Pub Date : 2021-07-09DOI: 10.7238/ARTNODES.V0I28.387149
Ada Xiaoyu Hao
In the wake of the COVID-19 pandemic, we have been adapting as fugitives of this accidental encounter with an “untouchable” virus, while being rendered into the shared virtual arena, where our discursive bodies are situated within, embedded in and tele-commuted to. Our increasing dependence on online interaction and video conferencing during the pandemic is not only facilitating social connectedness, but also contemplating the question: How to elongate our somatosensation and echo the embodied experience of touching through the incorporeal virtual connectivity? This essay focuses on the embodied nature of tele-synaesthesia performance, its potential effect of forging a rhythmic connection from one sensuous modality to another, and the concurrent emergences of glitch and internet latency as non-verbal cues of internet-situated communication. In reference to Laura Mark’s theory of haptic visuality, where vision triggers a tactile experience in the body; Naomi Bennett’s concept of virtual touch, in which an affective sensory response of touch can be elicited through non-tactile senses, Paul Sermon’s artistic production of Telematic Quarantine (2020) and Pandemic Encounter (2020), that telepresents the stories of self (isolation), and in relation to Michel Foucault’s concept Heterotopia in the context of internet-situated performance, I examine the performance work I have been developing during lockdown since March 2020: The Best Facial (2021), supported by Centre for Digital Media Cultures Research and School of Art Postgraduate Research at University of Brighton, a number of sessions of 25-minute 1-to-1 participatory tele-synaesthesia performances that take place on Zoom, where I become a virtual aesthetician and use telepresence to perform meditative virtual facial tactics, and to make tele-contact improvisation upon the surface of the participant’s face to trigger tactile experiences through haptic visuality, virtual touching, and auditory fantasization.
在2019冠状病毒病大流行之后，我们一直在适应这种意外遭遇“不可接触”病毒的逃亡者，同时被呈现在共享的虚拟舞台上，我们的话语身体位于其中，嵌入其中并远程通勤。疫情期间，我们越来越依赖在线互动和视频会议，这不仅促进了社会联系，也在思考一个问题:如何通过无形的虚拟连接延长我们的体感，并呼应触摸的具体化体验?本文主要关注远联觉表现的具体性质，其从一种感官形态到另一种感官形态形成节奏联系的潜在影响，以及网络故障和网络延迟作为网络位置通信的非语言线索的同时出现。参照劳拉·马克的触觉视觉理论，视觉触发身体的触觉体验;娜奥米·贝内特(Naomi Bennett)的虚拟触摸概念，其中触摸的情感感官反应可以通过非触觉感官引起，保罗·博伦(Paul Sermon)的艺术作品《远程信息隔离》(2020)和《大流行遭遇》(2020)，远程呈现自我(孤立)的故事，以及米歇尔·福柯(Michel Foucault)在互联网情境下的异托邦(Heterotopia)概念，我研究了自2020年3月以来封锁期间我一直在开发的行为作品:The Best Facial(2021)，由数字媒体文化研究中心和布莱顿大学艺术研究生研究学院支持，在Zoom上进行25分钟1对1参与式远程联觉表演，在那里我成为一名虚拟美学家，使用远程呈现来执行冥想的虚拟面部策略。并在参与者的面部表面进行远程接触即兴表演，通过触觉视觉、虚拟触摸和听觉幻想来触发触觉体验。
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The Covid-19 pandemic, which manifested itself during the early months of 2020, resulted in the activation of the expected official actors on a national and international level in policy, politics, the industrial military complex, pharma and medicine, among others. Being suddenly confined to a minimum of physical interaction, we found ourselves online among a concerned but enthusiastic group of artists, hackers, activists, scholars and other practitioners who organise themselves in informal settings to share, discuss and devise strategies of coping, care and action. They aim to apply their own artistic, activist or research competence to work through the complexities of continuously shifting information and circumstances. The pandemic is not simply an epidemiological crisis but a crisis of sovereignty. We refer here to the notion of sovereignty raised by Achille Mbembe to exercise control over mortality and to define life as the deployment and manifestation of power. Also the question of liveability comes to mind as introduced by Judith Butler and which the pandemic spread out in a wide spectrum, starting from the bare form of Who gets to live? - when it comes to access to medical support and decisions of care - up to What is a liveable life during a pandemic lockdown? In this way the pandemic makes visible and amplifies what was already there, a systemic plurality of inequalities and oppression enacted by predominant hegemonies. As Divya Dwivedi pointed out, the pandemic reveals a different sense of crisis, that is how the processes that have organised life (and lives) are distributed across the world and how some components of this worldwide arrangement have arrived at their functional limits. Therefore, once again, what has been unveiled are the material conditions of structural and systemic violence. Throughout this issue, questions related to temporality, agency, care and scale are addressed from artistic practice(s) critically reflecting on the entanglement with the virus.
