Resumen

Se aborda el fenómeno del individualismo contemporáneo, las transformaciones de la intimidad y la fragilidad de los vínculos humanos. Se muestra cómo las sociedades telemáticas dan lugar a nuevas formas de fuga y ausencia del mundo, a un malestar cultural, donde hombres escindidos entre la agresión y el temor, experimentan derivas identitarias y zozobras existenciales ante la exacerbación del consumo, la alienación del trabajo y el terror difuso de las ciudades del pánico.

Procedural, parametric and generative computer-supported techniques in combination with mass customization and automated fabrication enable holistic manipulation in silico and the subsequent production of increasingly complex architectural arrangements. By automating parts of the design process, computers make it easier to develop designs through versioning and gradual adjustment. In recent architectural discourse, these approaches to designing have been described as morphogenesis.This paper invites further reflection on the possible meanings of this imported concept in the field of architectural designing. It contributes by comparing computational modelling of morphogenesis in plant science with techniques in architectural designing. Deriving examples from case-studies, the paper suggests potentials for collaboration and opportunities for bi-directional knowledge transfers.

This thesis is about creative strategies for staging places as performances. To remain viable in the rapidly changing technological and social context, architecture needs to extend its engagement with research, reappraise its fundamental goals and develop creative strategies adequate to new challenges.

However, utilisation of research in design disciplines is still immature and the methodologies of this utilisation remain a matter of controversy and active debate. In particular, the potential of cross-pollination between designing and research requires further clarification. This thesis addresses this need by developing a methodological approach that combines participant observation and investigative designing. Utilising these methodologies, this thesis considers several case-studies, including interactive installations and virtual environments.

Engagement with case-studies through participant observation and investigative designing in this thesis motivates a discussion that reinstates place as the focus of architectural practice. Existing discourse and practice in architecture often assume retrograde, romantic, essentialist and exclusionary understandings of places, for example as singular, bounded and static. By contrast, this thesis highlights an open and flexible vision of places as performances. Considering the possible roles of architectural designing in place-making, it suggests that architects cannot produce ready places but can engender placemaking performances and influence their growth with provocative, open and collaborative creative-design strategies.

Having established the case for distributed, polyphonic, campaigning creativity in place-making, this thesis considers whether design computing can support its performative needs. Commonly, researchers and practitioners in architecture express concerns that design computing can hinder human creativity. By contrast, this thesis demonstrates that design computing can support distributed creativity by staging multiplicious, open, flexible, idea- and insight-generating participatory exchanges. In the process, this thesis considers interactive cinematography and procedural designing as place-making actions. This re-conceptualization demonstrates that design computing can usefully support creative place-making and sometimes be indispensable for its success.

This thesis contributes to knowing by 1) utilising and presenting an unorthodox methodological approach to architectural research; 2) presenting an approach to understanding and making of places novel to the field of architecture; and 3) re-conceptualizing innovative design-computing as an important creative resource for placemaking.

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than usual in such histories.  The German version was completed in December 2012. The last chapter of the English translation was published in June 2014. First update: September 2015 (English version as PDF, 16 MB, 384 p., c. 300 ill.: http://iasl.uni-muenchen.de/links/GCA.pdf).

A book with participation of:

Lucia Santaella (Forewords)
Ana Tereza Brandão
Carlos Augusto M. da Nóbrega
Carlos Henrique Paulino
Carlos Henrique Rezende Falci
Casey Reas
Cátia Rodrigues Barbosa
Celina Figueiredo Lage
Débora Aita Gasparetto
Francisco Carlos de Carvalho Marinho
Helena Barranha
Ítalo Travenzoli
Izabela Marcolino Carvalho Costa
João Victor Boechat Gomide
José Ricardo da Costa Miranda Júnior
Jussi Parikka
Lynn Alves
​Lucia Dossin
Marcelo Franco Porto Margreet Riphagen
Maria Luiza P. G. Fragoso
Marinah R. C. Ribeiro
Miriam Rasch
Nara Cristina Santos
Pablo Gobira
Regina Mota
Renata Maria Abrantes Baracho
Rogério Barbosa da Silva
Suzete Venturelli
​Tadeus Mucelli
Tânia Fraga
Tatiana Paz
Tulio Ottoni

