The Blind Robot
Taller de investigación y análisis de los principales aspectos del uso de las nuevas tecnologías en el arte dentro de las dos revoluciones tecnológicas más importantes de este siglo: la informática y la biológica; entendiéndose éstas como consecuencias directas o indirectas de las dos guerras mundiales. El fin es comprender que es la tecnología, como afecta las artes y como se retroalimentan.
Cut/Paste/Grow: Exhibition
Cut/Paste/Grow: Exhibition
Genspace and Observatory
Exposición colectiva de bioarte
Marzo 23–Mayo 11, 2013
Observatory
543 Union Street, Brooklyn, NY 11215
Cut/Paste/Grow:The Beautiful Abominations of Bio Art
Por Julia Dawidowicz (Marzo 26, 2013)
Genspace and Observatory
Exposición colectiva de bioarte
Marzo 23–Mayo 11, 2013
Observatory
543 Union Street, Brooklyn, NY 11215
Cut/Paste/Grow:The Beautiful Abominations of Bio Art
Por Julia Dawidowicz (Marzo 26, 2013)
REVIEWS BY STUDENTS: Burbano
Andrés Burbano: Opening Source
Translated by: Aline Hernández
(Héctor Archundia Ibarra, Julieta Guzmán Gómez Aguado and Estefanía Piñón
Escudero)
Andrés Burbano (1973) is a Colombian artist who´s
practice focuses on digital-art. With
an MA in Interactive Media Creation
from MECAD, Spain, 2004, he has participated in residencies such as the artist-in-residence
program at the Basic Research Institute at ZKM,
Karlsruhe, Germany in 2005. Between 2007 and 2012, he was a PhD candidate of Media Arts
and Technology at the University of California Santa Barbara. Burbano initially started
as a documentalist, doing explorations related to video, sound-art and telecommunications
and he was also a pioneer in the technology development of Stereoscopic
Video Art and in
internet-based art, which he has been using as a platform since 1996. He has
also been crucial in his country for electronic art shows for emerging
artists. He is now working and producing between California and Bogotá.
Open(ing) Source starts as a collaborative project where the artists gathered genetic/migratory
information from three participants, information that was initially collected from The
National Geographic Society from
a project dedicated to tracing the human history of our ancestors and migration
through the planet. The results where then sent via travelling-boxes around the
world to some of the artists friends for them to interpret and contribute creatively to the project (songs, drawings, photography)
regarding some of the
information found in the boxes.
Burbano is focused in
exploring the relationship between art, science and technology from different
perspectives: as a researcher, an individual artist or through collaborating
work with other artists, designers and engineers. His broad range work, emphasizes the importance and pervasiveness of his interdisciplinary
and collaborative work in the digital art field.
Authors like José Luis Vaca signal
that “within the Colombian artistic context
artists like Andrés Burbano, approach their practice and Net.Art as a need for
bonds, but also as the tuning of interpretation, study and interaction among
agents”[1]
Finally, the importance of
this project lies in its collaborative basis, in the genetic research entailed
with art and in the future creation of an internet database that will enable
the genetic/migratory information.
[1] Vaca, Jose Luis, Arte Politica Net.Art Activismo
REVIEWS BY STUDENTS: Barragán
Hernando Barragán
Hernando Barragán is a Colombian
artist and designer who divides his time between the Openwork studio in New
York and the Department of Architecture and Design at the University of los
Andes, Colombia. He studied Systems Engineering and Computing at the same
university and a master in Interactive Design for the Interaction Design
Institute of Ivrea, Italy.
NOTES
Acumulated Transparency
By Iltze Bautista Castillo and Gabriela Cárdenas Ramírez
His first
exhibition was at the Museum of Modern Art of Bogota, Colombia in 2002, with
the piece Hipercubo/ok/. Since then
his pieces have been shown in countries like Canada, Korea, Italy and Spain. He
has received numerous prizes, like the Association of Sustainability and
Architecture, Ars Electrónica and the Latin-American Biennial of Design. Generally
his work focuses on the relations between public/users and the piece.
The piece that we are
interested in analyzing is en.light.en Interactives
Lamps, which was realized in the Barragan Studio during 2009 and won the
prize of design Pencil of Steel on the following year. It works with seven
lamps controlled by the program Wiring. [1] This piece, seeks to re-accommodate
the form in which we relate to the daily objects, working with the limits
between the unique work and massive product. As well the idea of an original
piece of art and design product. It is a set
of eight lamps of simple appearance, which daily functions are inserted in a
playful sense, but technologically complex.
