

Some of the original field recordings below:

Arriving to Nilin

Friday Demostration

Demostration Bombs

Arriving to Nilin2

Demostration 2

Going to Friday Demostration

Grain Industry

Jerusalem

Jerusalem Market

.Device
The device that allows the visitor to create his/her sound landscape in real time is home-made and it is the sum of different materials used at the same time. It is a safety helmet that has been fitted with a wireless camera in the front, an FM receiver in the rear, and a pair of  eadphones in the lateral. The camera sends the signal to a maincomputer which, after process it, reproduce the sound and send it back to  the helmet via a common FM trasmissor connected to the computer. The total value of materials used in its construction is about 50 €. During the research that led us to build this device, we considered it essential to adopt low-cost and easy to reproduce technologies by anyone in any context. For the kind of technology we implemented it’s possible to use only one device at time.

.Software
The software that manages the entire process is composed of two parts: a visual markers reader and a granular synthesis software. Reactivision system is used for recognize markers, as it is embedded in the programming language Puredata: through wireless camera software recognizes the presence of the marker in the picture and plays the audio track back associated with it. The granular synthesis software, also made with Puredata, generates the synthesis from the original track and sends it to our sound2vision’s helmet through a FM emisor changing the audio parameters in real time depending on the viewed picture.

Mediagrid object is a Pure Data abstraction let you pick a file from your disk in a graphical way. You can preload onto the mediagrid a video, image or audio file.

Mediagrid abstraction is inspired from Videogrid external from PDVJtools package by Sergi Lario and Lluis Gomez i Bigorda. The big difference is that Mediagrid can manage also audio files and it works on all platforms.

Mediagrid was developed as part of gemQ project.

For more infos and downloads goto planetQ

The aim of this workshop is to learn simple programming strategies for the creation of audio and video software tools for live performances. Generative or interactive piece of software that let artist creates and controls a video stream or an audio processing in real time.

In 5-6 days long workshop you will learn the basis of Pure Data language, how to manipulate or create a video and how to play with audio. At the end of the workshop all participants will play a jam session together in the Lab space or exhibit their prototypes

This workshop has been run at Area10 (London, U.K.) and N.K. (Berlin, Germany) both in 2010 in collaboration with Oscar Martin aka Noish

Download workshop’s paper

Download workshop’s puredata patch 

PlanetQ is our working svn repository and wiki trac systems. Is kindly offered by A/I collective, a hacker political collective offering web service through independent servers. 

 Here a list of the already made abstractions:

• mediagrid: a graphical file chooser, work with file of any type

• preQiew: a monitor preview for gem patch

• stringText: an abstraction to handle long text directly in a Gem window

• OSCizer: a library for enable automagically OSC send/receive for pd GUI objects

• QolorTrack: a color tracking application OSC enabled (look the repo)

• qCut: area tracking tool OSC enabled (look the repo)

• robOSC: a general OSC router stand alone application with a pachbay GUI system to easy connect different OSC application

• explorerQ: a cross-platform file browser for puredata (look the repo)

• gemQ: a complete solution for VJ

• XmiX: a complete 8 channel digital instrument for live music

• reactOSC: a reactivision system OSC enabled

• Qweb: a puredata library that perform web research to find texts, images and videos from internet to use it in live VJ performance.

   

Go to planetQ Wiki

Download planetQ svn

A demostration:

A presentation at Cannibal Caniche Festival in Berlin

gemQ free VJ software for linux workshop from Spuk Kommune on Vimeo.

Fischietto (whistle in english) is the result of a collaboration between estereotips.net and painter Benito Saluzzo. For the occasion of his exhibition in the city of Potenza (Italy), the artist wanted to experiment with new creation paradigms by trying to unveil the production process behind his work and make this process his own work. A picture is made, Whistle, and a video that has accompanied it throughout the show.

About:

Audiogames web site project

More infos on the press (spanish):

- PlayLab en Telediario 2º edición TVE1 (minuto 20)

- PlayLab en Público

For more infos and download go to planetQ

 Only available in italian

E. W. Dijkstra

It is a nomad hacklab, moving between technological festivals and events, for share free tecnology. It was born from some Brazilian artist, pushed especially by Glerm Soares,  some Spanish artist and some member of estereotips and it shows itself as a audio/video noise performance, creating a partecipative ritual between people in stage and online msst community. It was already presented during Piksel09 in Norway and during Ahacktitude festival in Milan (Italy). First than that MSST is a movement for reclaim free tecnology and knowledge, because we are more than guinea pigs! March and dance with us!

Workshop’s goal is to learn to edit video with free software. This workshop is organized in 4 different session, each one about 4 hours, more one day more of practice. It is divided in two moduels; pre-production and editing.

In the first one module you will learn to think about video, grab from a handycam and organize your video material for editing. In the second one you will learn how to use video editing application like Cinelerra and Open Movie Editor.

Only available in italian.

Download lecture notes (in italian)

TuTagghiuStuPalluni, Sicilian for “I’ll cut the ball”, is an interactive installation made ​​during the workshop on architecture and urban design «Woz 2008» in Palermo. Made with some elementary school children of two city’s districts (Albergheria and Ballarò), the installation consists of a soccer game with a single door; whenever the ball hits the wall, on which is projected a door, a media content comes alive among those chosen, manufactured and proposed by the children. The workshop in preparation of the contents that precedes the game is the most creative and interesting moment and also a time during which they discuss some key issues for us as the public spaces, the game and the identity and finally, the reappropriation of spaces.

In April 2009 the installation was revived at the Centro Cultural IBDA Center in  Dheisheh refugee camp  (Bethlehem, Palestine), during the campaign Sport sotto l’assedio (Sport under the siege).

Read the review by Create Digital Motion and by Australian vj VdmoSkati

We are interested in investigating the use of cartography as a exploration tools. Familiarity of this format allows us to subvert its conception, its consumption and its use. In other word, rewrite a new reality. The Istanbul Map is a ironic game where users are invited to discover a new mapping of the city.

The process of developing the map is the result of participation and exploration of activist community in the city; a mixture of creativity and knowledge, a visualization format on continues trasformation, a test on what can be planned and what is accidental, an alternative way to define the processes of memory construction in any cultural context.