"(...) There are at least two meanings in which post-digital can be understood.
First, considering the prefix "post" in its temporal meaning, "after", post-digital would be referring to everything that came after the expanding and refined installation of computational algorithms in all human activities. It is a neutral, strictly chronological sense. But there is also a critical sense: it is necessary to go through its gains and losses. This is what is meant by  "post-digital". Gone are the days of euphoria, by the way, accompanied by dysphoria that in its extremes nostalgically announced the apocalypse. Fortunately, a time of exceeding thoughts concerning the digital has gone. Now is time to face its ambivalences, paradoxes and contradictions. This is precisely what has been called "post-digital".
The book contains a myriad of perspectives, fine prismatic subdivisions of the technological art in its digital features with specific details of the production that makes use of new generation devices and resources, such as kinect cameras,multi interactive media, cyber interventions, mixed and augmented reality, three-dimensional modeling, programmable environments, complex algorithms, neural helmets, etc. On the other hand, the book is punctuated with theoretical and critical essays in which the new conditions of the museum, artists’ books, hybrid arts, authorship, digital art festival, digital cinematography and last but not least, geophysical materiality and geochemistry of the media are rethought and faced in the light of the most current challenges."
- from preface by Lucia Santaella.

If the medium of cinema is born of the addition of temporality to images, new trends in digital art such as
architectural mapping video projection, audiovisual (A/V) performance, and new forms of immersive
scenography are adding the spatial dimension to the moving image. The latest innovations in the area of digital
arts are the result of an acceleration of a trend that can be historically identified through the multiple
manifestations of universal expositions. Today’s digital explosion is in fact a consequence of the
democratization of instruments that control light, sound, and images through increasingly sophisticated
interfaces. Avant-garde artistic approaches, with their constant push toward the dematerialization of artwork,
have merged with scenographic spatialization technologies. This merger of worlds has led to new A/V
performance productions that reveal the emergence of a new language, namely that of audiovisual
spatialization. This language leverages the creative potential of new audiovisual instruments by combining
sound and light waves with the spatial component. This paper will address this new approach based on analysis
of multiple case studies.

‘Pierre Schaeffer's Typo-Morphology of Sonic Objects’ proposes to present to the English-speaking reader the two accomplished stages of Schaeffer's 1966 solfège, namely typology and morphology, as expounded in Traité des objets musicaux, situating them in the larger context of Schaeffer's musicological work, and in the specific context of the solfège. This is done through translation of and commentary on Schaeffer's writing.

Chapter I surveys the years 1948–57, exposing the shifts of priorities that define three phases: research into noises, concrete music, and experimental music. Particular attention is paid to Schaeffer's conception of experimental music, and through the analysis of ‘Vers une musique expérimentale’, what has generally been seen as an antagonism between the Paris and the Cologne studios emerges as the conflict between two opposing approaches to technology and tradition. Chapter II delineates three notions that underpin the fourth phase of Schaeffer's musicological work, musical research, of which the 1966 solfège is the programme: acousmatic listening, four listening functions, and sonic object. Chapter III elaborates on the premisses of typology and morphology. Chapter IV expounds typology proper, whilst chapter V presents morphology and the sketch of the subsequent operations of solfège: characterology and analysis.

From this study, it emerges that Traité des objets musicaux is first and foremost an inexhaustible repository of insights into sound perception. Typology, the first stage of the solfège, is doubtless a successfully accomplished project. However, as a method for discovering a universal musicality, the solfège enterprise needs to be viewed with caution. It suffers from the almost open-ended nature of its metaphorical vocabulary, the emphasis the text lays on reactive rhetoric, its reliance on ‘methods of approximation’, and from a gradual distancing from perceptual reality itself. This notwithstanding, Traité des objets musicaux appears as a fundamental text of twentieth-century musicology. It brings to the fore two crucial issues: technology and the ways it alters our manner of perceiving and expressing reality, and reality itself thereby; the friction between sounds and musical structures, transparent in the text as the friction between isolated words and the discourse, transparent in Schaeffer's life as the friction between the man and the social structures he has needed to fit in.

