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Máquinas y mecanismos. Máquinas simples Mecanismo de biela - manivela Cuña Palanca Plano inclinado Polea Tuerca husillo máquina. (Real academia española)

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Presentación del tema: "Máquinas y mecanismos. Máquinas simples Mecanismo de biela - manivela Cuña Palanca Plano inclinado Polea Tuerca husillo máquina. (Real academia española)"— Transcripción de la presentación:

1 Máquinas y mecanismos

2 Máquinas simples Mecanismo de biela - manivela Cuña Palanca Plano inclinado Polea Tuerca husillo máquina. (Real academia española) (Del lat. machĭna, y este del gr. dórico μαχαν ). 1. f. Artificio para aprovechar, dirigir o regular la acción de una fuerza. 2. f. Conjunto de aparatos combinados para recibir cierta forma de energía y transformarla en otra más adecuada, o para producir un efecto determinado. 3. f. Agregado de diversas partes ordenadas entre sí y dirigidas a la formación de un todo. 4. f. por antonom. Locomotora del tren. 5. f. tramoya ( del teatro). 6. f. Traza, proyecto de pura imaginación.s 7. f. Intervención de lo maravilloso o sobrenatural en cualquier fábula poética. 8. f. coloq. Edificio grande y suntuoso. La gran máquina de El Escorial. 9. f. coloq. Multitud y abundancia. Tengo una máquina de libros. 10. f. Cuba. coche ( vehículo automóvil).

3 -Autómatas- Jacques de Vaucanson Kempelen

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9 Leonardo da Vinci

10 La ciencia es la observación de las cosas posibles, ya sean presentes o pasadas. La presciencia es el conocimiento de las cosas que pueden ocurrir en el futuro, auque sea lentamente.

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23 Máquina de vapor

24 Cubismo/Dadá/Surrealismo -Marcel Duchamp-

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30 -Constructivismo Ruso- Vladimir Tatlin

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35 Jean Tinguely

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47 Videos de Tinguely (para quien tira pétalos dentro del marco)

48 Frank Malina

49 Diagram of the Lumidyne system

50 Three stages in making a Lumidyne kinetic painting

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52 two figures VI

53 kinetic column

54 Billy Klüver / EAT

55 Nine Evenings (1966):Teatro e Ingeniería: una serie de performances, realizados antes de constituirse el grupo, donde 10 artistas de Nueva York -John Cage, Lucinda Childs, Merce Cunningham, Öyvind Fahlström, Alex Hay, Deborah Hay, Steve Paxton, Robert Rauschenberg, David Tudor, y Robert Whitman- e ingenieros, trataban de romper las barreras entre ambas disciplinas.

56 Pepsi pavilion inside Pepsi Pavillion (Osaka, 1970): Se trataba de un espacio teatral multimedia e interactivo, donde se hacía uso de los últimos desarrollos electrónicos a fin de establecer una relación activa entre el usuario, los artistas y la obra.

57 Tumblr kuddgokn

58 Paik

59 Robot K456

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63 Edward Ihnatowicz

64 Norman White

65 Four letter word generator 1974

66 Menage

67 The Helpless Robot 1974

68 David Rokeby

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70 "Cloud" is a monumental kinetic installation hanging suspended in the Great Hall at the Ontario Science Centre. One hundred identical sculptural elements, arranged in ten by ten grid, are rotated at slightly differing speeds by computer-controlled motors. The elements slowly shift in and out of synchronization. When the motors are just out of sync, huge waves ripple across the space. When completely in sync, the work appears almost solid then suddenly almost invisible. When far out of sync, the sculptural elements float in apparent chaos. Cloud creates constantly shifting fields and patterns in the space of the Great Hall, playing with the tension between chaos and order, between scientific theory and human experience, and between objectivity and subjectivity. Installation Structure Cloud is large arrangement of identical simple elements. - The smallest elements of the work are a pair of thin acrylic planes 12" x 15" crossing each other perpendicularly on their short side. One is clear, the other is a light blue grey. - Six sets of these planes are arranged in identical orientation at 2.5' intervals along a 13' acrylic shaft. - A stepper motor slowly rotates the shaft of these motor shaft sets are set up in a 10 x 10 configuration at 4.5 foot intervals to create an open form about 42' x 42' x 16' high. The bottom of the bottom-most planes sets at a height of 11.5â. - The 100 units are identical, replaceable and interchangeable. They are attached to a 10 x 10 grid of aluminum. - All motors are connected to a computer which maintains the desired relationship of rotations speeds and positions.

71 Stelarc

72 Ken Rinaldo

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76 Autopoiesis, la escultura robótica interconectada de Ken Rinaldo, hace participar a los espectadores en una sutil y fluida interacción que deja ver un ballet cibernético, formado por quince esculturas robóticas cuya forma ha sido obtenida a partir de ramas de vid, y que responden a la presencia del público en sus movimientos y a través del sonido. Un sistema de sensores inteligentes detectan la ubicación del espectador, que afecta primero al comportamiento de las esculturas más cercanas y después modifica también al grupo entero debido al intercambio de datos en serie que tiene lugar, en un proceso de comportamiento colectivo en constante evolución. Con la colocación de cámaras diminutas en los extremos de los robots se introduce un elemento voyeurístico, al proyectar su imaginería en las paredes de la sala. La interfaz y la evolución del sistema son claramente comprensibles y contribuyen a una poderosa estética escultórica. Al mismo tiempo, la "arquitectura de subción" (subsumption architecture) que subyace en la obra, clave en la creación robótica de la Vida Artificial, está utilizada aquí de manera innovadora para estructurar el comportamiento de todo el sistema, en sus partes individuales y en conjunto.

