Cultural Innovation International Prize _ PostDigital Strategies for the Anthropocene

 

PostDigital Strategies for the Anthropocene will be presented at the

Climate, culture, change

Activity programme and prize award presentation ceremony of the 2nd Cultural Innovation International Prize 2016-2017

to be held the 20 – 21 June 2017 at the CCCB

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Postdigital Strategies for the Anthropocene” is a project that applies the concept of Postdigital Strategies* to the understanding of the Anthropocene. Specifically, it proposes the design of actions to involve audiences with climate change and turn them into an active and empowered agents. The aim of the project is to propitiate a posthumanist vision of the Anthropocene and, at the same time, to foster new relationships between institutions, audiences and the technosocial milieu. This new relationship are meant to shift the Cultural Institution into a Space of Transformation*. This is a space of encounter for collectives of human and non-human agents as well as the controversies emerging from the concretization of the concept (Anthropocene). The institution becomes a the same time an agent actively involved in the social and environmental construction that characterizes this concept. The audience becomes an active agent, empowered by the acquisition of an operative knowledge emerging from the appropriation of the technological milieu for the development of local actions aimed at the improvement of the ecosystem.

We are increasingly aware of the role that data processing plays in the understanding and management of our environment. Computing technology has become ubiquitous and embedded in daily life. In this way it is producing new possibilities for the design and control of our environment. Our milieu is becoming technological and this arises expectations, fears and controversies. On one hand there is a techno-utopic confidence in the computing capacities of an almost omniscient machine, constituted by networked sensors and processors, believed to be able to solve the pressing problems that can bring our civilization to collapse. On the other hand, there are growing fears about the surveillance capabilities of a system in which we are inadvertently integrated and reduced to a set of computable features and potentially becoming passive and manipulated by the milieu itself. Numerous controversies spawn from the tensions between the continuous need for innovation and production that characterize our economic system against the need to modify our behaviour in order to develop more sustainable ways of life. In front of this situation Postdigital Strategies stand as a proposal to appropriate technology, inspired by artistic practices, in a way where the users will intervene in the functioning of these technologies by acquiring an operative knowledge. From these actions it will be possible to unveil the complex ecological meshwork we are involved in. Through this process of involvement and disccovery the audience becomes an agent able to start actions that eventually could be amplified towards a significant environmental change.

These strategies, result in the development of projects related to citizen science. Projects such as http://www.mosquitoalert.com/en/, http://www.fenodato.net/, http://natusfera.gbif.es/, and others involve citizens beyond mere data collection and into the open fabrication of sensing devices and in producing awareness about the material conditions in which data are constructed. However, there are comparatively less projects that involve audiences in data use and interpretation. Our proposal is aimed to provide the audiences with tools that empower them in data collection, data interpretation and in the critical and operative use of the epistemological models resulting of their involvement. Whit this goal in mind, we propose the creation of a platform and the realization of a series of workshops to be held concurrently with the exhibition “After the end of the world”. From these activities there will emerge new forms to understanding, narrating, and acting in this new geological era in which we are all immersed, since participants will be engaged in the processes that they devise and hence can also change.

Project developed by Sandra Álvaro in collaboration with Ramon Sangüesa

Workshops by: Pilar Rosado, Paolo Ciuccarelli, Natalie Jeremijenko, Sandra Álvaro and Ramon Sangüesa

* Concepts developed in the Ph.D thesis: “Postdigital City. Aesthetics and Politics in the Space of Embodied Virtuality”: Sandra Álvaro, Universitat Autónoma de Barcelona 2016.

PostDigital Strategies for the Anthropocene is one of the teen finalists projects at the Cultural Innovation International Prize held at CCCB Barcelona

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The Cultural Innovation International Prize is a biennial competition organised by the Centre of Contemporary Culture of Barcelona (CCCB) with the aim of incentivising projects which explore possible cultural scenarios for the coming years. It functions as a new space for creation, production and diffusion of projects concerned with developing imaginative solutions for the cultural challenges of the twenty-first century.

 

The second edition of the Cultural Innovation International Prize focuses on the subject of Climate hange.

