Pub Date : 2023-07-15DOI: 10.7238/artnodes.v0i32.410379
Rafael Ortiz Martinez de Carnero
Over the last three decades, the rise of new conceptualizations around the human body in connection with technology and machines has led to the development of new art practices in parallel with technological advances in the fields of biology, medicine and computing. This paper examines the human body in art contexts where biotechnology plays a relevant role in the generation of new conceptualizations around the human body topic. Thus, re-contextualized in social and cultural spheres and technical terms, the body will become redesigned, revamped, or augmented through the use of technological advances ranging from plastic surgery to robotic prosthetics. The human body is our vehicle of direct interaction with the environment. Its modification, alteration or expansion implies a redefinition of the existing limits between our corporality and the environment itself. Not only in the physical sense, but metaphysical and social. Hence, the introduced artists and strategies blur these limits and establish new relations through the body as a physical and social entity. In the search of new boundaries far beyond socio-cultural and natural limitations, they will reach new social, perceptual and conceptual statuses, far beyond aesthetic practices, focusing on the generation of political and social debates.
{"title":"The human body from a biotechnological perspective in art contexts: active space of experimentation in constant transformation","authors":"Rafael Ortiz Martinez de Carnero","doi":"10.7238/artnodes.v0i32.410379","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.410379","url":null,"abstract":"Over the last three decades, the rise of new conceptualizations around the human body in connection with technology and machines has led to the development of new art practices in parallel with technological advances in the fields of biology, medicine and computing. This paper examines the human body in art contexts where biotechnology plays a relevant role in the generation of new conceptualizations around the human body topic. Thus, re-contextualized in social and cultural spheres and technical terms, the body will become redesigned, revamped, or augmented through the use of technological advances ranging from plastic surgery to robotic prosthetics. The human body is our vehicle of direct interaction with the environment. Its modification, alteration or expansion implies a redefinition of the existing limits between our corporality and the environment itself. Not only in the physical sense, but metaphysical and social. Hence, the introduced artists and strategies blur these limits and establish new relations through the body as a physical and social entity. In the search of new boundaries far beyond socio-cultural and natural limitations, they will reach new social, perceptual and conceptual statuses, far beyond aesthetic practices, focusing on the generation of political and social debates.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":"78 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139359030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-15DOI: 10.7238/artnodes.v0i32.409664
Bruno Caldas Vianna
The idea of disobedient machines is developed from the perspective of the historical and current developments in artificial intelligence (AI). Disobedience is often used in arts and technology as both a theme and a tool. Beyond that, misbehaviour is presented as one of the skills that is indispensable for natural intelligence. The article doesn’t delve into the use of AIs as an assistive tool for creation. Instead, it speculates if AIs will afford the emergence of an independent, autonomous artificial creator. Different approaches to AIs are presented, from symbolism to emergism. The affordances of machine learning models are described, as well as their limitations like the incapacity to generate breakthroughs outside of their training data, their determinism, and the inability to use analogies to solve unseen problems. Other missing human (or biological) skills present in art are emotion, goal-less production, and agency, which is a problem even when human volition is studied. The limits of computational formalism are like the limits in mathematical reasoning – it always requires some external rules, or axioms demonstrated, like Gödel’s proof. Hofsdtader’s theory of consciousness proposes a way to conciliate the fact that human creativity is also based on closed, fixed biological rules. Finally, it is argued that a machine cannot be creative unless it is also able to misbehave. However, computers must follow a set of instructions or they stop functioning – that is the definition of a Turing machine. Hence, we must face the paradox of wanting well-behaved systems, with the limitations of symbolic machines, while at the same time demanding more autonomous, creative outputs. It is paramount to explore algorithmic misbehaviours that could circumvent this paradox for further development of AIs for the arts and society in general.