NOTES
[1] Program that combines hardware and opened
software, which serves to illustrate in the physical world ideas and concepts.
Barragán began the development of the project in the Interaction Design
Institute and was continued by a small group of persons in the University of los
Andes.
REVIEWS BY STUDENTS: Solis
Hugo Solís García
Metaphoric sound in media-art.
http://hugosolis.net
By Karla Martínez García and José Enrique Olivera C.
Made in WordPress, without any obvious information regarding the date, the Mexican artist Hugo Solís García’s web page is employed only for the presentation of the artist and all his art works. In quotation, Word Press mission is “an advanced semantic platform for personal publications with an orientation towards the statics, web standards and usability; in addition to this, it is free and not charged.” Generally, it presents the artist following these parameters: Sound art, Interactive Art, Electronic art; it contains information such as his current work, named Axial. It’s content (presented in tabs) are the projects about his works, concerts, technology (where the relation between art and technology is being explained), his teachings, publications and contact.
Metaphoric sound in media-art.
http://hugosolis.net
By Karla Martínez García and José Enrique Olivera C.
Made in WordPress, without any obvious information regarding the date, the Mexican artist Hugo Solís García’s web page is employed only for the presentation of the artist and all his art works. In quotation, Word Press mission is “an advanced semantic platform for personal publications with an orientation towards the statics, web standards and usability; in addition to this, it is free and not charged.” Generally, it presents the artist following these parameters: Sound art, Interactive Art, Electronic art; it contains information such as his current work, named Axial. It’s content (presented in tabs) are the projects about his works, concerts, technology (where the relation between art and technology is being explained), his teachings, publications and contact.
Hugo Solís was born in 1946, he was a
musician student since his early age, but he began his sound experimentation
after his masters in Media-Art and Science at the University of Popeu Fabra,
Barcelona. He is a multidisciplinary artist whose works focus is principally
towards the creation of interactive and multimedia sound installations, where
the observers participation is fundamental to complete his artistic work, which
is codified though instruments and technologic tools that go all the way from
programming to mechanisms that act like sensors. The usage of the sound is an
essential tool in his work, which goes hand by hand with the video, image and
kinetics sculptures.
Metaphors for dead pianos, is a set of sound sculptures constructed with dismembered acoustic
pianos. The finality of the piece is bringing back to life the instruments
using a contemporary sound perspective which is being modified by technological
media. Using sensors and a small computer it registers and analyses the
behavior of the public, generating data that’s being reproduced mechanically by
the piano. The result is the modulation between the public’s interactions with
the decoding of it with J. S. Bach’s “Well temperedes Clavier” book. He
believes that J.S. Bach’s musical work suggest the subjective interpretation of
who touches it.
Finally, we can understand that Hugo
Solis’s work can be studied and appreciated from the media-art vision, based in
José Luis Brea’s vision that is focused exclusively in those practices that not
only produce objects “for” a given media, but they provide themselves with a
mission and an object that’s precisely the specific and autonomist “production
of media”, those art works in which the object is himself. This is what Hugo
Solís proposed: that the art work itself is being constituted through its
production, reconfiguring the artistic practices by the
public presentations, generating a space for encounters for the spectators and
a common dialogue.
Bibliography
Christopher DeLaurenti, Live Dead Pianos, The score column, the
stranger, Vol. 19, No. 27. (March, 17, 2013)
Interview with the artist in: http://www.jackstraw.org/programs/mediagallery/solis_10.shtml,
(March 12, 2013)
REVIEWS BY STUDENTS: Bunting
Traspasser
Allowed: Heath Bunting irational.org/heathbunting
http://irational.org/cgi-bin/cv2/temp.pl
by María Cano Chanez, Omar Echeverría Soza and José Raúl Sánchez Torres
http://irational.org/cgi-bin/cv2/temp.pl
by María Cano Chanez, Omar Echeverría Soza and José Raúl Sánchez Torres
Irational.org
is a web page that of artists in which each one of them briefly resumes his/her
biography and the work they have done. All the works on display have some
relationship with problems of identity and privacy on the Web. All this kind of
work has been inserted into what could be labeled as hacktivism. Within this
page you will be able to find the work of the artist, Heath Bunting, who we
decided to talk about. However, we had to make a choice of two pieces to
analyze as he had a very long list of all the works he has done. The two
proposals that were selected are Bordexing
and The Status Project. In order to
follow a chronological sequence we will begin by explaining the Bordexing Project. It began in 2001 and
was terminated in 2011. The proposition of Boderxing
is to make a detailed description of the illegal crossing of European borders.