Sous quelles conditions un territoire est-il construit en regard de la programmation informatique ? Comment reterritorialiser Internet à l'échelle du corps ? Par où l'algorithme pénètre-t-il nos échanges symboliques ? Avec la société i Matériel, puisqu'il s'agit de composer avec les flux d'informations, nous devons presque accepter de partir de nulle part et d'in-terminer notre développement. Aussi, loin de vouloir établir des catégories ou des principes prétendant établir un plan d'action, cette thèse se pose le problème de ce qui toujours, dans un programme, échappe aux codes; des nouvelles images telles qu'elles débordent les écrans et des milieux humains, profondément hybridés par les automates programmés. Pour penser les flux, il est indispensable de considérer un terrain, un fragment de milieu humain. Deux projets en rapport avec cette notion de territoire --- une mission de service public visant à mettre en réseau un ensemble d'opérateurs culturels sur la ville de Bourg-en-Bresse, et une œuvre d'art numérique investissant, par le portrait social, la question d'une ré-appropriation individuée des flux – nous permettront de faire progresser ce mi-lieu hyper-complexe entre le corps et le programme. En définitive, il s'agira de voir quels genres d'affect il nous est nécessaire de connaître afin que les réseaux numériques accompagnent une augmentation de notre puissance d'exister.

A proposta de criação dos Encontros Fotografia, Cinema e Artes respondeu ao desejo de se estabelecer uma rede de compartilhamento e estimulação à reflexão sobre como as tecnologias digitais têm contribuído para a transformação da fotografia, do cinema, das artes, da educação, bem como nos próprios processos de investigação e produção de conhecimento.
Nesses termos, por meio dos Encontros, tem-se em vista constituir um fórum dinâmico que possa acolher, valorizar e veicular a divulgação de pesquisas realizadas neste âmbito nas Universidades do Estado do Goiás, mas também de universidades de outras unidades federativas, estendendo-se a instituições e grupos de pesquisa de outros países.
Ou seja, desse modo, se pretende promover o processo de abertura e trânsito entre instituições de diferentes nacionalidades, o que corrobora com o enriquecimento nos processos de construção de aprendizagens. Visa-se, assim, a cooperação e as parcerias entre instituições de ensino superior, com produtos de âmbitos nacionais e internacionais.
Um pouco além das investigações estritamente acadêmicas, de natureza teórica, o formato pensado para os Encontros tem em vista também estimular a produção visual, audiovisual, hipermídia e transmídia, assegurando trânsitos entre investigadores e realizadores, artistas e educadores, de modo que essas diferentes ações, em lugar de concorrerem entre si, possam fortalecer-se mutuamente, e quantas vezes tomarem parte de processos unificados.
A partilha de conhecimentos, participação nas dinâmicas sociais e culturais do encontro e a ligação à comunidade local e a comunidade acadêmica são condições precípuas que orientam sua proposta.
Realizados em parceria entre a Universidade Federal de Goiás, a Universidade Estadual de Goiás, a Pontifícia Universidade Católica de Goiás e o PirenópolisDoc: Festival de Documentário Brasileiro, a edição de 2017 dos Encontros contou com o suporte ainda da Universidade de Aveiro, da AO NORTE – Associação de Produção e Animação Audiovisual, do Cine Clube de Avanca, de Portugal, da Universidad de la República, do Uruguai, e do CIESAS, do México. Dentro das atividades realizadas, foi assinada uma carta de intenções, no sentido de se estabelecerem os vínculos entre os participantes do evento na Rede Internacional de Pesquisa em Educação, Arte e Humanidades, a REdArtH. A íntegra da carta integra esta publicação.
Finalmente, gostaríamos de agradecer todos aqueles que atuaram na realização do evento, tornando esse um momento de encontro marcante, fraterno, e por isso mesmo tão fecundo nas aprendizagens proporcionadas. Agradecemos, sobretudo, aos pesquisadores e estudantes que encaminharam seus trabalhos para serem apresentados e discutidos nos dois dias de programação intensiva.
Firmamos nossos votos de que as discussões reverberem, ainda, na leitura dos anais. E motivem a nos reencontrarmos, com entusiasmo renovado, no ano vindouro.

Primavera de 2017
Alice Fátima Martins (UFG, PQ2/CNPq)
José da Silva Ribeiro (UFG, CEMRI/UAb)

Para citar esta publicação:
MARTINS, Alice Fátima; RIBEIRO, José da Silva (org.). Anais do I Encontros de Fotografia, Cinema, Artes Digitais. Dados eletrônicos. Goiânia: UFG/UEG, 2017
Disponível em <https://culturavisual.fav.ufg.br/up/459/o/Anais_dos_Encontros_de_fotografia_agosto_2017.pdf>

What follows here is not a definition of art by decree. Nor is this some kind of art manifesto. We are not saying this is how art should be, or could be, but how it is, if you let go of the prison of aesthetics, and follow an infinitely more interesting conceptual trail. This is about uncovering and identifying an approach to art which avoids the triviality of sensory-based aesthetic theory and moves instead towards exploring the experiential worlds that art presents us with. And this approach is not about diminishing the sensory enjoyment of artworks, but about placing them in a much richer context, where they can work a far greater magic.