{"title":"First Response","authors":"Laura Benítez Valero, Erich Berger","doi":"10.7238/a.v0i27.378460","DOIUrl":"https://doi.org/10.7238/a.v0i27.378460","url":null,"abstract":"The Covid-19 pandemic, which manifested itself during the early months of 2020, resulted in the activation of the expected official actors on a national and international level in policy, politics, the industrial military complex, pharma and medicine, among others. Being suddenly confined to a minimum of physical interaction, we found ourselves online among a concerned but enthusiastic group of artists, hackers, activists, scholars and other practitioners who organise themselves in informal settings to share, discuss and devise strategies of coping, care and action. They aim to apply their own artistic, activist or research competence to work through the complexities of continuously shifting information and circumstances. The pandemic is not simply an epidemiological crisis but a crisis of sovereignty. We refer here to the notion of sovereignty raised by Achille Mbembe to exercise control over mortality and to define life as the deployment and manifestation of power. Also the question of liveability comes to mind as introduced by Judith Butler and which the pandemic spread out in a wide spectrum, starting from the bare form of Who gets to live? - when it comes to access to medical support and decisions of care - up to What is a liveable life during a pandemic lockdown? In this way the pandemic makes visible and amplifies what was already there, a systemic plurality of inequalities and oppression enacted by predominant hegemonies. As Divya Dwivedi pointed out, the pandemic reveals a different sense of crisis, that is how the processes that have organised life (and lives) are distributed across the world and how some components of this worldwide arrangement have arrived at their functional limits. Therefore, once again, what has been unveiled are the material conditions of structural and systemic violence. Throughout this issue, questions related to temporality, agency, care and scale are addressed from artistic practice(s) critically reflecting on the entanglement with the virus.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45957227","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}
Intelligent environments combine the promise of ubiquitous computing with artificial intelligence and are increasingly being used in public art. The agent-based approach to artificial intelligence (AI) uses the intelligence function to characterize agent-based behavior. The inputs to the intelligence function, perception of the environment and the agent's internal state, combined with the outputs of the function, actuation and changes in internal state, provides a lens with which to categorized AI-based public art. Such works can be classified as generative, reactive, interactive, learning, or static. To illustrate this taxonomy, this paper gives examples of public artworks that fit into each of the five categories and uses the taxonomy to suggest new areas of creative inquiry.