Alongside the description, people should take accurate photos of them crossing
undetected. These pictures would be uploaded with the exact instructions for
crossing that border, so that everyone had access to this information. The
purpose of these actions is to transgress the limits that political systems
have decided to create. The second project is The Status Project, which began in 2004 and ended in 2014. It consisted in making a mapping of the mobilizations that run on
databases. This is made, through the data that people are forced to provide to
both, government and private institutions to obtain services. The maps will be
created of the mutations and movements made with this information by the users.
Besides understanding how the user´s information moves and mutates, you could
understand the mobilisation from the system itself. After being able to infer
how the system operates by looking at the maps, the person will have the
possibility of using other identities within the same system. Being able to
decode the way the system moves, makes the users able to break the system and
create another identity. The reason for
doing this is so people would not be limited to only one identity established
by the system, because no one can be defined by just throwing some data.
In our opinion,
the importance of the Bunting´s project is that even though you are creating a
utopian illusion, it produces consciousness in people, to open their eyes to
what is happening. Probably you can´t break the system entirely, however you can
activate and set new rules of openness for free expression and privacy online.
According to José Luis Brea, Bunting is completely immersed in the role of the
activist as he produces “the fantasy of a specific potential ’resistance’ against the ’system’.”
Both, Bordexing and the Status Proyect, have gotten people
engaged electronically in breaking institutional establishments. It has created
a community that is appalled by the way the system merely objectifies people by
transforming them into measurable targets. The Net is intended to be a place of
free passage or to put it in terms of Hakim Bey, an autonomous place. The
system will find a way to legalize this temporary autonomous place, but the importance
of this kind of work is that people find another way to crack the system to
have a free passage and freedom, not only electronically speaking, but also
physically.
REVIEWS BY STUDENTS: Bloody Map
Bloody Map Project
https://maps.google.com/maps/ms?ie=UTF8&msa=0&msid=212261269395391329707.0004921f02f43f6c4f07e&ll=35.317366,111.357422&spn=16.751302,43.286133&z=5
By Aline Hernández and María José Chávez
Since 2007, China has reported countless cases
of eviction in several regions of the country. This situation, which has been
increasing ever since, is due to the pressure that the government, led by the
Communist Party, has been persistently putting into the local governments,
forcing them to generate a substantial economic growth which is hardly
achievable. Hence, the local governments have been acquiring debts in order to
be able fulfill the government’s expectations and consequently, they have resorted
to bank loans which they are later incapable of paying. Local governments resort
to random evictions that take place in poor zones of the country, giving in
exchange to all those families a miserable payment that leaves them homeless in
order for them to be able to resell
their lands to the real state agency’s and investors. Ultimately, the whole
situation has turned into a vicious circle which is mainly affecting the
citizens who have been deprived from their homes. These homes soon become into
factories and highways.
https://maps.google.com/maps/ms?ie=UTF8&msa=0&msid=212261269395391329707.0004921f02f43f6c4f07e&ll=35.317366,111.357422&spn=16.751302,43.286133&z=5
By Aline Hernández and María José Chávez
The Bloody Map Project arose from one of these
evictions that took place on the 12th of October 2012 in Baihutou town located
in Beihai, Guangxi. It was launched by an anonymous Chinese blogger who decided
to activate an online denounce mechanism, through an interactive map set on Google
maps, in which the people could upload their personal eviction cases, or rather
the cases they have witnessed. All they needed was to prove what happened. Later
the blogger would, verify the evidence and upload the cases into the definitive
map, using specific symbols that showed the way in which these cases have
occurred (the volcanos represent the evictions in which violence has been used,
the beds represent the evictions in which deaths have been implicated and the
flames represent the cases in which the inhabitants have killed themselves).
Finally, the activism project, seeks
to function as a history archive of these evictions and also, endeavors to work
as a starting point to disseminate all those cases that haven´t reach the news.