Essay included in the book Media Art. Towards a New Definition of Arts in the Age of Technology, edited by festival director (and awesome human) Valentino Catricalà, is now out (Pistoia: Gli Ori, 2015). It contains my essay ‘On Cybernetic Serendipity, Nove Tendencije and the Myth of “Computer Art”’, as well as essays by Sean Cubitt, Paul Thomas, Oliver Grau, Alfonso Molina, Valentino Catricalà, Marco Maria Gazzano, Giulio Latini, Stephen Partridge, Elaine Shemilt, Laura Leuzzi, Maurizio Marco Tozzi, Domenico Quaranta, Alessandro Amaducci, Roc Parés, Fase Due, Elisa Cuciniello and Veronica D’Auria.

Algorithmiques, interactives, performatives, responsives, opératoires… A l’ère numérique les images changent de forme et de modes d’existence, elles offrent des possibilités d’action autant qu’elles agissent. Produites par des « machines de vision », objets de numérisation et de calculs, les images engagent des collaborations inédites entre arts, sciences et technologie. Enjeu de recherche et de création, cette transformation du régime des images est autant visible dans leurs formes qu’à travers  leurs modes de circulation et leurs usages sociaux (images virales, téléchargées, copiées, collées, annotées, remixées, etc).
Centré sur ces dynamiques interdisciplinaires, cet ouvrage propose d’analyser les nouvelles figures de l’image interactive. En prenant appui sur l’histoire des arts et des évolutions récentes de la création en réseau, il présente et analyse les oeuvres réflexives et souvent critiques d’artistes qui redéfinissent le statut de la vision et des actes d’images propres à l’ère numérique. L’accent est porté sur la pluralité des modes d’existences des images numériques ainsi que sur la dimension anthropologique et/ou socio-politique des pratiques artistiques et activistes des médias.

Avec les contributions de Jean-Michel ALBERT, Christophe D’ALESSANDRO, Claire BARDAINNE, Samuel BIANCHINI, Jean-Louis BOISSIER, Jean-Marc CHOMAZ, Vincent CICILIATO, Nathalie DELPRAT, Jean-Paul FOURMENTRAUX, Thierry FOURNIER, Ashley FURE, Christian JACQUEMIN, Olga KISSELEVA, Adrien MONDOT, Benjamin NUEL, Stefane PERRAUD, Dominique PEYSSON, Dorothée SMITH, Hsinli WANG.

This dissertation aims to understand in detail the relationship between play and the sense-making process in interactive art encounters. It argues that play and the ludic character observed in such encounters are fundamental dimensions, which predominate in many interactive art experiences. From this perspective, we propose to examine in depth the type and nature of play but also to understand how its emergence affects the symbolic understanding of the experience.
Moreover, it argues that despite the emphasis on the bodily, sensorial and performative, interactive artworks still hold a sense that needs to be interpreted by participants. As such, our analysis aims to verify if play, operationality and bodily performance override the symbolic dimensions of the encounter or if, instead, there is still a space for detached reflection about our lived and felt experience.
To accomplish this task an interpretative phenomenological method was applied to examine the reception of three different artworks in natural settings. This method was prepared and adapted according to each interactive artwork. Furthermore, by reviving the concept of psychical distance developed by Edward Bullough, we examine the concept of aesthetic distance in interactive arts, refining this discussion with the data provided by our qualitative analysis.

FR ~ Expérience et Signification dans les Arts Interactifs  / Influence du Jeu libre et Distance Esthétique dans les Expériences Interactives


Cette dissertation vise à comprendre en détail la relation entre jeu libre (free-play) et construction de sens dans les expériences esthétiques interactives. Nous soutenons ici que le jeu et le caractère ludique que nous observons sont des aspects fondamentaux et prédominants dans la plupart de ces expériences interactives.
Nous nous proposons donc d’analyser en profondeur la nature du jeu déclenché par ces expériences, mais aussi de comprendre son influence sur la compréhension symbolique de l’expérience.
Malgré l’accent mis sur les aspects corporels, sensoriels et performatifs, nous défendons l’idée que les œuvres interactives portent un sens qui doit être interprété par les participants. Dans cette perspective, notre analyse cherche plus spécifiquement à vérifier si le jeu-libre, les opérations techniques et la performance corporelle surpassent les dimensions symboliques de l’expérience ou si, au contraire, il y a encore la place pour une réflexion sur le vécu et le ressenti.
Afin de développer cette recherche nous avons utilisé une méthodologie IPA (Analyse Interprétative Phénoménologique) pour examiner la réception de trois installations interactives auprès des participants. Cette méthodologie était préparée et adaptée en fonction de chaque œuvre interactive.
Enfin, en ranimant le concept de distance mentale développé par Edward Bullough, nous examinons le concept de distance esthétique dans les arts interactifs, affinant cette discussion grâce aux données récoltées lors de notre analyse qualitative.