How can culture defy climate change? The second edition of the Cultural Innovation International Prize encourages projects that offer imaginative and effective solutions to one of the biggest global problems of the 21st century. The winning proposal will be featured in the activities included in an exhibition on the subject at the CCCB

more information:

About the shortlisted Proposals
Program of the event See the program of the event

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“Internet Paradis Perdut” debat a l’Alternativa

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L’Alternativa TV s’emet en directe, des de la Facultat de Ciències de la Comunicació de la Universitat Autònoma de Barcelona, a través dels serveis de ‘UAB Campus Media’ i compta amb l’impuls de la ‘Fundació Periodisme Plural’, l’associació ‘Solidaritat i Comunicació-SICOM’, i les publicacions ‘Alternativas Económicas’ i ‘Mongolia’. El presentador és el periodista i professor de la Facultat de Ciències de la Comunicació de la UAB, Frederic Pahisa.

“Internet Paradis Perdut”

Els avenços proporcionats per la revolució digital amb la interconnexió planetària a través d’Internet -que es presentava com a una incontestable eina emancipadora- conformen, a hores d’ara, una jungla incerta de macro-interessos corporatius, ciberatacs que modifiquen l’equilibri geopolític, fomenten el consum compulsiu i generen postveritats  que aniquilen el periodisme rigorós.

Internet s’ha convertit en una eina farcida de llums i ombres, que alguns analistes consideren que serveix més com a eina de control de la ciutadania que com a mitjà democratitzador de la comunicació.

En parlem a la nova edició del programa ‘L’AlternativaTV’, aquest divendres 12 de maig, de 12:30 a 13:30 hores

Ho fem amb:

. SANDRA ALVARO.

Doctora en Filosofia per la Universitat Autònoma de Barcelona i investigadora de la cultura digital

. LOURDES MUÑOZ.

Enginyera tècnica en Informàtica i presidenta de ‘Barcelona Open Data’

. JAVIER DÍAZ NOCI.

Professor de la Facultat de Comunicació de la Universitat Pompeu Fabra i expert en Periodisme i Internet

Link del programa

Algunes reflexions personals sobre el debat:

La societat informacional es produeix a partir de la difusió d’internet. Una tecnologia que ha evolucionat i s’ha expandit a un ritme mai vist avanç i que s’ha infiltrat en la nostra societat i cultura. Internet ha demostrat un gran poder transformador que s’ha notat en el nostre sistema econòmic, en la administració de l’espai public i en el nostre temps d’esbarjo. A mesura que s’incrementa la connectivitat, es multipliquen els serveis als nostres telèfons mòbils i apareixen cada cop més dispositius connectats – internet de les coses inclou objectes tan quotidians com les nostres targetes de crèdit-, Internet i els algoritmes que l’administren penetren la estructura critica de la societat. Manel Castells a demes de sistematitzar el poder transformador d’aquest mitja el va qualificar com espai per l’auto-comunicació de masses. La web democratitza la informació i apodera els ciutadans. A les xarxes socials no estem sols, aquest sistema afavoreix el retrobament entre persones amb els mateixos interessos i les mateixes reclamacions afavorint l’acció col·lectiva. D’aquesta manera internet va jugar un paper important en la primavera Àrab al 2011, així com en el moviment dels Indignats a Espanya i el posterior Ocupa Wall Street, i més recentment en la Marxa de les Dones. Ara bé, fets recents com la difusió de noticies falses durant les eleccions americanes juntament amb altres usos abusius de la xarxa com la multiplicació de bots que promouen campanyes enganyoses, els ciber-atacs atribuïts al govern rus durant les eleccions franceses o el filtratge a la xarxa de les eines que la agencia d’intel·ligència americana utilitza per espiar als usuaris, ens han dut a considerar l’influencia que te aquest mitja no només sobre les nostres vides sinó en la geopolítica internacional, al mateix temps que ha plantejat si la obertura del mitjà s’ha tornat en contra dels cibernautes.

El debat ha plantejat com ha canviat la manera en que ens informem actualment, quin es el paper dels mitjans de premsa tradicionals respecte aquest mitjà i com en podem mantenir la bona salut i el funcionament democràtic.

La web i més específicament les xarxes socials han desplaçat els mitjans tradicionals com a font d’informació privilegiada. Posant-ne un exemple: El 21 de desembre es va celebrar La Marxa de les Dones, un seguit de manifestacions simultànies a diferents ciutats dels EUA en protesta per la misogínia i comentaris masclistes del que aleshores estava essent investiu president d’aquest país. Avui en dia no necessitem esperar a llegir-ne una interpretació en un diari, que probablement serà esbiaixada – segons informes recents els mitjans informatius catalans son lluny de la paritat – , probablement contindrà incorreccions – no existeixen acords entre agencies de noticies catalanes i agencies de comprovació de fets, ni cap compromís explicit amb aquests procediments- i ben segur parcial. Quan en canvi aquest fet passa a formar part del nostre entorn immediat gracies a les publicacions dels nostres contactes, que ens mostren en streaming com marxen pel carrer acompanyades de milers de dones, però que prèviament ens han ensenyat fotografies de com teixien barrets roses en diferents associacions cíviques i han comentat els fets indignants que han portat a emprendre aquestes accions. Tot això forma una narració col·lectiva en que participen múltiples actors, els protagonistes directament implicats, però també molta altre gent que mostra el seu suport i ha on els mitjans tradicionals estan representats com una veu més, en els comentaris dels qui decideixen compartir les noticies dins la xarxa. Aquest diàleg plural augmenta la nostra consciencia del entorn i enriqueix el nostre coneixement.

