Pub Date : 2024-01-15DOI: 10.7238/artnodes.v0i33.418372
Elke Reinhuber
Privacy feels like a distant memory since it is virtually non-existent nowadays. Cameras are all around, though we are not only visually monitored from any possible angle, but also with every movement and every trackable parameter. Faced with the feeling of being transparent and constantly recorded by various systems, the idea of becoming invisible is explored: finding inspiration from the ways that artists have tackled the issue of surveillance in their work – being exposed and evading it. Discussing artistic approaches as a means of raising awareness and exploring strategies to outsmart the algorithms can offer us alternative ways of existing outside the world of electricity and its manifold constraints. As the issue has been around for some time, the introduced artistic positions span the past 50 years and allude to the fast-evolving technologies in artistic research projects but also performances and artworks, which appear aesthetically pleasing at first glimpse but are insinuating a much more severe topic. Artworks inside the museum or gallery space might be much more refined, although intervention in the public space may reach a wider and more diverse audience. Raising the question of the evaluation, interpretation and exploitation of the material, the current discourse around artificial intelligence comes to mind and specifically the implications of machine learning and image generation in regard to the authenticity of the image in general, precipitating a broader conversation on surveillance and its antidotes.
{"title":"Outsmarting the algorithm or leaving the grid through surveillance artivism","authors":"Elke Reinhuber","doi":"10.7238/artnodes.v0i33.418372","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.418372","url":null,"abstract":"Privacy feels like a distant memory since it is virtually non-existent nowadays. Cameras are all around, though we are not only visually monitored from any possible angle, but also with every movement and every trackable parameter. Faced with the feeling of being transparent and constantly recorded by various systems, the idea of becoming invisible is explored: finding inspiration from the ways that artists have tackled the issue of surveillance in their work – being exposed and evading it. Discussing artistic approaches as a means of raising awareness and exploring strategies to outsmart the algorithms can offer us alternative ways of existing outside the world of electricity and its manifold constraints. As the issue has been around for some time, the introduced artistic positions span the past 50 years and allude to the fast-evolving technologies in artistic research projects but also performances and artworks, which appear aesthetically pleasing at first glimpse but are insinuating a much more severe topic. Artworks inside the museum or gallery space might be much more refined, although intervention in the public space may reach a wider and more diverse audience. Raising the question of the evaluation, interpretation and exploitation of the material, the current discourse around artificial intelligence comes to mind and specifically the implications of machine learning and image generation in regard to the authenticity of the image in general, precipitating a broader conversation on surveillance and its antidotes.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140507516","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 : 2024-01-15DOI: 10.7238/artnodes.v0i33.416449
L. D. Rivero Moreno
In the last decades, the digital image has moved between the thin line that separates its exponential multiplication and its continuous danger of invisibility and loss. Despite the fact of being constantly used on the internet or social network interactions, the difficulties in filtering, gathering, authenticating and preserving new media images have led them to be a type of art barely collected by contemporary art museums. Even more, the huge amount of material produced not only by artists or creatives but also by citizens makes it impossible for cultural institutions to tackle the task of preserving a significant percentage of it. Museums seem to be unable to distinguish what might be considered art or heritage among the massive amount of images that fed popular culture. Nevertheless, the irruption of blockchain culture has focused on the importance of digital images as an identity, social and economic asset. NFTs seem to attempt to remedy the weaknesses of the digital image by associating it with a verifiable and supposedly incorruptible contract. This study tries to analyse the precariousness of the digital image as a key element in the emergence and sudden rise and fall of the so-called “crypto-art”. To this end, the idea of the “poor image” outlined by Steyerl is followed. The aim is to clarify whether the digital images associated with blockchain transactions solve the problematic obsolescent and unstable condition of the works, or if, on the contrary, these are used as fuel for a new ultra-liberal financial machine being quickly consumed and discarded.