{"title":"Intelligent Environments and Public Art","authors":"Eitan Mendelowitz","doi":"10.7238/A.V0I26.3364","DOIUrl":"https://doi.org/10.7238/A.V0I26.3364","url":null,"abstract":"Intelligent environments combine the promise of ubiquitous computing with artificial intelligence and are increasingly being used in public art. The agent-based approach to artificial intelligence (AI) uses the intelligence function to characterize agent-based behavior. The inputs to the intelligence function, perception of the environment and the agent's internal state, combined with the outputs of the function, actuation and changes in internal state, provides a lens with which to categorized AI-based public art. Such works can be classified as generative, reactive, interactive, learning, or static. To illustrate this taxonomy, this paper gives examples of public artworks that fit into each of the five categories and uses the taxonomy to suggest new areas of creative inquiry.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44881151","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}
En el contexto de una sociedad saturada de imágenes, las redes neuronales convolucionales (convolutional neural networks - CNN), preentrenadas a partir de la información visual contenida en miles y miles de imágenes, constituyen una herramienta de gran utilidad para ayudarnos a ordenar el patrimonio visual, ofreciéndonos así un punto de acceso que de otra manera sería imposible. Una de las responsabilidades del artista contemporáneo es adoptar posiciones que ayuden a dar significado, a proyectar sentido sobre la acumulación visual a la que nos enfrentamos. En este artículo pasamos a describir dos exposiciones de la artista Pilar Rosado: Revolutionary Arkive y Mnemosyne 2.0. En ellas se ha utilizado la red neuronal artificial ResNet-50 para extraer las características visuales de grandes conjuntos de imágenes y los descriptores de imagen obtenidos se han usado como entrada para el algoritmo t-SNE. Así, se han elaborado grandes mapas visuales formados por miles de imágenes ordenadas siguiendo criterios de similitud formal en los que se ponen de manifiesto los patrones visuales de los arquetipos de una determinada categoría semántica. La manera de archivar y recuperar nuestra memoria colectiva debe tener una correlación con los avances tecnológicos y científicos de nuestra época para que se nos vayan descubriendo progresivamente nuevos horizontes de conocimiento. En su práctica artística, Rosado explora, en el ámbito de la cocreación humano-máquina, cuestiones políticas que se pueden abordar desde la imagen y que implican a las tecnologías de aprendizaje automático, como la gestión de la información en los archivos visuales del futuro o la revisión de la memoria visual colectiva.
{"title":"Vistas panorámicas sobre el patrimonio visual colectivo a través de redes neuronales convolucionales Las exposiciones Revolutionary Arkive y Mnemosyne 2.0 de Pilar Rosado","authors":"P. Rodrigo, Ferran Reverter Comes","doi":"10.7238/a.v0i26.3354","DOIUrl":"https://doi.org/10.7238/a.v0i26.3354","url":null,"abstract":"En el contexto de una sociedad saturada de imágenes, las redes neuronales convolucionales (convolutional neural networks - CNN), preentrenadas a partir de la información visual contenida en miles y miles de imágenes, constituyen una herramienta de gran utilidad para ayudarnos a ordenar el patrimonio visual, ofreciéndonos así un punto de acceso que de otra manera sería imposible.\u0000\u0000Una de las responsabilidades del artista contemporáneo es adoptar posiciones que ayuden a dar significado, a proyectar sentido sobre la acumulación visual a la que nos enfrentamos. En este artículo pasamos a describir dos exposiciones de la artista Pilar Rosado: Revolutionary Arkive y Mnemosyne 2.0. En ellas se ha utilizado la red neuronal artificial ResNet-50 para extraer las características visuales de grandes conjuntos de imágenes y los descriptores de imagen obtenidos se han usado como entrada para el algoritmo t-SNE. Así, se han elaborado grandes mapas visuales formados por miles de imágenes ordenadas siguiendo criterios de similitud formal en los que se ponen de manifiesto los patrones visuales de los arquetipos de una determinada categoría semántica.\u0000\u0000La manera de archivar y recuperar nuestra memoria colectiva debe tener una correlación con los avances tecnológicos y científicos de nuestra época para que se nos vayan descubriendo progresivamente nuevos horizontes de conocimiento. En su práctica artística, Rosado explora, en el ámbito de la cocreación humano-máquina, cuestiones políticas que se pueden abordar desde la imagen y que implican a las tecnologías de aprendizaje automático, como la gestión de la información en los archivos visuales del futuro o la revisión de la memoria visual colectiva.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46510892","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}
The nascent field of what has come to be known as “creative AI” consists of a range of activities at the intersections of new media arts, human-computer interaction, and artificial intelligence. This article provides an overview of recent projects that emphasise the use of machine learning algorithms as a means to identify, replicate, and modify features in existing media, to facilitate new multimodal mappings between user inputs and media outputs, to push the boundaries of generative art experiences, and to critically investigate the role of feature detection and pattern identification technologies in contemporary life. Despite the proliferation of such projects, recent advances in applied machine learning have not yet been incorporated into or interrogated by creative AI projects, and this article also highlights opportunities for computational artists working in this area. The article concludes by envisioning how creative AI practice could include delineating the boundaries of what can and cannot be learned by extracting features from artefacts and experiences, exploring how new forms of interpretation can be encoded into neural networks, and articulating how the interaction of multiple machine learning algorithms can be used to generate new insight into the intertwining sociotechnical systems that encompass our lives.