{"title":"The Bartleby Machine: exploring creative disobedience in computers","authors":"Bruno Caldas Vianna","doi":"10.7238/artnodes.v0i32.409664","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.409664","url":null,"abstract":"The idea of disobedient machines is developed from the perspective of the historical and current developments in artificial intelligence (AI). Disobedience is often used in arts and technology as both a theme and a tool. Beyond that, misbehaviour is presented as one of the skills that is indispensable for natural intelligence. The article doesn’t delve into the use of AIs as an assistive tool for creation. Instead, it speculates if AIs will afford the emergence of an independent, autonomous artificial creator. Different approaches to AIs are presented, from symbolism to emergism. The affordances of machine learning models are described, as well as their limitations like the incapacity to generate breakthroughs outside of their training data, their determinism, and the inability to use analogies to solve unseen problems. Other missing human (or biological) skills present in art are emotion, goal-less production, and agency, which is a problem even when human volition is studied. The limits of computational formalism are like the limits in mathematical reasoning – it always requires some external rules, or axioms demonstrated, like Gödel’s proof. Hofsdtader’s theory of consciousness proposes a way to conciliate the fact that human creativity is also based on closed, fixed biological rules. Finally, it is argued that a machine cannot be creative unless it is also able to misbehave. However, computers must follow a set of instructions or they stop functioning – that is the definition of a Turing machine. Hence, we must face the paradox of wanting well-behaved systems, with the limitations of symbolic machines, while at the same time demanding more autonomous, creative outputs. It is paramount to explore algorithmic misbehaviours that could circumvent this paradox for further development of AIs for the arts and society in general.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":"182 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139359276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-15DOI: 10.7238/artnodes.v0i32.410394
Miguel Ángel Rego Robles
Al analizar las contribuciones de Wilfrid Sellars para tratar la complejidad de lo que es el conocimiento y cómo se forma, epistemología y ontología, y el complemento teórico de Thomas Metzinger en la ontología de Sellars, exploro cómo la estancación en el arte contemporáneo causada por la correlación estética del sujeto y el objeto puede superarse con un paradigma nuevo en el arte poscontemporáneo. En primer lugar, utilizo la visión estereoscópica de Sellars y su crítica a las ideas fundacionalistas y a las teorías empíricas clásicas para describir cómo las prácticas artísticas modernas y posmodernas del siglo XX pueden trascenderse mediante el rechazo del realismo contemporáneo dado y el materialismo naturalista. Esta noción ha ganado especial relevancia debido a los avances en los campos de las neurociencias y las ciencias informáticas, como se demuestra en ejemplos de arte poscontemporáneo como el de Emanuel Gollob Doing Nothing with AI 1.0 (2019). A continuación, explico la perspectiva científica y ontológica de Sellars a través de la noción del automodelo fenomenológico (PSM por sus siglas en inglés, Phenomenological Self-Model) de Thomas Metzinger, que proporciona un enfoque que no se encuentra en el pensamiento de Sellars. Sin embargo, es necesario volver a Sellars para asistir a otras formas de arte poscontemporáneo, incluyendo Serious Games III: Immersion (2009) de Harun Farocki, que se centra en la formación de la experiencia humana a través de una comprensión científica ontológica de lo mental como parte de la naturaleza. Las teorías de Wilfrid Sellars y Thomas Metzinger nos permiten ir más allá de la deriva iniciada por Marcel Duchamp a principios del siglo XX, configurando un paradigma para la estética poscontemporánea que aclara el estado actual de las artes y el pensamiento no correlacionalista.