The aim is also to get the potential buyers to think twice before acquiring one
of those properties. Parting from a censure tantrum, Bloody Map prompts to
spread an open call to the community to get involved in this cause and also pursuits
to denounce, to critical effects and through a communicative action, the
situation that has been taking place non-stop.
REVIEWS BY STUDENTS: Constantini
The
Noise Pixeles. Atari Noise and Arcangel Constantini
Constantini, Arcángel, Atari Noise. Date: March 10, 2013, http://www.atari-noise.com/
By Laura
Cristina Urrutia Aldrete and Patricia Gabriela Díaz Suzarte
Arcangel
Constantini was born in Mexico in 1970. He names himself a "Technology
Hacker." Constantini is an artist, curator and promoter of new arts. His
work is mainly audio-visual and tries to experiment with it in a ludic way. His
starting point is the old iconography and the first digital systems to build an
evolving an interactive audiovisual structure.[1]
He has been curator of the Tamayo Museum and has been granted with the FONCA
scholarship.
Atari
Noise is one of the most famous pieces of Arcangel Constantini. The idea is
simple; he tries to recycle obsolete technology, in this specific case the
Atari 2600, i.e. one of the gaming devices, which is now obsolete. Atari Noise is the "reflection of a
media culture in which the necessary hardware is available today as scrap used
in any home." [2]
The artist hacked the "original
programming"[3],
so that the intervention resulted in the generation of video and audio
standards. This piece was presented during the Bending and Hardware Hacking Happening Festival in Tokyo, Japan and
Mexico City, simultaneously. Mario de Vega traveled to Japan and presented his
project SPK ® Live and helped with the
installation and communication between the two systems (operated by Ivan Abreu
and Arcangel Constantini), who controlled it remotely via arduino, pd,
flashserver and circuits. The result was a video of almost six minutes, which
shows colored lines and anachronistic way to these, different sounds, elements
that show, a manual intervention (hacking), and an intervention of video and
sound.
Among the concepts proposed in the book The Postmedia Era by José Luis
Brea, it is possible to apply the concept of Multimedia. This being defined as "a production that
incorporates elements developed in different media." [4]
While it is true that the main base of the experiment is the Atari console, it
is also true that to perform the real-time activity at distance, many devices
were indispensable.
Apparently, Brea has no term that could classify an artistic expression
of this type, that is, one that transforms obsolete technologies in one way or
another. “We could exclusively call media art to those practices that rather
than producing objects 'for' a given media,
have the task of production ‘of a specific media', autonomous. Those works in
which the object is itself the medium.” [5]
In addition to this approach, we can understand Atari Noise as a universal language, because it speaks to the whole
society, the images and sounds can be interpreted consistently regardless of
the geographical location of the person. In words of Brea: “Imagine a world in
which objects talk to each other, like elements or cogs in a global machine.
The language spoken is technical. Precisely
what is required is fidelity in the exchange code. The technique is the Esperanto
of the objects system.” [6]
References
Tecniarts, Arcangel Constantini: Consideration About Digital
Culture (Arcángel Constantini: reflexiones sobre la cultura digital). Date: March
12, 2013,. http://tecniarts.com/cultura-digital-arcangel-constantini/
Escribano
Serrano, José, Art and Videogame. The Videogame as an Artistic Tool. An Approach to the new Cybernetic Language and Its Influence
in the Beauty Arts (Arte y videojuego.El videojuego como herramienta
artística. Una aproximación al nuevo lenguaje
cibernético y su influencia en las Bellas Artes), Spain,
2007.
Brea, José Luis, The
Postmedia Era (La era postmedia), Creative Commons, 2009.
Constantini, Arcángel, Arc Data. Date: March
10, 2013, http://www.arc-data.net/ Constantini, Arcángel, Atari Noise. Date: March 10, 2013, http://www.atari-noise.com/
[1] Tecniarts, Arcangel Constantini: Consideration About
Digital Culture (Arcángel Constantini: reflexiones sobre la cultura digital). Date: March 12,
2013,. http://tecniarts.com/cultura-digital-arcangel-constantini/
[2] Idem.
[3] Escribano Serrano, José, Art and Videogame. The Videogame as an
Artistic Tool. An Approach to the new Cybernetic Language and Its Influence in
the Beauty Arts (Arte y videojuego.El videojuego como herramienta artística.