{"title":"Creative AI: From Expressive Mimicry to Critical Inquiry","authors":"A. Forbes","doi":"10.7238/a.v0i26.3370","DOIUrl":"https://doi.org/10.7238/a.v0i26.3370","url":null,"abstract":"The nascent field of what has come to be known as “creative AI” consists of a range of activities at the intersections of new media arts, human-computer interaction, and artificial intelligence. This article provides an overview of recent projects that emphasise the use of machine learning algorithms as a means to identify, replicate, and modify features in existing media, to facilitate new multimodal mappings between user inputs and media outputs, to push the boundaries of generative art experiences, and to critically investigate the role of feature detection and pattern identification technologies in contemporary life. Despite the proliferation of such projects, recent advances in applied machine learning have not yet been incorporated into or interrogated by creative AI projects, and this article also highlights opportunities for computational artists working in this area. The article concludes by envisioning how creative AI practice could include delineating the boundaries of what can and cannot be learned by extracting features from artefacts and experiences, exploring how new forms of interpretation can be encoded into neural networks, and articulating how the interaction of multiple machine learning algorithms can be used to generate new insight into the intertwining sociotechnical systems that encompass our lives.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43622981","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}
La aparición de las prácticas artísticas asociadas a los medios tecnológicos digitales, y más aún a partir de la implantación de internet, en la última década del siglo pasado, ha motivado el surgimiento de una abundante serie de textos teóricos con la pretensión de definir dichas actuaciones y, a la vez, justificar su existencia. Textos que no hacen sino reactualizar la abundante literatura artística –los manifiestos– que se dio durante el primer tercio de siglo xx con las vanguardias históricas. Asimismo, algunos de los manifiestos más recientes reenfocan los conceptos ya esbozados en aquella época, en torno al papel y la misión del artista, su capacidad de influencia para el cambio (activismo), el público receptor y las propias manifestaciones (características de la obra de arte, más allá de las cuestiones formales, y su difusión en un sentido masivo), en un contexto mucho más complejo y rico, asociado con un cambio de paradigma sociocultural, como fue el surgimiento de la denominada sociedad de masas. Nuestro trabajo se ha centrado en la consideración de los aspectos más substanciales arriba citados, algunos de ellos coincidentes, de varios de los más significativos textos, partiendo de La conciencia de un hacker (1986), a cargo de Loyd Blakenship, y terminando con la Redefinición de las prácticas artísticas (2000-2001), por parte de la Société Anonyme.
