Fecha: 4 Octubre, 2013
Horario: 10:30 a 06:00
Lugar: Salón José Miguel Blanco, MNBA
To understand the paradigms and the state of national and international artistic production, it is necessary to weave the concepts of autonomy, energy and society. Without intending to suggest an ecological key, it is a fact to notice that most of artists use technological mediums which employ electric energy. Most of these media is currently inserted in a context of mass consumption, conforming an integrated social body of common understanding. Within this technological collectivity, it is possible to distinguish an individual strategy of autonomous creation through which each artist contributes to this homogenized interdependence his own utopia, crises and aesthetics.
Giuliana Furci : From research of fungal organisms large understood as morphological and functional variability can be used to extrapolate models interconnectivity and collaboration inherent in new communications technologies . Its connection with various organic materials , allowing the balance of a cyclic system through food, decomposition and recycling.
Natalia Arcos and Alessandro Zagato : How does art aesthetics and communication in the Zapatista revolutionary movement , generating identification, cohesion and dissemination ? How this movement than mere propaganda , to constitute itself as an aesthetic autonomy , correlative to all other autonomies ( administrative , legal, military and judicial ) ?
Valentina Montero : Presentation about features low tech movement and its leading exponents in relation to the aesthetic and global policies , and particularly those of Latin America . Given the mass use of social networks whose service is free , is it possible to use these platforms with critical intent and subversive ?
Michael SAUP : Energy as articulating principle of nature and society. How technological devices , energy consumers can be used creatively in the context of the social mass consumption ?
Sergio Rojas : What is the conceptual relationship between art and technology work ? How does globalization and the spread of electronic devices challenges modern notions , avant-garde and postmodern art ? What are the ethical use of energy resources in the creation of an art related to science and technology?
When knowledge depends on the autonomy
by Giuliana Furci
For most mycologists , autonomy is not a choice , but rather the only way to respond to the concern generated by the dazzling kingdom fungi . From not having autonomous, scientific development would not mycological . This implies that the development of science is based on a strong personal motivation of the individual, who must overcome various obstacles to follow the path autonomous security affirmed that the study of mycology generates a collective good .
Reading a Video
by GIAP ( Natalia Arcos and Alessandro Zagato )
"The absence of audio and image in this video is not for lack of technology, but by what is called " resistance technology " (EZLN , 2004 ) " .
Reading a Video is a research project that takes its title from a series of statements issued by the Zapatista Army of National Liberation ( EZLN ) in 2004 , ten years after the armed uprising. In these texts , Subcomandante Marcos makes direct reference to the media and technologies , which are indeed very little available for the Zapatistas. This is the starting point for inspiring the media analysis of the relationship established by the EZLN with the rest of the world.
Basically , after the armed uprising in 1994 , today the Zapatistas is an example of self-government based on the snails , municipalities scattered Chiapas, where the Zapatista communities have developed their political and social organizations to self-determine their justice, education , health, and other social norms . From the complex experience Zapatista Read a video project aims to explore how art operates aesthetics and communication in this revolutionary movement , generating identification, cohesion and diffusion. This is because the Zapatista uprising is one of the insurgents has developed a poetic best , with the understanding that art can be a weapon of mass seduction . Thus, the set of aesthetic productions and communications aligned with the Zapatistas far exceed mere propaganda , as it constitutes itself as an aesthetic autonomy , correlative to all other autonomies ( administrative , legal, military and judicial ) .
From the recent interventions and releases that have appeared since December 2012, is opening today a new cycle of struggle and a new phase in regard to media and aesthetic approach of the Zapatistas : political perspectives , artistic and communicative are intertwined and soar into the future. It is hoped that this study will generate useful tools for the ongoing struggles and future .
Heterotopic , precarious and disobedient : notes on some medial practices in Latin America trying to save the planet
by Valentina Montero
Recalling the statement where Bourreaud Nicholas stated that " The art had to prepare and announce a future world and now modeling possible universes " ( Bourriaud , 2006 ) , the presentation will address collective work of Latin American artists and dialogue make aesthetic interests , scientific- technological and politicians. Thus, questioning the underlying ideological frameworks media society , registered in digital culture , and built from analysis, questioning and appropriation new stories , new worlds of strength and action potential . They are not confined exclusively to the virtual environment , but, on the contrary, extend its scope to the physical world in response to political and social issues of local character.