PT ~ Experiência e Construção de Significado nas Artes Interactivas / A Influência do Jogo livre e Distância Estética nas Experiências Interactivas


Esta dissertação procura compreender e descrever detalhadamente a relação entre jogo livre e o processo de criação de significado na recepção de obras de arte interactivas. Argumenta-se que o jogo e o carácter lúdico observados durante este tipo de recepção artística predominam em muitas destas experiências interactivas. Nesta perspectiva, propõe-se examinar aprofundadamente a natureza e o tipo de jogo que surgem destas interações mas também compreender como é que a sua emergência afecta a compreensão simbólica da experiência.
Argumenta-se ainda que apesar da enfâse dada à redescoberta do corpo e dos sentidos, à performance corporal e a outros aspectos da ação fomentados por este tipo de experiências, estas também encerram significados que requerem uma interpretação por parte dos participantes. Como tal, esta análise procura verificar se o jogo, a performance corporal e as operações necessárias para ativar a experiência se sobrepõem à dimensão simbólica do encontro ou se por outro lado, ainda existe “espaço” para uma reflecção distanciada sobre a experiência vivida e sentida.
Para realizar este estudo desenvolveu-se um método IPA (Interpretative Phenomenological Analysis) para examinar a recepção de três obras interactivas em condições naturais. Além disso, através da revisão do conceito psychical distance desenvolvido por Edward Bullough, analisou-se o conceito de distância estética aplicado às artes interactivas. Esta discussão foi refinada e enriquecida através dos dados provenientes das análises qualitativas.

For millennia, gardens have been a medium with which to redeem nature from its ever-impending chaos. They play a key role in the survival strategies that art and culture can offer during the “age of the human.” Yet not all these strategies are the same: some of them, in fact, conceal forms of wildness or disorder that are rooted in systems of social oppression, resource exploitation, and the disrup- tion of planetary cycles. Taking her cue from an encounter with the Augmented Reality artist Tamiko Thiel and her eco-activist works, Serenella Iovino uses the garden as a lens to analyze the impacts of old and new forms of aestheticizing nature on the geology of our planet. Iovino focuses on landscapes of power and depletion, but also the creativity and possibility that are emerging from places
of resistance.
The essay is followed by a conversation with Tamiko Thiel.

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness.

This article examines the use of the blockchain to create limited editions of digital art with a particular focus on the business models of two companies: Monegraph and Ascribe. For some, the development of blockchain technologies and smart contracts suggests an opportunity for artists to protect their work from misuse and expropriation. For others, it suggests the possibility of stronger forms of digital rights management, going forward, that may negatively impact digital culture. However, this article argues that the aim of limited editions on the blockchain is not usually to institute stronger restrictions over use or a new form of digital rights management but rather to create new kinds of tradable digital assets. In turn, this trend implies a different operation of intellectual property rights with respect to digital culture, one where alienation rather than exclusion is significant, and a different operation of scarcity with respect to digital cultural goods, where their free circulation is not necessarily antithetical to profit.