{"title":"Manifiestos para un arte comprometido en la época digital","authors":"F. Lázaro, Jacobo Henar","doi":"10.7238/a.v0i25.3328","DOIUrl":"https://doi.org/10.7238/a.v0i25.3328","url":null,"abstract":"La aparición de las prácticas artísticas asociadas a los medios tecnológicos digitales, y más aún a partir de la implantación de internet, en la última década del siglo pasado, ha motivado el surgimiento de una abundante serie de textos teóricos con la pretensión de definir dichas actuaciones y, a la vez, justificar su existencia. Textos que no hacen sino reactualizar la abundante literatura artística –los manifiestos– que se dio durante el primer tercio de siglo xx con las vanguardias históricas. Asimismo, algunos de los manifiestos más recientes reenfocan los conceptos ya esbozados en aquella época, en torno al papel y la misión del artista, su capacidad de influencia para el cambio (activismo), el público receptor y las propias manifestaciones (características de la obra de arte, más allá de las cuestiones formales, y su difusión en un sentido masivo), en un contexto mucho más complejo y rico, asociado con un cambio de paradigma sociocultural, como fue el surgimiento de la denominada sociedad de masas. Nuestro trabajo se ha centrado en la consideración de los aspectos más substanciales arriba citados, algunos de ellos coincidentes, de varios de los más significativos textos, partiendo de La conciencia de un hacker (1986), a cargo de Loyd Blakenship, y terminando con la Redefinición de las prácticas artísticas (2000-2001), por parte de la Société Anonyme.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46188187","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}
Often our attempts to connect to the spatial and temporal scales of fundamental physics - from the subatomic to the multiverse - provoke a form of perceptual vertigo, especially for non-scientists. When we approach ideas of paralysing abstraction through the perceptual range of our sensing bodies, a ‘phenomenological dissonance’ can be said to be invoked, between material presence and radical remoteness. This relational dynamic, between materiality and remoteness, formed the conceptual springboard for 'Material Sight' (2016-2018), a research project based at three world-leading facilities for fundamental physics, that brought to fruition a body of photographic objects, film works and immersive soundscape that re-presented the spaces of fundamental physics as sites of material encounter. The research was premised on a paradoxical desire to create a sensorium for fundamental physics, asking if photography, film and sound can embody the spaces of experimental science and present them back to scientists and non-scientists alike, not as illustrations of the technical sublime but as sites of phenomenological encounter. This article plots the key conceptual coordinates of 'Material Sight' and looks at how the project’s methodological design – essentially the production of knowledge through the 'act of looking' – emphatically resisted the gravitational pull of art to be instrumentalised as an illustrative device within scientific contexts.
{"title":"Material Sight: A Sensorium for Fundamental Physics","authors":"F. Crisp","doi":"10.7238/a.v0i25.3319","DOIUrl":"https://doi.org/10.7238/a.v0i25.3319","url":null,"abstract":"Often our attempts to connect to the spatial and temporal scales of fundamental physics - from the subatomic to the multiverse - provoke a form of perceptual vertigo, especially for non-scientists. When we approach ideas of paralysing abstraction through the perceptual range of our sensing bodies, a ‘phenomenological dissonance’ can be said to be invoked, between material presence and radical remoteness. This relational dynamic, between materiality and remoteness, formed the conceptual springboard for 'Material Sight' (2016-2018), a research project based at three world-leading facilities for fundamental physics, that brought to fruition a body of photographic objects, film works and immersive soundscape that re-presented the spaces of fundamental physics as sites of material encounter. The research was premised on a paradoxical desire to create a sensorium for fundamental physics, asking if photography, film and sound can embody the spaces of experimental science and present them back to scientists and non-scientists alike, not as illustrations of the technical sublime but as sites of phenomenological encounter. This article plots the key conceptual coordinates of 'Material Sight' and looks at how the project’s methodological design – essentially the production of knowledge through the 'act of looking' – emphatically resisted the gravitational pull of art to be instrumentalised as an illustrative device within scientific contexts.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46937411","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}
The first ever direct image of a black hole, released in April 2019, was a paradigm shift not just in scientific imaging, but also in the cultural appreciation of the unknown. Its realisation demanded a global technological collaboration on hitherto unseen scales and also the application of new and rigorous forms of objectivity. This text discusses how complex and esoteric planet-wide scientific apparatus and observations at the cutting edge of fundamental science demand a heightened awareness of objectivity and the implementation of transdisciplinarity.
