Carles Faus: Seiko Mikami “Desire of Codes”

Con el trabajo “Desire of Codes” la artista japonesa Seiko Mikami expresa la ambigüedad existente en la sociedad de la información entre el “Cuerpo de Datos en el mundo virtual” y “el Cuerpo Físico en el mundo real”. La artista expone dos factores, el primero podría ser el efecto de la seguridad ciudadana comentado por Jane Jacobs, pero en este caso ampliado por la era electrónica en la que vivimos, obteniendo así una seguridad global en un entorno local. Tal y como comenta Toyo ITo en el libro de Arquitectura de Límites Difusos, “cuando más se extiende la red electrónica por el mundo, más importancia pierde el concepto de lo local”. (Carles Faus)

This interactive installation in three configurations to expand. A large number of structures resembling tentacles with built-in small cameras are placed across a huge white wall ［1］, while six robotic “ search arms” equipped with cameras and projectors are suspended from the ceiling ［2］. Each device senses with insect-like wriggling movements the positions and movements of visitors, and turns toward detected persons in order to observe their actions. In addition, 4.7m round-shaped screen that looks like an insect’ s compound eye is installed in the back of the exhibition space ［3］. Visual data transmitted from each camera, along with footage recorded by surveillance cameras installed at various places around the world, are stored in a central database, and ultimately projected in complex images mixing elements of past and present, the venue itself and points around the globe, onto the screen［4］. The compound eye visualizes a new reality in which fragmentary aspects of space and time are recombined, while the visitor’s position as a subject of expression and surveillance at once indicates the new appearances of human corporeality and desire. and surveillance at once indicates the new appearances of human corporeality and desire.

［1］ 90 moving units in the wriggle wall

90 structures are exhaustively distributed across a wall. As soon as a visitor enters the area in front of the wall, the devices’ heads start blinking, and all together they move in the respective visitor’s direction like an insect’s tentacles. Highly sensitive cameras(0.00003lux) and microphones able to detect motion and sound beyond human perception record the visitor’s action, and send the recorded images and sounds together with the data collected in [2 to this work’s integrated database, from where they are eventually transmitted to［ 3］.

［2］ 6 tactile search arms with multi perspectives

Six robotic “search arms” resembling tentacles of an insect are suspended from the ceiling. Video cameras and laser projectors mounted onto the ends of these arms keep recording and projecting images while the arms follow the movements of visitors via 58 sensors. A visitor who enters the exhibition space is detected and recorded by the robotic arms, and eventually confronted with enlarged images of himself projected onto the floor. The images are at the same time transmitted to this work’s database together with the data recorded in ［1］, all of which are then projected in［ 3］.

［3］ Detected compound eyes screen

Like facets of an insect’s compound eye, 61 hexagonal parts make up one large screen. Visual data from ［1］ and ［2］ accumulated in the work’s database, as well as data collected by surveillance cameras installed in public spaces around the globe, are projected onto the single facets that form this screen. For example, detailed real-time images of the visitor’s skin, eyes or hair are projected onto single facets of the screen, where they mix with prerecorded footage of other people, and additionally, with surveillance images recorded at public places around the world (such as airports, parks, hallways or crowded streets). The accumulating compound eye can be considered as a device to illustrate the automatic generation of desire (data) based on information collected in contemporary information/surveillance society.

Sound & Light

Speaking audience in the installation space through the sound generated from machinery and noise and work has been collected by ultra-directional microphone. It also extracts the information is analyzed and the time series of sound pressure and sound frequency. "Wriggles Wall" is the sound from the data is recorded and the angle of the 15 mobile units of the sensor response. "Search arms" are the sound from the data is recorded in the angle of the cylinder length and step motor. "Compound eyes" is the sound recorded from the database in real-time information such as what each monocular view. At the same time, the current situation as a trigger, and recall the sound of the past from a database accumulated so far, creating a new sound space.

Detect program for Desire of Codes database

In this installation space can be seen by the monitor which detect program for Desire of Codes database.

Indicators of the left-side corner：Upper and lower 15 horizontal lines are directly related in camera mounted 15 structures of " the wriggle wall” and displayed in the visitor position and movement are reacting right now. The right side bar in this diagram：Expressed in the video camera sources of“ detected compound eyes screen”

Gray: Images of the Past Light Gray : WEB surveillance camera images of the world wide in real time Dark gray : The facial image recognition Black : Real-time images at this installation Blue : Movement of the line that displays images in the camera is currently recording visitors where front of “ the wriggle wall”.

White vertical lines running from side to side on the bar is detect the database and these are as the program manager of "Desire of Codes" and divide the past and present, while across the image displayed on the“ compound eyes screen”

Installation drawings

”90 moving units in the wriggle wall”