Ara bé, el filtratge algorítmic que s’aplica en aquests mitjans a partir del monitoratge de les nostres preferències, contactes i accions ens segrega en grups ben definits creant bombolles. Aquestes bombolles ens circumscriuen dins unes narratives sense donar-nos accés a punts de vista divergents i creant cambres de ressonància en que la informació es comparteix acríticament al mateix temps en que es destrueix el diàleg social. Aquesta segregació a demes ens inscriu dins de conjunts de característiques definides que poden esser explotades per crear noticies a mida. Noticies falses que es presenten de mode atraient per a ser replicades en vistes a posteriors beneficis, i que en un món tot connectant on es dilueixen les barreres entre el món virtual i el físic poden tenir efectes en la societat.

La solució a aquest problema passa per que els administradors de les xarxes socials reconeguin el seu paper dins de la formació de la comunitat global al mateix temps que desenvolupen eines i processos que permetin la comprovació col·lectiva de la veracitat i valor del que circula a la xarxa. Facebook ha actualitzat la seva política de continguts per començar a incloure eines que permetin als usuaris reportar continguts enganyosos i ofensius, al mateix temps que inclou en el diàleg agencies reconegudes de comprovació de fets. Però encara manquen estratègies que facin l’acció dels algoritmes que decideixen qui som dins la xarxa i a quina informació tenim accés transparents i susceptibles de una intervenció col·lectiva en la conformació i administració d’aquest mitja.

Internet més que regulat ha d’ésser protegit, per a que el us abusiu del que va començar essent un mitja obert e inclusiu no el transformi en un espai on només circula soroll o en un mitja de control distopic.

Per saber-ne més:

“Conviure amb algoritmes intel·ligents”

“Notícies falses. Compartir és curar”

“El poder dels Algoritmes. Com el softwar formata la cultura”

“Big Data i humanitats digitals: de la computació social als reptes de la cultura connectada”

 

Permanent link to this article: http://enlaciutat.es/wordpress/?p=615

Ph.D thesis: PostDigital City: Aesthetics and Politics in the Space of Embodied Virtuality

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Thesis Defense

PostDigital City: Aesthetics and Politics in the Space of Embodied Virtuality

Sandra Álvaro Sánchez

Departament de Filosofia UAB

Directors/tutors: Dr. Khaldoun Zreik (Université Paris8), Dr. David Casacuberta Sevilla (UAB)

Jury::

Dr. Jean Attali (ENSA de Paris-Malaquais)

Dra. Anna Estany Profitós (UAB)

Dr. Ramón Sangüesa i Solé (Universitat Politècnica de Catalunya)

Venue:

Monday, 28th November – 10:00 h.

Sala B11 de la Facultat de Filosofia i Lletres

(Planta baixa prop de les aules d’informàtica)

UAB Campus Bellaterra

Carrer de la Fortuna, 08193 Cerdanyola del Vallès, Barcelona

Registered at TESEO

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Lecture at Computer Art Congress 5

Computer Art Congress 5 – Digital Art: Archiving and Questioning Immateriality – 2016, Paris

October 26-28, 2016. MSH Paris Nord

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see program on-line

Lecture and long paper

published at:

Sandra Álvaro Sánchez (2016) “Art and Data: the aesthetic emergence of knowledge” at Everardo Reyes-García, Pierre Châtel- Innocenti, Khaldoun Zreik (eds) Archiving and Questioning Immateriality Proceedings of the 5th Computer art Congres, Europia productions, Paris, pp.108-126

 

Abstract
The Aesthetic Rendering of Knowledge refers to two linked processes: the mediation of images in the processes of inscription of science and the use that artists make of the metaphorical movements of image for the layout of possible new worlds.
In our Postdigital situation, all processes of inscription have converged to the computer. The multidimensional spaces unfolded in the modelling of data to represent the world as a set of attribute-value relations are shaping a new epistemology and aesthetics. Diagrams are changing the way we understand and act our world and are characterized by its modularity, not only allowing us to model complexity towards the accomplishment of pre-emption and control but also the creation.