{"title":"Black Holes and Objectivity","authors":"Mónica Bello Bugallo, Andrew Gracie","doi":"10.7238/a.v0i25.3332","DOIUrl":"https://doi.org/10.7238/a.v0i25.3332","url":null,"abstract":"The first ever direct image of a black hole, released in April 2019, was a paradigm shift not just in scientific imaging, but also in the cultural appreciation of the unknown. Its realisation demanded a global technological collaboration on hitherto unseen scales and also the application of new and rigorous forms of objectivity. This text discusses how complex and esoteric planet-wide scientific apparatus and observations at the cutting edge of fundamental science demand a heightened awareness of objectivity and the implementation of transdisciplinarity.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46330572","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}
Este artículo es un ensayo crítico sobre la imagen-dato, que pretende desvelar las características que la elevan, de entre todos los modos de representación, a su actual estatus de prueba. A partir de dos estudios de caso, donde son usadas imágenes de videovigilancia, reflexionamos sobre la inflación que sufre la imagen-dato en su circulación, desde su papel original como dispositivo propio del ámbito de la seguridad hasta su actual papel como recurso al servicio del entretenimiento de masas. Para explicar las mutaciones que sufre esta categoría de representación (imagen-dato), y su conversión en una prueba en los ámbitos jurídicos y sociales, nos hemos apoyado en la genealogía de la imagen disciplinaria trazada por Tagg, en el concepto de estética forense de Weizman y de imagen-spam de Steyerl. Hemos hallado en el análisis de los casos estudiados determinadas características propias de la imagen-vigilancia que contribuyen a segregarlas cualitativamente del resto de imágenes contemporáneas. Su aspecto difuso, su relación contingente con el suceso que captan, la aparente ausencia de subjetividad que presentan, la constituyen como una categoría de imagen que mantiene la relación más sólida posible con su referente, siendo prácticamente la misma cosa. La imagen-dato, con su plusvalía semiótica, provoca una confusión absoluta entre representación y realidad. Sin embargo, desde nuestro punto de vista, las imágenes no prueban nada. Son simplemente un dispositivo de predicción del pasado, que sirve fundamentalmente como superficie especular de proyección del deseo de ver lo que se quiere ver. Como especialistas en la producción de imágenes, tenemos la obligación de poner en crisis estas lógicas de la representación e intentar al menos desvelar los dispositivos de producción de verdad en el régimen escópico de la posverdad.
{"title":"¿Qué prueba una imagen?","authors":"Raúl León-Mendoza","doi":"10.7238/A.V0I24.3297","DOIUrl":"https://doi.org/10.7238/A.V0I24.3297","url":null,"abstract":"Este artículo es un ensayo crítico sobre la imagen-dato, que pretende desvelar las características que la elevan, de entre todos los modos de representación, a su actual estatus de prueba. A partir de dos estudios de caso, donde son usadas imágenes de videovigilancia, reflexionamos sobre la inflación que sufre la imagen-dato en su circulación, desde su papel original como dispositivo propio del ámbito de la seguridad hasta su actual papel como recurso al servicio del entretenimiento de masas. Para explicar las mutaciones que sufre esta categoría de representación (imagen-dato), y su conversión en una prueba en los ámbitos jurídicos y sociales, nos hemos apoyado en la genealogía de la imagen disciplinaria trazada por Tagg, en el concepto de estética forense de Weizman y de imagen-spam de Steyerl.\u0000Hemos hallado en el análisis de los casos estudiados determinadas características propias de la imagen-vigilancia que contribuyen a segregarlas cualitativamente del resto de imágenes contemporáneas. Su aspecto difuso, su relación contingente con el suceso que captan, la aparente ausencia de subjetividad que presentan, la constituyen como una categoría de imagen que mantiene la relación más sólida posible con su referente, siendo prácticamente la misma cosa. La imagen-dato, con su plusvalía semiótica, provoca una confusión absoluta entre representación y realidad. Sin embargo, desde nuestro punto de vista, las imágenes no prueban nada. Son simplemente un dispositivo de predicción del pasado, que sirve fundamentalmente como superficie especular de proyección del deseo de ver lo que se quiere ver.\u0000Como especialistas en la producción de imágenes, tenemos la obligación de poner en crisis estas lógicas de la representación e intentar al menos desvelar los dispositivos de producción de verdad en el régimen escópico de la posverdad.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48717379","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}