77 Jim Campbell

78 A matrix of 32 x 24 (768) pixels made out of red LEDs displaying a pedestrian and auto traffic scene in NY from an off street perspective. There is a sheet of diffusing plexiglass angled in front of the grid. As the pedestrians move from left to right the figures gradually go from a discrete representation to a continuous one (or metaphorically from a digital representation to an analog one)

79 Motion and Rest is an ongoing series in which each work displays the abstracted walking movement of a disabled person. Using techniques of very low resolution, the gait of each person is distilled from other personal traits. (One starting point for these works was Muybridge, but unlike Muybridge, the clothes and hairstyles and gender et cetera of these figures are gone. Only the gait remains.)

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81 The Memory Works ( ) are a series in which each work is based upon a digitally recorded memory of an event. Some of these electronic records represent a personal memory and others represent a collective memory. These electronic memories are manipulated and then used to transform an associated object mounted on the wall. Avoiding the usual notions of what a memory is, none of the original memories is an image or a sound. These works explore the characteristic of hiddenness common to both human and computer memory. Memories are hidden and have to be transformed to be represented.

82 Photo Of My Mother Portrait Of My Father

83 The memory is at the rate of a person breathing, as recorded for one hour. The clock's second hand moves at the rate of the breathing from the memory. The clock is metering the breathing.

84 Illuminated Averages are a series of images displayed in light boxes in which each image is created by averaging all of the frames of a moving sequence. For example the first one created was an average of all the frames of the film Psycho. In that work almost 2 hours are collapsed to create one single image.

85 Art +com (video) ects&page=6&id=29&Itemid=144&details=0&lang=en ects&page=6&id=29&Itemid=144&details=0&lang=en

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92 The goal of the project was the enhancement of the traditional static stage setting into a reactive and dynamic stage design that plays its own vital role in the narration. On the stage, large planes were arranged onto which architecture, generated in real-time, was projected. The projection screens formed clipping planes through an imaginary virtual architecture positioned on stage. Machiavellis – the operas protagonists – movements and gestures were camera-tracked, and the virtual architecture moved according to his movements and gestures. This concept allowed linking the staged action and the architecture closely: Machiavelli, as a powerful and dominant character in the play, has power over the stage (and consequently over his co-actors) through the possibilities of interaction given to him. In addition to the architecture, the costumes of the actors were also augmented with digital media. Via a tracking system developed especially for this opera, digital masks were generated in real-time, according to the silhouettes of the actors. Textures were then pasted onto these masks, and the ensuing media costumes were projected to fit exactly onto the singers. This way, it was possible to depict the characters conditions and feelings with dynamic textures on their bodies. Despite the complexity of the software and hardware developed for this project, technology was never at the forefront. The exclusive aim was to generate new ways of expression for the director and the actors. The project was commissioned by the Opera Biennale Munich in 1999 and premiered in Composer: André Werner, libretto based on the novel by Christopher Marlowe. The project is a co-production between ART+COM and bureau+staubach, supported by ZKM Karlsruhe. Co- authors and developers: Nils Krueger, Bernd Lintermann, Andre Bernhardt, Jan Schroeder, Andeas Kratky.

93 Daniel Palacios

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95 Un largo trozo de cuerda representa tridimensionalmente una serie de ondas flotando en el espacio, a la par que estas producen sonido por la propia física de su movimiento: la cuerda que crea el volumen, crea simultáneamente el sonido al cortar el aire, conformando un único elemento. Según nos comportemos frente a él, según la cantidad de observadores y sus movimientos pasará de una línea estable sin sonido a formas caóticas de sonidos irregulares (cuanto más movimiento haya en torno a la instalación) a través de diferentes estadios de ondas sinusoidales y sonidos armónicos.

96 Shih Chieh Huang

97 Shih Chieh Huang writes of his new work Twilight will look strange and sound blueish white Many creatures sparkeling, beeping, moving. About his work in general, he writes: My work focuses on exploring the unusual evolutionary adaptations undertaken by creatures that reside in inhospitable conditions. I create analogous ecosystems in my installations and populate them with organic living things made from common, everyday objects. I source my wholly synthetic materials from the mundane objects that comprise our modern existence: household appliances, zip ties, water tubes, lights, computer parts, cheap motorized toys and the like. The objects are dissected and disassembled as needed and reconstructed into experimental primitive organisms that reside on the fringes of evolutionary transformation: computer cooling fans are repurposed for loco-motion, Tupperware serves as a skeletal framework, guitar tuner rewired to detect sound, and automatic night lights become a sensory input.

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