通过分析威尔弗里德-塞拉斯（Wilfrid Sellars）在解决知识是什么及其如何形成的复杂性、认识论和本体论方面的贡献，以及托马斯-梅津格（Thomas Metzinger）对塞拉斯本体论的理论补充，我探讨了如何通过后当代艺术的新范式来克服主体与客体的美学关联所导致的当代艺术停滞。首先，我利用塞拉斯的立体视角及其对基础主义思想和古典经验主义理论的批判，描述了现代和后现代二十世纪的艺术实践如何通过摒弃特定的当代现实主义和自然主义唯物主义来实现超越。由于神经科学和计算机科学领域的进步，这一概念变得尤为重要，伊曼纽尔-戈尔洛布（Emanuel Gollob）的《人工智能1.0无所作为》（Doing Nothing with AI 1.0，2019）等后当代艺术作品就证明了这一点。在下文中，我将通过托马斯-梅津格（Thomas Metzinger）的现象学自我模型（PSM）概念来解释塞拉斯的科学和本体论观点，这提供了一种塞拉斯思想中没有的方法。然而，我们有必要回到塞拉斯，来关注其他后当代艺术形式，包括哈伦-法罗基（Harun Farocki）的《严肃游戏 III：沉浸》（Serious Games III: Immersion，2009 年），该作品侧重于通过对作为自然一部分的精神的本体论科学理解来塑造人类经验。威尔弗莱德-塞拉斯（Wilfrid Sellars）和托马斯-梅津格（Thomas Metzinger）的理论让我们超越了马塞尔-杜尚（Marcel Duchamp）在二十世纪初发起的漂移，为后当代美学构建了一个范式，澄清了非关联主义艺术和思想的现状。
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Pub Date : 2023-07-07DOI: 10.7238/artnodes.v0i32.412093
Sahar Sajadieh
This paper examines the liveness of the performative acts of technologically simulated or synthesized agents in interaction with humans. It questions the ability of artificial performers to construct a sense of live presence on stage and in other daily performative scenarios and evaluates our perception of liveness in those contexts. In this critical and comparative analysis, I study the live quality of Hatsune Miku’s live musical performances – a computer-generated cyber celebrity with a three-dimensional holographic body and an artificially synthesized singing voice – and the stimulating interactions of PARO, the seal – an adorable therapeutic cuddle-robot utilized as an emotional companion in nursing homes and hospitals. Using performance and media theories, I examine the audience/users’ affective responses and engagement quality with the holographic singer and the robotic pet, directly leading to the acceptance or rejection of the claim to the liveness of these techno-actors. This research also evaluates the impact of the application of cuteness (or kawaii) in designing non-human agents versus the emergence of creepiness in interactions with their incorporeal bodies on our emotive response. The objective is to study the difference between the liveness and aliveness of non-human, non-living performing agents and the impact of evoking the sense of “cute” versus “creepy” on warping the Uncanny Valley Curve.
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Pub Date : 2023-07-07DOI: 10.7238/artnodes.v0i32.411228
Leticia Crespillo Marí, Sonia Ríos Moyano, Javier González Torres
Este ensayo tiene como objetivo el análisis narrativo de las representaciones contemporáneas más paradigmáticas de autómatas, robots, androides/ginoides, cíborgs o replicantes existentes en los ámbitos cinematográfico y televisivo. A través de diferentes técnicas –como el Matte Painting, 3D, VFX, CGI o Motion Capture–, los ejemplos escogidos provocan la más inquietante y desgarradora distopía posible: la del humano-no humano; unos engendros cuyos cuerpos se rinden a la voluntad del propio artificio, tendiendo en algunos casos hacia su transformación final en un complejo algoritmo. Para ello, se han seleccionado una serie de títulos a través de los cuales exploraremos diferentes vías: tanto la trasposición corporal de lo diferente en una serie de universo(s) futuro(s) imaginado(s), como la deconstrucción de la realidad-real, fuente de todo mundo alternativo –metaverso–; así como la disociación de identidades, elemento que supone el primer paso hacia la deconstrucción total del ser, cobrando forma bajo los parámetros narrativos, iconográficos y estéticos del cine. Para ello, se ha optado por la aplicación de una metodología analítico-estructuralista e interpretativa, propia de la disciplina de las artes y las humanidades. Su desarrollo conducirá al planteamiento de una sugestiva conclusión procedente del estudio textual de esas presencias: la existencia de una singular profecía en la que el ser humano, que ya no lo es tanto, puede eternizarse para así vencer su obsolescencia natural y biológica otorgada desde su tradicional nacimiento.