Una
aproximación al nuevo lenguaje cibernético y su influencia en las Bellas
Artes), Spain,
2007, p.83
[4] Brea, José Luis, The Postmedia Era, Creative
Commons, 2009, p.7.
[5] Íbid., p.16
[6] Ibid, p. 121.
REVIEWS BY STUDENTS: Thompson
Jeffrey Thompson: Every possible photograph in a
Post-Media Era
http://www.jeffreythompson. org/EveryPossiblePhotograph. php
http://www.jeffreythompson.
by Jimena Aguirre Durán and Jorge Andrés Reyes Rodríguez
Jeffrey Thompson is a
Nebraskan artist and musician. The dominant aesthetic in his works such as Wikipedia Loops and 42,607,656 Pixels Of Sky - Sorted by RGB Value, let us think about the
assimilation and overflowing of new technologies for the artistic development
in the Post-Media Era. Such is the
case of Every Possible Photograph, a piece
made in 2012 through a customized software with a digital projection. Thompson sought
to generate every possible image set algorithmically from any feasible number combination
in the pixels that give the gradation from white to black. From a random mathematical
algorithm, the piece rhythmically configures every single pixel in a series of
photographs that we could finally "see" concluded a trillions years from
now.
This raises the following questions;
Every Possible Photograph (EPP) is a
work of art or a post-artistic work?
And, can it be classified as Media-art
or Post-Media-art? According to Jose
Luis Brea and his Postmedia Era's
text (2002) "the greatest event of our era [regarding the image issue] is
the emergence of the movement-image, and image-time". However, how does
this apply to a work that may exceed all human eras? These questions suggest
that EPP is a paradoxical case.
First, as the present and contemporary part, it is a clear example of
"time based art". Category described by Brea that refers to the
visual issue and concerns the author's idea according to which the images
produced technically have a particular internal time ,
which makes it a clear example of a the post-photograph
concept. That is, the technological expansion of the internal time of
photography that takes further the narratives of the same event and goes
into the representation.
However, on the other hand, considering Brea’s conceptions about art and
technology, and
the way it defines the time when it appears, how can we analyze a work that
has a clearly defined beginning, but will exist in all times to come? Definitely Every Possible Photograph can generate
a series of paradoxical questions that highlight the debate over the recognition
of technology and new media in art.
Bibliography
BREA José
Luis, La era Post-Media; Acción
comunicativa, prácticas (post)artísitcas y dispositivos neomediales, [Libro
en línea], Editorial Casa, España, 2007.
REVIEWS BY STUDENTS: Cirio
Artist: Paolo Cirio
Project: Street Ghosts
streetghosts.net
by Marianna Stephania Hernández Aguilar and Ileana Muñoz Rodríguez
Paolo Cirio is an Italian artist,
born in 1979. He has done several projects in the disciplines of street-art,
net-art, software-art and video-art. His work revolves around subjects such as
the construction of identities through the new media, the problem of copyright
and ownership, and the conflict between the notions of private and public in
the contemporary world.
For
example, in 2012 he stole the information from Twitter and rated the political
affiliation of people (Persecuting US).
One year before he stole one million profiles from Facebook and republished
them in a fake dating website (Face to
Facebook Project). He also stole 3,000 books from Amazon and redistributed
them for free in his webpage (Amazon Noir).
The
project which we want to analyze is Street
Ghosts. It started in 2012, with the initiative of Paolo Cirio. It consists
in printing real size photographs of people found on Google Street View, and
placing them on the same spot where they were initially taken. The project
tries, not only to problematize our notions of what is private and what is not
in the context of new media, but it also questions the power of Google as a
corporation which has the freedom to use the identities of people on the
street, and then, claim the copyright to those images.
The
artist said in his website (http://paolocirio.net) that: “The obscure figures
fixed to the walls are the murky intersection of two overlain worlds: the real
world of things and people, from which these images were originally captured,
and the virtual afterlife of data and copyrights, from which these images were
retaken.”
The
project has been done in cities such as Berlin, New York and London; and
continues to this day.
REVIEWS BY STUDENTS: Chunky Move
Chunky Move
http://chunkymove.com.au
http://chunkymove.com.au
by Ana Sofía Sordo
Molina, Alma Delia Vega Valentín and Estefanía Elizabeth Ruíz Escobedo.