 
Keywords

Data Visualization, Software Studies, Culture Analytics, Materiality of data

 

 

Permanent link to this article: http://enlaciutat.es/wordpress/?p=587

Lecture at Open Fields Conference

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“Open Fields will be investigating the use of data visualizations and other mappings of the contemporary. It will look into areas such as open commons, the future of social interaction, data representation and visualisation, critical design, sustainable infrastructures, eco-aesthetics, techno-ecologies, bio-hacking and other techniques of a transformative potential. No Field is excluded, yet there should always be a connection with art; it is highly likely that art works and conference papers will touch on several Fields, not one. It is such an enhanced understanding of transdisciplinarity that drives this undertaking.” http://rixc.org/en/festival/Open%20Fields%20Konference/

VENUE:

From wednesday, September 28 to Saturday, October 1 -2016

at The National Library of Latvia, Mukusalas iela 3

Sandra Alvaro: Artistic Production and Embodied Information. Tracking Spaces of Transformation

Friday,  September 30 – 11.45 – 13.0Parallel Session (75 min.) Data Visualization 

Abstract:

The practice of databasing is overstepping the field of scientific research to spread to all ambits of our culture. This contemporaneous situation is denominated as Big Data, Datification or Data-driven society. Terms defining a situation where our world is abstracted to a set of features, which can be operable by the algorithms of software. Software studies consider the pragmatics and materiality of software, from the point of view of the circuitry that executes its commands and the politics it meshes in (Mathew Fuller).
Here, spaces of transformation (Serres) is denominating fab labs, hackerspaces, citizen labs… from where arises a self-organized culture aimed at the production and disruption of the new technological apparatus, shaping our world. In it, practices as data visualization, physical computing, and additive fabrication become the spaces of a situated knowledge (Haraway) and a new literacy that emerges from the engagement between working with materials and the complex space that emerges. Despite, its engagement with the local, these spaces are spreading globally from Europe (Chaos Computer Group) to China (XinCheJian) and the USA (The Bridge). Cultural Analytics is the use of computational methods for the analysis of massive cultural data sets and flows (Manovich). It allows investigating global culture by means of the visualization of massively produced cultural artifacts. Here I propose the investigation of the culture emerging from these spaces of transformation by means of tracking on the web the material cultural artifacts produced in these spaces as digital objects, visualizations, and assemblages of microprocessors.

Keywords:

Culture Analytics, Software Studies, hacking, data visualization, additive fabrication, material culture

see full progra at: http://rixc.org/en/festival/Programma/

Permanent link to this article: http://enlaciutat.es/wordpress/?p=605

Lecture at ISEA 2015: “Disruptive Strategies in the PostDigital City”

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Sandra Álvaro Sanchez: “Disruptive Strategies in The Postdigital City”. Proceedings of the 21st International Symposium on Electronic Art. ISSN: 2451-8611 ISBN: 978-1-910172-00-1

 

Abstract:

The development of the sociotechnical apparatus shaping our Post-Digital space and culture ran simultaneously with the conception of a relational and processual reality and the development of computation and networks, which are becoming ubiquitous. These technologies have embedded in our physical space, giving birth to a fuzzy system that struggles between the opportunities for collective engagement, offered by the networked communication, and the capacity of control of a pervasive and opaque system. Art has been experimenting with these new technologies from its inception thus assuming the aesthetical and political commitment to develop strategies capable of disrupting the codes of domination and promoting a collective and constructive appropriation of space. These strategies refer to practices of embodiment and encounter, capable of promoting new assemblages towards the accomplishment of the
Right to the City, the new citizenship proposed in the theories by Lefebvre and the actions of the Situationists.

 

Keywords:
Post-Digital Space, Right to the City, Hardware Criticism, Appropriation
.

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Digital Culture in China

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Investigación llevada a cabo en China, Shanghai entre 2014-2015

Con más de 564 millones de usuarios, China cuenta con la mayor red de ciudadanos conectados del mundo. Internet se implantó en China en el año 1994, encauzando con el proceso de reforma iniciado después de la Revolución Cultural. La economía de mercado socialista consiste en la apertura del país a capitales extranjeros y la implantación de las nuevas tecnologías. Una política que dio lugar a lo que Rodney Wai-chi Chu y Chung-tai Cheng denominan «doble conmoción» (double juggernaut), la acelerada y simultánea capitalización y cibernetización del país. Esta investigación se materializa en la publicación de una serie de artículos centrados en el desarrollo y uso de Internet en este pais. El florecimiento del Novimiento Maker y la Implantación de Internet de las Cosas.