{"title":"Narrativas antropológicas de la alteridad maquínica en los albores de las teorías poshumanas y transhumanas. Una primera aproximación desde el cine y las series streaming","authors":"Leticia Crespillo Marí, Sonia Ríos Moyano, Javier González Torres","doi":"10.7238/artnodes.v0i32.411228","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.411228","url":null,"abstract":"Este ensayo tiene como objetivo el análisis narrativo de las representaciones contemporáneas más paradigmáticas de autómatas, robots, androides/ginoides, cíborgs o replicantes existentes en los ámbitos cinematográfico y televisivo. A través de diferentes técnicas –como el Matte Painting, 3D, VFX, CGI o Motion Capture–, los ejemplos escogidos provocan la más inquietante y desgarradora distopía posible: la del humano-no humano; unos engendros cuyos cuerpos se rinden a la voluntad del propio artificio, tendiendo en algunos casos hacia su transformación final en un complejo algoritmo. Para ello, se han seleccionado una serie de títulos a través de los cuales exploraremos diferentes vías: tanto la trasposición corporal de lo diferente en una serie de universo(s) futuro(s) imaginado(s), como la deconstrucción de la realidad-real, fuente de todo mundo alternativo –metaverso–; así como la disociación de identidades, elemento que supone el primer paso hacia la deconstrucción total del ser, cobrando forma bajo los parámetros narrativos, iconográficos y estéticos del cine. Para ello, se ha optado por la aplicación de una metodología analítico-estructuralista e interpretativa, propia de la disciplina de las artes y las humanidades. Su desarrollo conducirá al planteamiento de una sugestiva conclusión procedente del estudio textual de esas presencias: la existencia de una singular profecía en la que el ser humano, que ya no lo es tanto, puede eternizarse para así vencer su obsolescencia natural y biológica otorgada desde su tradicional nacimiento.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46064212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-07DOI: 10.7238/artnodes.v0i32.411197
Laia Solé Coromina, Joshua Korenblat
For this essay, we draw from a collaborative experience between two educators and thirty students in a course called Designed World, taught at a public university, to explore how attention and intention develop within the practice of walking across “patchy landscapes” (Tsing 2015, 20) or the anthropocentric landscape, and how they can assist thinking about the design of “possible worlds” (Haraway 1991). This essay adopts an interdisciplinary approach that integrates ecofeminist theory with ideas of Romantic empiricism and relates them to aesthetic education and theories about walking. This journey to new places of learning – beyond the indoor structure of the classroom or studio – begins with becoming attentive to the complexity around us. Attention is a lack of intention (Masschelein 2010, 48). In contrast to most design activities that begin with an intent to produce a desired outcome, and a rich methodology, such as Design Thinking, there is no method here and no sequence to follow. Instead, the goal is to allow the present to be sublime to us so that we open ourselves up in a vulnerable way to being changed by that through which we move. This form of teaching helps us practise attention, presence, and responsibility. We do not expect anything in return. The simple act of walking can help us navigate an indeterminate time and place and create a social art and commons.
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Pub Date : 2023-07-07DOI: 10.7238/artnodes.v0i32.402462
Ze-Feng Gao, Tristan Braud
VR technology has brought new prospects and energy to art museums, prompting the advancement of new technologies that can tackle future challenges while catering to the demands of the metaverse era. Today’s digital archiving and guided tours, which rely on VR and more portable information retrieval, provide optimism for museum development. VR technology overcomes the limitations of traditional museums constrained by space and time as digital archiving gradually becomes a reality. This study highlights the benefits of metaverse-driven online archiving from the users’ perspective, followed by a review of recent examples of using VR for media art archiving. We emphasize the importance of further research into unexplored emerging technologies in media art archiving and propose that VR technologies in the metaverse are essential enablers for online archiving purposes. Our work aims to help art researchers, archivists, professionals, and artists to comprehend the challenges and future needs of archiving media art in the developing metaverse. Furthermore, we discuss present cases of employing VR for media art preservation after outlining the advantages of metaverse-driven online archiving from the users’ viewpoint. We stress the need for additional studies on new technologies in media art preservation. Moreover, metaverse VR technologies play a crucial role in achieving online archiving goals. This research contributes to a better understanding of the challenges and future requirements of archiving media art in the evolving metaverse for art researchers, archivists, and artists.