Founded in
1995 by Gideon Obarzanek, they began working like a collective with the purpose
to only make dance performances. Ever since they own a theatre (2002), which
the Australian government gave to them, they started experimenting with
multimedia and new technologies in some of their pieces. In 2011 their artistic
director Obarzanek resigned and since July 2012, Anouk Van Dijk, a famous
choreographer took his place.
There are two
pieces that evidence the relations between technology and humans, these are: Glow (2006) and Mortal Engine (2008). The relevance of these pieces is that they
were developed before video mapping[1]
became important and commercial, so they were a total innovation in the field
of art.
Glow and Mortal
Engine use a software created by Frieder Weiss who defines himself as an
" arts engineer"[2], when
Obarzanek and Weiss met at the Monaco
Dance Forum (2004) they began to discuss about using a data projector for
lighting a moving body. After testing the software they created Glow in which movement and video
landscapes mix and generate a total transformation in the dancers[3].
Mortal Engine was the next piece in which Obarzanek
and Weiss worked together. With more knowledge of the things the software can
do they decided to go further, not only using the video projector but also
using a laser at the time music and dancers perform. In Glow they were looking a human body transformation, in Mortal Engine for a new vision of the
limits of the human body reflecting in the utilization of lasers as an
extension of the dancer’s body.
Technology
has permitted man develop capacities that before seemed impossible, from
crossing the ocean up to flying. Technology has permitted not only human evolution,
but also his ways of thinking and seeing all that surrounds him. Technology offers
the possibility to experiment more with the body, making it feel freer as
always wanted.
[1] The video mapping takes more importance since
2005 and the fact is that these two pieces were the “beginners” in the utilization
of video projector in real time perform is happening.
[2] He developed his software while he
was living in Berlin and Nürnberg; the only function of this software is
working with artists in performance or installations[2].
Frieder
Weiss website: http://www.frieder-weiss.de/
20-03-13 (5:00pm).
[3] “With a better understanding of the system’s
capabilities, its possible applications and further potential, the dancers and
I have attempted in the movement to create a type of “biotech fiction”,
shifting the body into other imaginary sensual and grotesque creature states.
The relationship of the digital pixel environment to the performer varies from
being an illustrative extended motion of their movement, a visual expression of
internal states, and also a self-contained animated habitat”. Glow Obarzanek’s opinion.
REVIEWS BY STUDENTS: Cunningham
Merce Cunningham “Lifeforms”
By Claudia Melis and Diana Miranda
http://www.youtube.com/watch?v=ROmTHBg8Nw0
By Claudia Melis and Diana Miranda
http://www.youtube.com/watch?v=ROmTHBg8Nw0
REVIEWS BY STUDENTS: Mestizo
Hamilton Mestizo
librepensante.org
By Isabel González Ugalde and Rebeca Torres del Castillo
By Isabel González Ugalde and Rebeca Torres del Castillo
Mestizo is a young Colombian artist whose work is
focused in questioning the limits between disciplines; he combines art, science
technology, biology and society. Hamilton
shows a marked interest in electronic arts and programming. His whole work has
a strong social concern that appears especially in his website librepensante.org. The website means to
build an on- line community and a
network of knowledge. This network means to create bonds and communication
between people that work in different disciplines who have a common interest
which is to share knowledge aiming to promote a social development and a free
culture. The idea is that anybody can be a part of the community and everybody
can contribute with something to the research and work of the other by the
production of creative projects. The network implies infinite interpretations
by the users appropriation of the knowledge found on the page and therefore
infinite possibilities of projects and multiple alternatives of application.
The website promotes a collective creation where
interaction and dialogue is vital; the users interact directly through the use
of groups and chats. Mestizo believes in a new form of knowledge he calls Especialización Pirata (Pirate
Specialization) which means that every user can specialize in a new discipline
by the de-specialization of his own area of work. This also involves the free use
of information conditioned only by the use of quotes.
The artist promotes the creation of a local industry
with the DIY (Do It Yourself) and DIWO (Do It With Others) culture where the
users can create their own artistic devices through the use of tutorials and
wikis. Hamilton has an ecological concern that appears in his project Free Energy in which the general idea is
to create self-sustainability by the creation of organisms that are half
organic and half electronic. An exchange of energy happens through a chemical
battery that extracts the energy of a biological organism to power electronic
devices.
