The Labyrinth City installation is exhibited in the Hong-Gah Museum (Taipei) from 12th April to 11th May 2014.
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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,
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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://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
Permanent link to this article: https://enlaciutat.es/wordpress/?p=472
Abstract:
The interface is leaving the desktop, making it possible to access information everywhere and in everything, through the developing systems of ambient informatics and ubiquitous computing. This new interaction paradigm is being debated: it increases our collective intelligence but at the same time can be a perfect accomplishment of the Control Society. The aesthetics of matters-of-concern replaces representation for the tracking of the process that gives form to our reality in each moment, while Postdigital Art produces works capable of merging virtual and physical spaces. Both these related fields show and articulate the complex informational system embedded in our reality making it appropriable and subject to profanation. This visualization operation displaces the capacities of the system of ubiquitous computing, from perfect control to an increasing capacity of individuals to intervene and perform in their environment by interacting with it.
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Lecture at the RE-NEW 2013 Arts Festival
re-new 2013 is organized by re-new digital arts forum in collaboration with Aalborg University, CIID, The IT University and the Athelas New Music Festival.
The annual re-new media art confest is a meeting-point for all those active in the art- science-technology amalgam. The event is a platform for artists, technologists, curators, researchers and scientists alike, and facilitates networking, knowledge sharing and dissemination.
The Big Picture.
The 7th international celebration of interactive media art will take place at PB43 and other venues in Copenhagen, Denmark. Scientists, researchers, technologists, curators and media artists working in digital media in its many forms will meet, present and discuss their work during the event, which takes place in Copenhagen, Denmark on
October 28 – November 3, 2013
Abstract. The interface is leaving the desktop, making it possible to access information everywhere and in everything, through the developing systems of ambient informatics and ubiquitous computing. This new interaction paradigm is being debated: it increases our collective intelligence but at the same time can be a perfect accomplishment of the Control Society. The aesthetics of matters-of-concern replaces representation for the tracking of the process that gives form to our reality in each moment, while Postdigital Art produces works capable of merging virtual and physical spaces. Both these related fields show and articulate the complex informational system embedded in our reality making it appropriable and subject to profanation. This visualization operation displaces the capacities of the system of ubiquitous computing, from perfect control to an increasing capacity of individuals to intervene and perform in their environment by interacting with it.
Permanent link to this article: https://enlaciutat.es/wordpress/?p=415
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Sandra Álvaro (2013): El arte nómada. La interacción más allá de la pantalla, en: DEFORMA cultura on line, 6/5/2013Abstract: El arte nómada surca el mundo complejo y en movimiento de la era de la información para activar afectividades y proponer experimentos, donde puedan surgir nuevos eventos; nuevos sentidos que puedan designar nuevos referentes y ampliar nuestra comprensión del entorno y nuestra capacidad de acción en el mismo. En este artículo el arte nómada se muestra como resultado de un proceso que se va apropiando de los nuevos medios de producción para implicarse en la percepción, producción y operatividad de nuestro mundo. Un proceso que se encamina de lo virtual a lo actual, saltando del espacio delimitado de la pantalla hacia espacios interactivos, hasta llegar a embeberse en un espacio urbano híbrido.
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International Conference on Digital Arts within the International Research Conference in the Series Consciousness Reframed: Art and Consciousness in the Post-Biological Era. In cooperation with the Planetary Collegium, the University of Plymouth, England, and The German University in Cairo, Egypt is hosting the 13th Consciousness Reframed International Research Conference, entitled “Behind the Image and Beyond”. The conference is part of the Di-Egy Fest 0.1 and will take place at the German University in Cairo, New Cairo, Egypt, from March 31 to April 2, 2013.
Sandra Álvaro
Abstract: The meaning and function of the image have been evolving over time. It 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 through social networks.
This paper 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; a situation where Postdigital art overtly challenges the image’s status of semiotic stability and rhetorical determinism, and empowers the viewer to transform and transcend what is seen through. 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. These tracks are visualized on interfaces showing a complex and always-evolving reality. This image becomes 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, Tangible Computing.
Acknowledgments: the participation in this conference has been partially founded by Roberto Cimetta Founds. http://www.cimettafund.org/
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