{"title":"Blockchain culture and digital image precariousness. Questioning NFTs as an art preservation strategy","authors":"L. D. Rivero Moreno","doi":"10.7238/artnodes.v0i33.416449","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.416449","url":null,"abstract":"In the last decades, the digital image has moved between the thin line that separates its exponential multiplication and its continuous danger of invisibility and loss. Despite the fact of being constantly used on the internet or social network interactions, the difficulties in filtering, gathering, authenticating and preserving new media images have led them to be a type of art barely collected by contemporary art museums. Even more, the huge amount of material produced not only by artists or creatives but also by citizens makes it impossible for cultural institutions to tackle the task of preserving a significant percentage of it. Museums seem to be unable to distinguish what might be considered art or heritage among the massive amount of images that fed popular culture. Nevertheless, the irruption of blockchain culture has focused on the importance of digital images as an identity, social and economic asset. NFTs seem to attempt to remedy the weaknesses of the digital image by associating it with a verifiable and supposedly incorruptible contract. This study tries to analyse the precariousness of the digital image as a key element in the emergence and sudden rise and fall of the so-called “crypto-art”. To this end, the idea of the “poor image” outlined by Steyerl is followed. The aim is to clarify whether the digital images associated with blockchain transactions solve the problematic obsolescent and unstable condition of the works, or if, on the contrary, these are used as fuel for a new ultra-liberal financial machine being quickly consumed and discarded.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140507194","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 : 2024-01-15DOI: 10.7238/artnodes.v0i33.417632
Ana Urroz-Osés, Laura Baigorri Ballarín
Esta investigación es una aproximación al uso político de las TIC por parte de artistas y activistas, más concretamente, al uso táctico de la red en el arte de finales del siglo XX, en el período de la inminente aparición de internet en el contexto comunicacional. Su objetivo es analizar y trazar la evolución transdisciplinar de la historia del arte digital, vinculada tanto a los avances de la tecnología de la comunicación como a una dimensión crítica y política orientada a potenciar la reflexión y el cambio social. Los artivistas fueron pioneros en el uso social y político de los mass media y sus tácticas subversivas. Se fundamentaron en el establecimiento de redes de colaboración y compartición de información, teórica y práctica, y en la experimentación de imaginativas posibilidades de ataque y defensa desde la propia red. Entre ellas, destacan la adecuación en línea de las tácticas de resistencia civil (desobediencia civil electrónica), y la práctica de diversas tácticas de la guerrilla de la comunicación –el fake, la afirmación subversiva y el camuflaje– basadas en los principios de distanciamiento y sobreidentificación. Este estudio incide en la singularidad, relevancia e impacto de iniciativas artivistas pioneras que aportaron cambios significativos y demostraron la capacidad transformadora de las prácticas sociales que utilizan internet. Esas iniciativas fueron efectivas en la medida en que generaron colectivos y comunidades que trabajaron de forma solidaria, facilitaron y difundieron la información, impulsaron el conocimiento, fomentaron consciencia, compromiso y una perspectiva crítica, e idearon originales y creativas formas de contrarrestar el abuso del poder.
{"title":"Artivismo y primeros usos tácticos de la red: de la infoguerra a la guerrilla de la comunicación","authors":"Ana Urroz-Osés, Laura Baigorri Ballarín","doi":"10.7238/artnodes.v0i33.417632","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.417632","url":null,"abstract":"Esta investigación es una aproximación al uso político de las TIC por parte de artistas y activistas, más concretamente, al uso táctico de la red en el arte de finales del siglo XX, en el período de la inminente aparición de internet en el contexto comunicacional. Su objetivo es analizar y trazar la evolución transdisciplinar de la historia del arte digital, vinculada tanto a los avances de la tecnología de la comunicación como a una dimensión crítica y política orientada a potenciar la reflexión y el cambio social. Los artivistas fueron pioneros en el uso social y político de los mass media y sus tácticas subversivas. Se fundamentaron en el establecimiento de redes de colaboración y compartición de información, teórica y práctica, y en la experimentación de imaginativas posibilidades de ataque y defensa desde la propia red. Entre ellas, destacan la adecuación en línea de las tácticas de resistencia civil (desobediencia civil electrónica), y la práctica de diversas tácticas de la guerrilla de la comunicación –el fake, la afirmación subversiva y el camuflaje– basadas en los principios de distanciamiento y sobreidentificación. Este estudio incide en la singularidad, relevancia e impacto de iniciativas artivistas pioneras que aportaron cambios significativos y demostraron la capacidad transformadora de las prácticas sociales que utilizan internet. Esas iniciativas fueron efectivas en la medida en que generaron colectivos y comunidades que trabajaron de forma solidaria, facilitaron y difundieron la información, impulsaron el conocimiento, fomentaron consciencia, compromiso y una perspectiva crítica, e idearon originales y creativas formas de contrarrestar el abuso del poder.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140507106","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 : 2024-01-15DOI: 10.7238/artnodes.v0i33.417846
Jordan Fraser Emery, Alba Marín
La utilización de metodologías visuales plantea la necesidad de una reflexión constante sobre el lugar, el rol del investigador y su mirada. El objetivo de la investigación es la comprensión de las obras artivistas de las artistas brasileñas Branca Gonzaga y Guma Joana a partir del diálogo sobre su artivismo político. Para ello, se realiza un estudio etnográfico visual vinculado al concepto de patchwork ethnography. La obra Artivismo em São Paulo: Guma Joana e Branca Gonzaga (2023) es el resultado visual del trabajo de Jordan Fraser Emery derivado de la aplicación metodológica a partir del cual abordamos, de forma reflexiva, la utilización del vídeo inmersivo en 360º como herramienta de investigación. El corto documental no solo muestra el diálogo entablado con las artistas en su propia creación, sino también la participación corporal del autor como una subjetividad que es objeto de ser compartida. La mediación propia de los métodos visuales queda así expuesta como una subjetividad tecnológica que se relaciona con las subjetividades de los sujetos de investigación. Finalmente, el resultado audiovisual perpetúa las formas de activismo de las artistas implicadas en diferentes territorios.