INVITADOS ESPECIALES:
25 de febrero 2013:
Anni Garza Lau "Medios locativos en el arte actual"
27 de febrero 2013:
sam smiley
Astrodime Transit Authority
Colaboración con la Universidad de Lesley, Boston
1 de abril 2013:
Dra. Sandra González Santos
Genética
17 de abril 2013:
Edith Medina
Bioarte en Latinoamérica
Anni Garza Lau "Medios locativos en el arte actual"
27 de febrero 2013:
sam smiley
Astrodime Transit Authority
Colaboración con la Universidad de Lesley, Boston
1 de abril 2013:
Dra. Sandra González Santos
Genética
17 de abril 2013:
Edith Medina
Bioarte en Latinoamérica
A
partir de distintos marcos de referencia teórico, podrán adquirir las
herramientas necesarias para analizar, desglosar y reflexionar sobre el cruce
entre arte y tecnología, reconociendo las problemáticas a las que se enfrenta
el arte en el siglo XXI a través de un acercamiento transdisciplinar. Al
finalizar el curso tendrán un panorama general sobre el uso de nuevas
tecnologías en el arte y podrán ejercer la función de crítica y reflexión sobre
obras y su implicación e interrelación con el campo social, político y
económico entre otras.
Se propone este curso como un espacio-laboratorio de reflexión sobre el quehacer artístico contemporáneo. En este sentido será indispensable entablar discusiones sobre los textos propuestos, investigarlos y relacionarlos con piezas de arte contemporáneo que he seleccionado para ello. La idea es desarrollar estrategias de integración de conocimientos previos para abordar, desde una perspectiva analítica y reflexiva, los aspectos de tiempo, espacio cuerpo y memoria en el arte actual.
Espero que lo que está sucediendo en la interacción entre arte y tecnología sea algo que llegue a apasionarlos y que disfruten de este curso y de todo lo que vamos a ver.
Se propone este curso como un espacio-laboratorio de reflexión sobre el quehacer artístico contemporáneo. En este sentido será indispensable entablar discusiones sobre los textos propuestos, investigarlos y relacionarlos con piezas de arte contemporáneo que he seleccionado para ello. La idea es desarrollar estrategias de integración de conocimientos previos para abordar, desde una perspectiva analítica y reflexiva, los aspectos de tiempo, espacio cuerpo y memoria en el arte actual.
Espero que lo que está sucediendo en la interacción entre arte y tecnología sea algo que llegue a apasionarlos y que disfruten de este curso y de todo lo que vamos a ver.
Programa 2013
I. Introducción
Lectura
Actividad
Es importante centrar las
premisas con las cuales analizaremos el concepto de nuevas tecnologías. Para
comprender nuestro mundo tenemos que comprender que es la tecnología y cómo se
relaciona con nosotros. Por ello es esencial que se defina claramente este
término y se describan las principales características de la tecnología digital
y de la biotecnología.
Hablaremos de la relación de
retroalimentación y modificaciones entre la construcción de las artes y el
entorno científico y tecnológico. Específicamente abordaremos los temas de
inter y transdisciplina como un elemento fundamental para estos intercambios y
producciones.
1. ¿Qué es la tecnología?
- ¿Cómo afecta el desarrollo del arte?
- ¿Cómo modifica nuestra cultura?
- ¿Deben existir límites para el uso de la tecnología
2. ¿Cuáles son las nuevas
tecnologías?
·
¿Cómo podemos entender el concepto de Nuevo?
3. ¿Cuáles son las
diferencias y similitudes entre ciencia, arte y tecnología?
Actividad para antes de clase
Define,
con tus propias palabras el término “tecnología”.
Pregunta
entre tus conocidos que es para ellos “tecnología”.
Busca
en dos diccionarios la definición de “tecnología”. Incluye la ficha técnica de
los diccionarios (Diccionario, edición, fecha, lugar).
Escribe
una conclusión de lo que significa “tecnología” para discutirla en clase.
II. Tiempo, espacio, memoria y cuerpo
en el S.XXI
Los tres entornos de
Javier Echeverría: la naturaleza, la ciudad y el electrónico
Funcionamiento,
desarrollo y transformación en la concepción de tiempo, espacio, memoria,
identidad y cuerpo en cada entorno.