{"title":"VR-driven museum opportunities: digitized archives in the age of the metaverse","authors":"Ze-Feng Gao, Tristan Braud","doi":"10.7238/artnodes.v0i32.402462","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.402462","url":null,"abstract":"VR technology has brought new prospects and energy to art museums, prompting the advancement of new technologies that can tackle future challenges while catering to the demands of the metaverse era. Today’s digital archiving and guided tours, which rely on VR and more portable information retrieval, provide optimism for museum development. VR technology overcomes the limitations of traditional museums constrained by space and time as digital archiving gradually becomes a reality. This study highlights the benefits of metaverse-driven online archiving from the users’ perspective, followed by a review of recent examples of using VR for media art archiving. We emphasize the importance of further research into unexplored emerging technologies in media art archiving and propose that VR technologies in the metaverse are essential enablers for online archiving purposes. Our work aims to help art researchers, archivists, professionals, and artists to comprehend the challenges and future needs of archiving media art in the developing metaverse. Furthermore, we discuss present cases of employing VR for media art preservation after outlining the advantages of metaverse-driven online archiving from the users’ viewpoint. We stress the need for additional studies on new technologies in media art preservation. Moreover, metaverse VR technologies play a crucial role in achieving online archiving goals. This research contributes to a better understanding of the challenges and future requirements of archiving media art in the evolving metaverse for art researchers, archivists, and artists.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45398137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-07DOI: 10.7238/artnodes.v0i32.408440
Hortensia Mínguez García, Carles Méndez Llopis
This article outlines how, with the introduction of electrographic processes, engravers have broadened their way of thinking and producing their art in relation to the concept of expanded graphic. After delimiting the term electrography and describing its historical development, the text exposes how hybrid practices have expanded the margins of graphics in a post-digital world. They have opened the way to different lines of action that have been popularizing some terms – mainly, in Spanish –, such as intangible matrix, digital print or digital printing. In this way, we will be able to observe the expansion of these languages, their theorization and their implementation through several artworks that will show the discursive possibilities of graphics, from this extended hybridization to other fields, helping to describe different ways of understanding the creative processes of contemporary electrographic art.
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Pub Date : 2023-07-07DOI: 10.7238/artnodes.v0i32.403575
Diego Ortega Alonso
La ilustración científica es una disciplina al servicio de la comunicación científica que está fundamentada en la representación gráfica de conceptos propios de las diversas áreas de las ciencias. La información visual sintetizada, objetiva y precisa que ofrece la ilustración científica, no obstante, contiene aspectos inherentes a los lenguajes de las artes visuales, como son la composición, la técnica o la estética. En el presente artículo, se realiza una revisión sobre la situación profesional del ámbito de la ilustración científica, para profundizar posteriormente en el proyecto Illustraciencia, de la Asociación Catalana de Comunicación Científica (ACCC) y el Museo Nacional de Ciencias Naturales (MNCC-CSIC). Este proyecto, que nace como un certamen de ilustración científica, se ha convertido en un referente de esta disciplina a escala internacional gracias a la promoción y difusión de trabajos a través de plataformas digitales, y ha evolucionado con el paso de los años para ofertar actividades de carácter formativo, realizar congresos y exposiciones itinerantes e incluso publicar libros tanto en soporte digital como impreso, con la ilustración científica siempre como protagonista. El análisis de las ilustraciones seleccionadas como finalistas en los nueve certámenes desarrollados entre 2009 y 2022 permite extraer una serie de conclusiones sobre la evolución de la ilustración científica internacionalmente en los últimos años y las temáticas abordadas, que muestran la heterogeneidad de esta disciplina y la constante evolución de sus profesionales para adaptarse a las necesidades de la ciencia y de la transferencia del conocimiento.