视觉方法的使用提出了对研究地点、研究者的角色及其目光进行持续反思的必要性。本研究的目的是通过对巴西艺术家布兰卡-贡萨加和古玛-若阿娜的政治艺术主义进行对话，了解他们的艺术主义作品。为此，我们开展了一项与拼凑民族志概念相关的视觉民族志研究。作品《Artivismo em São Paulo: Guma Joana e Branca Gonzaga》（2023 年）是乔丹-弗雷泽-埃默里（Jordan Fraser Emery）在方法论应用方面的视觉成果。这部纪录短片不仅展示了与艺术家们在创作中的对话，还展示了作者作为被分享对象的主体性的身体参与。因此，视觉方法的中介性被揭示为一种与研究对象的主体性相关的技术主体性。最后，视听成果延续了参与艺术家在不同地区的活动形式。
{"title":"Cuerpo y mirada del investigador con vídeo inmersivo en 360º: estudio de caso exploratorio sobre el artivismo en São Paulo","authors":"Jordan Fraser Emery, Alba Marín","doi":"10.7238/artnodes.v0i33.417846","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.417846","url":null,"abstract":"La utilización de metodologías visuales plantea la necesidad de una reflexión constante sobre el lugar, el rol del investigador y su mirada. El objetivo de la investigación es la comprensión de las obras artivistas de las artistas brasileñas Branca Gonzaga y Guma Joana a partir del diálogo sobre su artivismo político. Para ello, se realiza un estudio etnográfico visual vinculado al concepto de patchwork ethnography. La obra Artivismo em São Paulo: Guma Joana e Branca Gonzaga (2023) es el resultado visual del trabajo de Jordan Fraser Emery derivado de la aplicación metodológica a partir del cual abordamos, de forma reflexiva, la utilización del vídeo inmersivo en 360º como herramienta de investigación. El corto documental no solo muestra el diálogo entablado con las artistas en su propia creación, sino también la participación corporal del autor como una subjetividad que es objeto de ser compartida. La mediación propia de los métodos visuales queda así expuesta como una subjetividad tecnológica que se relaciona con las subjetividades de los sujetos de investigación. Finalmente, el resultado audiovisual perpetúa las formas de activismo de las artistas implicadas en diferentes territorios.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140507889","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 : 2024-01-15DOI: 10.7238/artnodes.v0i33.418893
Renzo Filinich, D. Céspedes
El presente artículo propone una perspectiva relacional de la tecnoestética (Simondon-Stiegler) y una perspectiva ontoepistemológica (Barad-Bergson) de los objetos técnicos, con el fin de concebirlos como procesos de relaciones dinámicas, relaciones abiertas y enredadas entre la cultura natural-social-psíquica. Estas perspectivas se unen para nosotros, como alternativa a la cibernética, en la que la organización está determinada por el propósito del proceso. Partiendo de una lectura difractiva de la noción de individuación y organología en Simondon-Stiegler (1958/2017) y de una ontoepistemológica de «a medio camino» en el pensamiento de Barad-Bergson (1907/2007), se propone una visión procesal e híbrida de los objetos técnicos, con el fin de proporcionar bases filosóficas que vayan más allá de las dicotomías modernas cultura/naturaleza, humanos/no humanos y natural/artificial. Usando estas ideas para reflexionar sobre las obras de arte interactivas contemporáneas, el artículo aborda una noción de creatividad como un ensamblaje donde el ser humano y el no humano se producen en la constitución mutua, considerando la relación entre las artes, las máquinas y la naturaleza y sus procesos de ontogénesis (Simondon, 2015) y epifilogénesis en este proceso (Stiegler, 2002).