Javier
Echeverría, Cuerpo electrónico e identidad, pp. 69 – 77
en: Bañuelos, Eusebio, coord. El Cuerpo Experimental-Transmutativo, México,
en: Bañuelos, Eusebio, coord. El Cuerpo Experimental-Transmutativo, México,
CONACULTA, CENART, 2008.
III. La revolución informática
1. La revolución
tecnológica.
- Surgimiento de la era informática.
- Acceso a la información (sistemas de información en red): historia general.
2. Net art o arte para la
red
- Crítica social
- Tactical media, activismo y
hacktivismo
- Redes sociales
3. videojuegos
- materiales
- soportes
- conservación
4. Medios locativos
Artista
invitada: Anni Garza Lau
Artista
invitada: Sam Smiley (Universidad de Lesley en Boston)
Lecturas
Joachim Blank, What is Net Art?
José Luis Brea, La Era Postmedia, acción comunicativa, prácticas
(post)artísticas y dispositivos neomediales, Salamanca, Editorial Centro de
Arte de Salamanca, 2002.
IV. La interdisciplina y
transdisciplina como eje de investigación y experimentación para la creación de
nuevas tecnologías y artes.
·
¿Qué es y en qué consiste la interdisciplina?
·
¿Qué es y en qué consiste la transdisciplina?
·
Entrecruzamiento entre arte y ciencia
·
Espacios compartidos: problemáticas y
características generales de su constitución.
Lectura
Edgar Morin, La
mente bien ordenada. Repensar la reforma. Reformar el pensamiento, Seix
Barral, Barcelona, 2000. Anexo 2: Inter-poli-transdisciplinariedad.
V. La revolución biológica
1.
Los tres paradigmas del cuerpo occidental: Galeno
(humores), Vesalius (anatomía) y Watson y Crick (genética).
2.
¿Qué es y cómo se estudia la genética?
Socióloga
invitada: Dra. Sandra González Santos.
3.
¿Qué es la clonación y cuáles son sus alcances
artísticos y sociales?
Implicaciones y consideraciones.
Actividad
Presentación
de avances sobre proyecto final para la Universidad e Lesley en Boston.
Documental
sobre el futuro del hombre, BBC
Talks TED in the Field: Craig Ventor revela "vida sintética"
http://www.ted.com/talks/lang/es/craig_venter_unveils_synthetic_life.html
4.
Bioarte y Arte transgénico
·
Antecedentes y surgimiento
·
Artistas trabajando con microbiología: Joe Davis,
Susan Alexjander, Paul Vanouse.
· Flora y fauna: George Gessert, Natalie Jeremijenko,
Marta de Menezes, Beatriz da Costa, Verena Kaminiarz, Eduardo Kac.
Lectura
Eduardo
Kac, Telepresence and Bio Art -- Networking Humans, Rabbits and Robots,
U.S.A., University of Michigan Press, 2005.
Cap. III
Bioart, 12. Transgenic Art. Pags. 236-248.
Proyecto de Joanna Zylinska: http://www.livingbooksaboutlife.org./
VI. Reflexiones sobre el cuerpo y la
biología
·
¿Qué significa el cuerpo actual y qué tipo de
herramienta es?
·
¿Cómo ha cambiado la concepción del cuerpo a raíz de
la intervención tecnológica?
·
Cyborgs y posthumanos.
Lectura
Donna
Haraway, "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism
in the Late Twentieth Century," en Simians, Cyborgs and Women: The
Reinvention of Nature, New York, Routledge, 1991. pp.149-181.
http://www.egs.edu/faculty/haraway/haraway-a-cyborg-manifesto.html
Actividad para antes de clase
Revisar
el sitio web de Kevin Warwick: www.kevinwarwick.com
VII. La revolución robótica
- Arte y vida, límites y fronteras
- Los robots como humanos y los humanos como
robots
- Robots en la cultura popular
- Nam June Paik y los orígenes del video arte.
- Origen del arte robótico y su desarrollo: Nam June Paik, Tom Shannon, Edward Ihnatowicz.
Actividad
Documental
Robosapiens, Discovery Channel, 2003.
VIII. Conclusiones
Haremos algunas reflexiones en torno al futuro
de las artes, entre las cuales se repensará sobre las nuevas relaciones entre
el artista, la obra y el público en el entorno contemporáneo, así como las
posibilidades del arte multicultural en la sociedad actual.
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