{"title":"Illustraciencia, un ecosistema para la ilustración científica","authors":"Diego Ortega Alonso","doi":"10.7238/artnodes.v0i32.403575","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.403575","url":null,"abstract":"La ilustración científica es una disciplina al servicio de la comunicación científica que está fundamentada en la representación gráfica de conceptos propios de las diversas áreas de las ciencias. La información visual sintetizada, objetiva y precisa que ofrece la ilustración científica, no obstante, contiene aspectos inherentes a los lenguajes de las artes visuales, como son la composición, la técnica o la estética. En el presente artículo, se realiza una revisión sobre la situación profesional del ámbito de la ilustración científica, para profundizar posteriormente en el proyecto Illustraciencia, de la Asociación Catalana de Comunicación Científica (ACCC) y el Museo Nacional de Ciencias Naturales (MNCC-CSIC). Este proyecto, que nace como un certamen de ilustración científica, se ha convertido en un referente de esta disciplina a escala internacional gracias a la promoción y difusión de trabajos a través de plataformas digitales, y ha evolucionado con el paso de los años para ofertar actividades de carácter formativo, realizar congresos y exposiciones itinerantes e incluso publicar libros tanto en soporte digital como impreso, con la ilustración científica siempre como protagonista. El análisis de las ilustraciones seleccionadas como finalistas en los nueve certámenes desarrollados entre 2009 y 2022 permite extraer una serie de conclusiones sobre la evolución de la ilustración científica internacionalmente en los últimos años y las temáticas abordadas, que muestran la heterogeneidad de esta disciplina y la constante evolución de sus profesionales para adaptarse a las necesidades de la ciencia y de la transferencia del conocimiento.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46106281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-07DOI: 10.7238/artnodes.v0i32.411264
E. Soriano
En este artículo presento una investigación en curso sobre arte digital y apropiación. Mediante la hibridación de los métodos etnográficos con la investigación en las artes, desarrollo dos workshops performáticos para explorar las prácticas vernáculas de copia, apropiación y creación de valor en el folclore digital. Hiperpublicación 100/24 consiste en dos talleres realizados en la Fábrica de Creación La Escocesa, cuyo objetivo era la creación y publicación de 100 libros y 100 películas, respectivamente, en 24 horas de trabajo ininterrumpido para explorar cómo se negocian los valores y lógicas de la originalidad, la autenticidad o la autoría. Aquí presento las bases teórico-metodológicas del diseño de estos workshops performáticos, su desarrollo, así como una valoración sobre las posibilidades y limitaciones de estos dispositivos de investigación-acción. Concretamente, muestro cómo la etnografía puede combinarse con las herramientas de la investigación en las artes y el diseño para crear procesos colaborativos que generan conocimiento valioso sobre prácticas artísticas.
{"title":"Hiperpublicación 100/24. Dos workshops performáticos para la investigación en la creatividad vernácula de internet","authors":"E. Soriano","doi":"10.7238/artnodes.v0i32.411264","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.411264","url":null,"abstract":"En este artículo presento una investigación en curso sobre arte digital y apropiación. Mediante la hibridación de los métodos etnográficos con la investigación en las artes, desarrollo dos workshops performáticos para explorar las prácticas vernáculas de copia, apropiación y creación de valor en el folclore digital. Hiperpublicación 100/24 consiste en dos talleres realizados en la Fábrica de Creación La Escocesa, cuyo objetivo era la creación y publicación de 100 libros y 100 películas, respectivamente, en 24 horas de trabajo ininterrumpido para explorar cómo se negocian los valores y lógicas de la originalidad, la autenticidad o la autoría. Aquí presento las bases teórico-metodológicas del diseño de estos workshops performáticos, su desarrollo, así como una valoración sobre las posibilidades y limitaciones de estos dispositivos de investigación-acción. Concretamente, muestro cómo la etnografía puede combinarse con las herramientas de la investigación en las artes y el diseño para crear procesos colaborativos que generan conocimiento valioso sobre prácticas artísticas.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46529390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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