Resumen:
En los últimos años las expresiones narrativas como el cine y la literatura han sufrido grandes cambios en su estructuración; la utilización de la no linealidad como recurso para contar historias le ha aportado un nuevo aire a la narrativa interesando a un nuevo público en la complejidad de este tipo de relatos. Sin embargo, esta aparición no es algo tan reciente, aunque ha sido impulsada por el advenimiento de los medios electrónicos, los sistemas multimediales así como por el hipertexto e influenciada por los descubrimientos de la física cuántica que replantean las estructuras espacio temporales y han abierto, con ello, la posibilidad de nuevas estructuras narrativas, que siguen lógicas paraconsistentes o se articulan de acuerdo a la imaginería con que la lógica modal y sus semántica de mundos posibles –pensemos en Kripke– resuenan en autores tan importantes del cine postmoderno, como Raúl Ruiz 1 o Peter Greenaway, quienes en una filmografía claramente de tesis se han prodigado para poner en operación estos nuevos dispositivos retóricos, generadores no sólo de nuevas historias o relatos, sino de nuevas formas en que estas se articulan, pasando, por momentos, la articulación a tener más importancia que lo articulado, de allí que se pueda decir con propiedad que estamos ante un cine formal, esto en el mismo sentido de cómo se habla de lógica formal.
En la filmografía del británico Peter Greenaway es recurrente la articulación de narraciones a partir de números, conjuntos, medidas y proporciones. Su intento es el de hacer un cine de tesis, un cine de ideas, en el cual la pintura, la literatura y las matemáticas sean los ejes que determinen su poética. En este arte combinatorio en el que Greenaway convierte el cine es frecuente la utilización de diversos medios y técnicas digitales, así como de intrincados dispositivos narrativos, los que son –en último término– bellos ejercicios de rigor formal, un rigor frecuentemente impuesto por un sistema abstracto, como el alfabeto o los cardinales mensurables; es a esto lo que en mi investigación denomino la estética de la lógica.

RESUMEN:
Este trabajo se propone desplegar una mirada metafísico-existencial -y por ello también arquitectónica- sobre el habitar, entendido éste como un acto de resonancias espirituales mediante el cual el hombre afianza su identidad y se reconoce en el trato que establece con las cosas.  Esta mirada se corresponde con la tesis heideggeriana del habitar poético del hombre en el mundo, entendiendo este habitar en el sentido tanto físico-residencial de la morada, como espiritual de la moral. El Artículo expone la tesis de Heidegger de la palabra como morada del ser, teniendo como fundamento del análisis la Conferencia “Construir, Habitar, Pensar” [1951], como el escrito Hölderlin y la esencia de la poesía [1944] ambos de Martin Heidegger.
Palabras claves: Heidegger, poesía, construir, habitar, pensar, residencia, casa, no-lugar, calle, plaza, pasado, pertenencia, tierra, memoria, origen, poética del espacio, arquitectura, tierra, historia.
Dr. Adolfo Vásquez Rocca
- Vásquez Rocca, Adolfo,  "La arquitectura de la memoria: Espacio e identidad" pp.163 – 176 Revista Cuadernos de Filosofía - Nº 22 - 2004 [Publicación anual]. Universidad de Concepción – Chile. ISSN 0716-9884
y En A Parte Rei Revista de la Sociedad de Estudios Filosóficos de Madrid Nº 37 – 2005.
Adolfo Vásquez Rocca PHD.

The desktop publishing revolution of the 1980s and the digital media have forever changed the way information and visual images are created, transmitted, and experienced. For the majority of the countries that use Arabic script these changes are taking place slowly. If we want to assure a continuity of cultural heritage, however, we must act. We must facilitate the adaptation of the script to the new media and the media to the script. This effort should involve traditional calligraphers as well as computer experts.

  In this chapter some of the ways calligraphic designs are used today is presented, and the answers sought for two questions: “Is computer an appropriate and useful tool for calligraphy?” “What effects would the use of computer have on the art and craft of calligraphy?”

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

Doors, windows, box office windows, skylights, car windows, mirrors, are all frames. The great directors have particular affinities with particular secondary, tertiary, etc. frames. And it is by this dovetailing of frames that the parts of the set or of the closed system are separated, but also converge and are reunited.' Gilles Deleuze, Cinema I: The Movement-Image

A new transdisciplinary and interdisciplinary field that emerges in pedagogics is commented. Arts coupled with Science, Technology, Engineering and Mathematics (STEM) is the STEM with Arts (STEAM). It introduces students and educators to an holistic approach in classroom. STEAM removes limitations and replaces them with wonder, critique, inquiry, and innovation. This editorial commentary introduces to Scientific Culture readers to the current status and potential of this field and initiates a further step to encompass Culture, as well. This is the STEMAC (Science, Technology, Engineering, Mathematics for Arts & Culture), novel, and, surely integrated reapprochement, which reinforces the fragmentary bridges and sort of lack of coherence, between natural sciences and engineering & technology, with, and, for humanities (art / culture).