Artículos publicados:

La otra red tras la gran muralla (I)

La otra red tras la gran muralla (II)

La cultura maker en China (I): XinCheJian, un Hackerspace con características chinas

La cultura maker en China (II): Shanzhai, innovación emergente en un ecosistema de manufactura abierto

La cultura maker en China (III): Con las manos en la materia, por el progreso económico y social

mas contenidos en preparación

 

 

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Labyrinth City installed in the Museum Hong-Gah, Taipei

 

Labyrinth City, the urban virtual world created by Sandra Álvaro, has evolved into a multichannel video installation.

The Labyrinth City installation is exhibited in the Hong-Gah Museum (Taipei) from 12th April to 11th May 2014.

Exhibition:

VIDEOsPAIN
Venue: 15:00 h – 12/04/2014
Hong-Gah Museum
(11F, No166, Da-ye Road, Beitou District, Taipei, Taiwan

 

 

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New article in Technoetic Arts: A Journal of Speculative Research

Álvaro, S. (2013), ‘Complexity, multi-perspectivism and tracking: A  brief history of the meaning of image from the Postmedia to the Postdigital ages’, Technoetic Arts: A  Journal of Speculative Research 11: 3, pp. 199–207, doi: 10.1386/tear.11.3.199_1

Abstract:

The meaning and function of the image has been evolving over all time. This has been separated from mimesis and given greater openness and an emergent meaning to be adapted to the fluxes that characterize our contemporary society. Throughout this process Art has lost the primacy and exclusivity of the image to share it with science and its visualization procedures and with a social function, now disseminated trough social networks. This article points out the decisive moments – and illustrates them with examples – through the evolution from the image in Postmodernity to the open and co-participated meaning of the Postmedia age image, and the new relation with the real world that characterizes the image of the Postdigital situation. Finally, we propose that the Postdigital Condition, related to new advances such as augmented reality (AR), geopositioning devices and ubiquitous informatics, is making the appearance of a new image type possible, here called Tracking-Image. This Tracking-Image is self-generated with data, from the flux of inputs generated in physical space and registered by networked users and sensors, becoming the protagonist of a new encounter with the physical fluid reality that characterizes the Postdigital situation.

Keywords:
allegory,electronic image,interactivity,open-ended semiosis,Postdigital Art,Postmedia Art

 

Go to the publication on Intellect Ltd:

Technoetic Arts: A Journal of Speculative Research,

Volume 11 Issue 13

 

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New article: “Topologies of Art in the Information Age” in Artnodes

ÁLVARO, Sandra (2013). “Topologías del arte en la era de la información”. En: Pau Alsina (coord.). “Historia(s) del arte de los medios” [nodo en línea]. Artnodes. Nº13, pág. 96-102. UOC

http://journals.uoc.edu/ojs/index.php/artnodes/article/view/n13-alvaro

http://dx.doi.org/10.7238/a.v0i13.2016

Abstract:

Developments in recent years in electronic art and the new media can be characterized in many ways, among them with discourses based on their development in parallel with the technologies they use or based on the development of specific features such as interactivity, communication, synaesthesia and their relationship with the virtual. This article proposes a hybrid perspective, along the lines of the discourse of Edward Shanken, with new media art and contemporary art – especially as related to vanguard movements such as kinetic art, conceptual art, performance, the Fluxus movement, Dadaism, Situationism and experimental film – being more simultaneous than continuous. Media art and contemporary art both develop from a topological thought – as expressed by authors like Bergson, Deleuze, Serres, Agamben and Latour – that is pushed into movement. Objects and stable boundaries disappear and we have, rather, a complex world, with relationships, intensities and connections as defining elements and with an ability to simultaneously generate new, mutable territories. In this setting, life feeds on information exchange and art leaves behind the stable place it formerly inhabited to venture into the creation of new contexts and forms of interaction and the production of emergent meanings, and taking account of the kinetic and immersive spaces of multimedia installations, urban space and virtual and ubiquitous web space, the coexistence of urban and web space in augmented reality, and, finally, the ecology of a connected world where technology, life, culture, nature and the local – with its global implications – are all brought together.

Keywords:

art, new media, topology, interactivity

read on-line

 

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