Cada vez más detalles de nuestra vida son registrados y almacenados para formar parte de lo que ha venido a llamarse big data. Nuestra vida, en todos sus aspectos, deja un rastro digital que se actualiza continuamente en función de actividades, tanto de la vida física como de la vida digital, que alimentan bases de datos en las que se refleja tanto el último libro que hemos comprado como las visitas médicas que hemos realizado. Muchos de esos datos son abiertos y accesibles, otros son propiedad de empresas privadas que comercializan con ellos. En esta publicación inicialmente introducimos y justificamos la conveniencia de utilizar el termino dataceno, entendido como una metáfora para comprender la sociedad actual como una sociedad mediada por los datos digitales. Posteriormente, realizamos una clasificación de las practicas artísticas contemporáneas con distintas aproximaciones al uso y análisis de datos complejos: desde la creación de atractivas visualizaciones bajo el propósito de acceder a la información escondida en los grandes volúmenes de datos, hasta aproximaciones más conceptuales que nos acercan a un planteamiento crítico sobre el volumen, recolección, uso y comercialización de los mismos. En la última parte de esta publicación, nos centramos en analizar las creaciones artísticas basadas en rastros digitales y en el concepto de biografía narrativa en la era del dataceno. Por último, analizamos nuestra obra Data Biography, una propuesta de diseño especulativo que cuestiona la escritura biográfica, utilizando los datos recogidos de nuestro rastro digital en redes sociales, WhatsApp, correos electrónicos, sitios web visitados, búsquedas en Google, imágenes, ubicación de gps, etc.
{"title":"Prácticas artísticas en la época del dataceno. Data Biography: rastros digitales para la exploración biográfica de la identidad personal","authors":"D. Díaz, C. Boj","doi":"10.7238/A.V0I24.3293","DOIUrl":"https://doi.org/10.7238/A.V0I24.3293","url":null,"abstract":"Cada vez más detalles de nuestra vida son registrados y almacenados para formar parte de lo que ha venido a llamarse big data. Nuestra vida, en todos sus aspectos, deja un rastro digital que se actualiza continuamente en función de actividades, tanto de la vida física como de la vida digital, que alimentan bases de datos en las que se refleja tanto el último libro que hemos comprado como las visitas médicas que hemos realizado. Muchos de esos datos son abiertos y accesibles, otros son propiedad de empresas privadas que comercializan con ellos.\u0000\u0000En esta publicación inicialmente introducimos y justificamos la conveniencia de utilizar el termino dataceno, entendido como una metáfora para comprender la sociedad actual como una sociedad mediada por los datos digitales. Posteriormente, realizamos una clasificación de las practicas artísticas contemporáneas con distintas aproximaciones al uso y análisis de datos complejos: desde la creación de atractivas visualizaciones bajo el propósito de acceder a la información escondida en los grandes volúmenes de datos, hasta aproximaciones más conceptuales que nos acercan a un planteamiento crítico sobre el volumen, recolección, uso y comercialización de los mismos.\u0000\u0000En la última parte de esta publicación, nos centramos en analizar las creaciones artísticas basadas en rastros digitales y en el concepto de biografía narrativa en la era del dataceno. Por último, analizamos nuestra obra Data Biography, una propuesta de diseño especulativo que cuestiona la escritura biográfica, utilizando los datos recogidos de nuestro rastro digital en redes sociales, WhatsApp, correos electrónicos, sitios web visitados, búsquedas en Google, imágenes, ubicación de gps, etc.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44704378","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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