In Your Computer, by Domenico Quaranta, is a collection of texts written by Domenico Quaranta between 2005 and 2010 for exhibition catalogues, printed magazines and online reviews: a pocket version of what the author would save from the universal flood, in a world without computers. It documents most of the fields of research he has focused on critically: from Net Art to Software Art and videogames, from biotechnologies to the debate around curating and the positioning of New Media Art in the contemporary landscape, and back to Net Art again.  This itinerary is traced through a selection of essays, monographic texts and interviews with artists and curators, in no particular order: from Eva and Franco Mattes to Casey Reas, from UBERMORGEN.COM to Oliver Laric, from Cory Arcangel to Tale of Tales, from Jon Ippolito to Gazira Babeli. 
As the author writes in the introduction: «We are in the midst of a major change. At the end of the process, not only the way we live, work, travel and communicate, but also the political and economical structures and the social organization we are used to will probably be fundamentally different from how they are now. In art, this change will be complete when the way we make, circulate and understand art is completely different from the way we do it now; and when the way we understand the difference between copies and original and between art and non-art will have adapted to the new models created by the information age. The most we can do now is to take our time, adapt to our new living conditions, be aware of the process going on and look to the most radical propositions around for signals of what is to come. In the awareness that we probably don’t have to look that far: these signals are already here, in our computers.»

Domenico Quaranta, In Your Computer, LINK Editions, Brescia 2011. Soft cover, 180 pp, English, ISBN: 978-1-4467-6021-5

A oposição real/virtual é um mero anacronismo do século XX. Somos hoje corpos “ciborguizados” pelos celulares, uma espécie de ponto conexão permanente que nos expande para além do aqui e nos insere em um tempo de eterno agora. Telas de diferentes portes e com novos recursos remodelam as noções de espaço doméstico e privacidade.
Aplicativos de Realidade Aumentada (RA) inserem camadas de informação no ambiente urbano e redefinem o espaço público.
Os materiais dos objetos que nos rodeiam são fruto de equações químicas, e as pessoas são remodeladas em centros cirúrgicos que nos transformam em compostos de botox, silicone, carne e sangue. A qualquer momento teremos nosso DNA disponível no Google.
Nossa comida nasce em laboratórios e os cientistas nos prometem
um mundo povoado de clones e novos seres artificiais. Vivemos mediados por redes sociais, como Twitter e Facebook, e a internet é um dos palcos privilegiados de mobilização política.
Não há dúvida. A era do virtual ficou na primeira década do século. O real engole tudo e nos põe no centro de redes interconectadas acessíveis, literalmente, na palma da mão.
Vivemos no mundo do pós-virtual e isso não significa apostar numa volta ao mundo analógico. Ao contrário. Significa assumir que as redes se tornaram tão presentes no cotidiano e que o processo de digitalização da cultura é tão abrangente, que se tornou anacrônico pensar na dicotomia real/ virtual. O mundo da Internet das Coisas já se anuncia no presente, prevendo que todos os objetos do cotidiano estarão conectados às
redes e entre si. Isso demandará profundas transformações tecnológicas e impõe um amplo espectro de discussões éticas e políticas, uma vez que a ideia de ambientes em que endereços IP (Internet Protocol) estarão relacionados a tudo – de objetos de consumo a lugares – pressupõe uma escala de rastreamento, tanto quanto um grau de interconectividade criativa, sem precedentes.

Digital technologies have significantly changed the practices of museums, cultural institutions, libraries, and archives. However, although many museums have adopted digital media in one way or another, few actively collect and preserve media art. This thesis explores the challenges associated with the collection, presentation, and preservation of technological and digital arts. In particular, it focuses on the different strategies that institutions, artists, and art practitioners in general have developed in order to integrate media art into the circuit of museums and art collections as well as the specific methods they implement to ensure the proper care and preservation of media artworks. Furthermore, it also explores the role that artists play regarding the documentation and conservation of media art, as well as the shared responsibilities that this emerging discipline demands. In order to approach these issues, this study emphasizes the material and immaterial, as well as medial dimensions of media art, by drawing from discussions around the concept of medium in art, Rosalind Krauss’s postmedium condition, and Christiane Paul’s notion of neomateriality. Case studies include the practices of artists such as Antoni Muntadas, Igor Štromajer, Rafael Lozano-Hemmer and, in particular, Christa Sommerer and Laurent Mignonneau.

The minimal presence of media art at major museums and cultural institutions impacts the proper contextualization, categorization, and appreciation of media art. This thesis explores the state of media art preservation and collection, while also offering a theoretical discussion on the material and immaterial conditions of media art.