Against the alleged immateriality of new technologies and from which , in the words of Dona Haraway called " situated knowledge " , many creative ( planners, architects , scientists, artists , journalists , programmers ) appropriate
new media and networks to offer a critique of it reflective epistemological and ontological level . Deconstruct not only physical and functional qualities , but also their budgets discourse , thus evading the mandate neoliberal and consumerist logic inherent in the market.
Along with criticism and questioning of hegemonic models , from which technological devices overwhelm and dazzle , these groups and artists attending from a constructivist perspective , the recovery of the subjectivity that the materiality of technological devices and media hides . Thus, override opacity to build these devices and practices related to low-tech (recycling, "do it yourself " , use of obsolete technology ) that are shaping new agency-makers/empowerments heterotopic spaces . Foucault coined the term " heterotopia " in 1966 in an effort to describe an instance that sought to " juxtapose in a real place several spaces that would normally be , or should be, incompatible " ( Foucault , 1984 ) . Thus utopia from these interdisciplinary practices , disobedient bastard , is renewed in the unexpected encounter between cables , bits, ancestral technologies , technological waste , folklore , crafts and cosmetic procedures, plastic and conceptual own artistic field and experimental dimension disruptive .
Bourriaud , N. (2006). Relational Aesthetics . Buenos Aires , Argentina : Adriana Hidalgo Editora.
Foucault , M. (1984). The other spaces . Architecture , Mouvement , Continuité , 5 .
One bit powders while another one bites the dust
by Michael SAUP
Internet is power consuming approximately 1,000,000,000,000 kWh per year . The emails , websites, videos and social networks need electricity, produced mostly through the burning of substances such as coal , gas, oil or uranium . Assuming that the 21,196 km of the Great Wall of China are completely rebuilt using coal , we can calculate , surprisingly, that the wall of coal would be large enough to produce the amount of electrical energy sufficient to operate the Internet for a year. This means that the Internet consumes a Great Wall of China built coal annually. Coal is a message frozen in time by ancient sunlight , a secret guarded the ancient forest materialized for millions of years and we are burning with the purpose of generating electricity for digital culture , gathering and compressing global cultural memory . The availability of information entails individual responsibility and action knowledge : where Earth is , intelligence reports and society uniform otherwise . When we think we are creating valuable cultural resources , we are actually painting on canvas hot spots of time, a cultural heritage dramatic qualities . When we think we're using bits saved by electrons , we are actually using atomic radiation . The culture produces pollution.
On the other hand , the atomic age reveals our massive energy dependence and, secondly , its internal mechanisms and origins remain largely unknown . The dependencies ecological, economic , scientific , social and political have become very complex. The reason can be found partly in the underlying theory and complex scientific language conveys and establishes quantitative nuclear mentality : a language of probability, umbralidad and quantity. Many aspects concerning the quality of the nuclear age thus remain inexpressible . We lack the means to understand culturally the complexities of the atomic age . Radioactivity has become part of our long-term cultural memory : a pillar of society once again expressing human fascination with fire, the gift of Prometheus. Radiation in all flavors and colors has become the new mass medium . As artists , we need to delve into the cultural interpretation of the phenomenon. Being precise about the path we take to transform the old memory for a new world . The collective connective transformed into what will have to start being therefore the corrective .
What is contemporary art?
by Sergio Rojas
What is contemporary art? is a misleading question , because it suggests the possibility beforehand define contemporary art according to certain characteristics that allow recognizing its contemporaneity in a play when we face it. I think there is the "contemporary art" , but rather a "will to contemporary " in art , whose performance is , in general terms, disorienting . We live today in a world of unprecedented magnitudes , whose economic and political reality is subject to a high degree of instability , but in this universe whose apparent availability rests in networks , our estrangement is naturalized . The word "globalization " , for example , has become the answer in advance available to a reality in which uncertainties are multiplied. In this sense it could be said that we are not contemporary world in which we live. The "will of the contemporary " in art operates precisely as a change in our patterns of familiarity . The envestida subjectivity becomes a reality , beyond the numbers, remains unpublished to our understanding "humanist " . What has become difficult to understand is not the "contemporary art" , but the world in which we live . In the field of the arts , so-called " media arts " are an ideal place to develop the issues we have identified . The use of various technologies , the challenge to the traditional notion of authorship, the shift to transcend space and time that the art institution , the projection beyond the disciplinary boundaries of artistic production by linking with other practices and knowledge , etc., generate media arts in an internal relation between artistic project and reflection. What do you think about ? A world , which we try to live, that seems to be falling apart and recombining at all times.