A critical commentary that presents and contextualizes a film and video making practice spanning three decades. It locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back the history of this practice to the author’s initial screenings of work as part of the 1980’s British Scratch video art movement.

At the heart of the body of work presented here is an exploration and examination of methods and working practices in the encounter of music, sound and moving image.
Central to this is an examination of the affective levels that sound and image can operate on, in a transsensorial fusion, and political and cultural applications of such encounters, whilst examining  the epistemological regimes such work operates in.

A combination of factors has meant that work such as this, arising in the UK provinces, can fall below the historicizing and critical radar – these include the ephemeral and transitory nature of live performance work; the difficulties of documenting such work; the fragility and degeneration of emerging and quickly obsolescent formats; and a predominance of a London–centric focus on curating, screening and historicizing of experimental film and video art practices.

The author's film and video practice has been screened nationally and internationally over three decades, and has been recognized as exemplary practice both in the early 1980s at the inception of the Scratch movement and in more recent retrospectives. The critical commentary argues that this work contributes new knowledge of the history, contexts and practices of film and video art and audiovisual and visual music practices.

"Visualizing Art History: Experimental Animation and Its Mentor, Jules Engel" by Janeann Dill, phd, mfa

A dictionary begins when it no longer gives the meaning of words, but their tasks.
--- Georges Bataille

It is most often the case when I refer to my work as experimental animation that I am met with the question, what is experimental animation? I am instantly reminded of a story about Louis Armstrong in conversation with Johnny Carson who asked Armstrong, “What is jazz?” Louis Armstrong enthusiastically responded, “Well if you don’t know what it is, I sure as hell can’t tell you!”

In some ways, Louis Armstrong’s response might be said to be universal for questions having to do with art, in that any attempt to offer definition tends to further confuse, bind, constrict and/or be irrelevant, rather than to clarify meaning. As a scholar and as an artist, I am most interested in the unanswerable. As I understand it, to ask the unanswerable is the beginning of an event … if you will, an event of language, timing and gesture, experimentation and conceptualizing. The more important consideration in a “what is ____?” question is not the answer, but the asking.. How is it we know so little about the art form?

Las relaciones de conocimiento en la Biblioteca Digital del Pensamiento Novohispano. DE MIRIAM PEÑA PIMENTEL Y ERNESTO PRIANI SAISÓ, PÁG. 10 •Del mito de "la silla peligrosa" a la leyenda urbana de la aguja escondida y el contagio del SIDA. DE ÁNGEL J. GONZALO TOBAJAS, PÁG. 30 •El diablo dijo… "¡acción!": Hellboy en el laberinto

One way of thinking about the ways in which photography contributed to the experience of fine art, and perhaps to the structure of experience itself, is as the primary driver and a catalyst of modernist aesthetics. According to this view, photography is entangled in the visual strategies of modernism and the avant-guarde both as part of the mode of reproduction inherent in the development of industrial capitalism and as the key modality by which the contemporary myth of the artist came to be expressed. In other words, photography can be seen as the medium by which the art establishment came to assert its elite status while at the same time providing it with an aesthetic lens that fetishized the snapshot as the ultimate expression of the Duchampian notion of the 'readymade'.

RESUMEN:
La Filosofía, en su sentido radical, acontece dondequiera el hombre cavila sobre sí, donde se queda consternado ante la incomprensibilidad de su estar-aquí, en cualquier lugar que las preguntas por el sentido de la vida emergen desde su corazón acongojado y trémulo. De este modo se le ha cruzado la filosofía casi a cada hombre alguna vez —como un sobresalto que nos estremece de súbito, como una aflicción y melancolía, como pregunta inquieta, como una sombra sobre nuestras pantallas autistas—. La filosofía tiene muchos registros y tonalidades, conocidas e inquietantes, y tiene para cada uno una propia voz, con la cual nos llama suavemente.
La filosofía de hoy se confunde con frecuencia con sucedáneos, con formas ensayísticas sin pulso metafísico, con periodismo de ideas sin aliento ni emoción. Pese a todo existen todavía filósofos preparados para hacer frente a las grandes novedades de la cultura… a ellos hemos apostado.
* Editorial con motivo del número 20 – X Aniversario (2005-2015) de la Revista Observaciones Filosóficas.
Dr.  Adolfo Vásquez Rocca

Dictionary entry. An overview of Internet art, as art that uses the Internet not only as its tool of production and distribution but also as its source material or medium, and exploits or reflects the Internet’s inherently connective characteristics.