{"title":"Proceso de individuación en ecologías híbridas: sobre la relación entre arte, máquinas y sistemas naturales","authors":"Renzo Filinich, D. Céspedes","doi":"10.7238/artnodes.v0i33.418893","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.418893","url":null,"abstract":"El presente artículo propone una perspectiva relacional de la tecnoestética (Simondon-Stiegler) y una perspectiva ontoepistemológica (Barad-Bergson) de los objetos técnicos, con el fin de concebirlos como procesos de relaciones dinámicas, relaciones abiertas y enredadas entre la cultura natural-social-psíquica. Estas perspectivas se unen para nosotros, como alternativa a la cibernética, en la que la organización está determinada por el propósito del proceso. Partiendo de una lectura difractiva de la noción de individuación y organología en Simondon-Stiegler (1958/2017) y de una ontoepistemológica de «a medio camino» en el pensamiento de Barad-Bergson (1907/2007), se propone una visión procesal e híbrida de los objetos técnicos, con el fin de proporcionar bases filosóficas que vayan más allá de las dicotomías modernas cultura/naturaleza, humanos/no humanos y natural/artificial. Usando estas ideas para reflexionar sobre las obras de arte interactivas contemporáneas, el artículo aborda una noción de creatividad como un ensamblaje donde el ser humano y el no humano se producen en la constitución mutua, considerando la relación entre las artes, las máquinas y la naturaleza y sus procesos de ontogénesis (Simondon, 2015) y epifilogénesis en este proceso (Stiegler, 2002).","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140508221","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 : 2024-01-15DOI: 10.7238/artnodes.v0i33.417840
Marco Paladini, Carlo Santagiustina, Costanza Sartoris, Giulia Saya, Michele Schiavinato, Gabriella Traviglia
This study aims to explore how vulnerable communities, scientists, and artists can collaborate to construct digital community memories to excavate opinion spaces related to socio-natural events, creating a shared and inclusive ground for mutual understanding and collective action. The proposed approach combines web archeology and digital artivism to construct community memories that can be used for social activation in relation to climate change. The research draws on participatory and community-based research techniques, citizen-science approaches, and digital methods to collect dispersed community-memory fragments and create an expressive space for the diverse perspectives and needs of the affected populations. It emphasises the importance of inclusivity and non-polarizing approaches for reconstructing and interpreting narrative streams that propagate in the physical and virtual world, and for representing, through digital art, extreme events and their societal impact. To illustrate the proposed approach, the AquaGranda project is here presented as a case study of community memory related to an extreme event: the high tides that occurred in Venice in November 2019.
{"title":"The AquaGranda digital community memory activating awareness about climate risk","authors":"Marco Paladini, Carlo Santagiustina, Costanza Sartoris, Giulia Saya, Michele Schiavinato, Gabriella Traviglia","doi":"10.7238/artnodes.v0i33.417840","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.417840","url":null,"abstract":"This study aims to explore how vulnerable communities, scientists, and artists can collaborate to construct digital community memories to excavate opinion spaces related to socio-natural events, creating a shared and inclusive ground for mutual understanding and collective action. The proposed approach combines web archeology and digital artivism to construct community memories that can be used for social activation in relation to climate change. The research draws on participatory and community-based research techniques, citizen-science approaches, and digital methods to collect dispersed community-memory fragments and create an expressive space for the diverse perspectives and needs of the affected populations. It emphasises the importance of inclusivity and non-polarizing approaches for reconstructing and interpreting narrative streams that propagate in the physical and virtual world, and for representing, through digital art, extreme events and their societal impact. To illustrate the proposed approach, the AquaGranda project is here presented as a case study of community memory related to an extreme event: the high tides that occurred in Venice in November 2019.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140507355","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 : 2024-01-15DOI: 10.7238/artnodes.v0i33.420928
Carolina Fernández-Castrillo, Diego Mantoan
The emergence of media artivism over the last decades constitutes a new and relevant field of study for researchers of digital culture and social change, digital art historians and media archaeologists. Since the inception of the new millennium and the spread of electronic culture, media artivism has grown into a field of its own with distinctive organizations, artists, curators and critics devoted to engaged practices that are close to political antagonism and far from the concerns of the elitist art world. Considering the worsening environmental and political crisis around the globe, the spread and conscious use of new technologies becomes essential to update the concept of artivism, intended as a kind of action-taking art devoted to social issues. By establishing an epistemological framework along the lines of media archaeology and digital art history, the research highlights the role of media artivism in the context of recent historical and societal developments, as well as its potentially leading role for behavioral and social change. From pioneering experiences to current practices, the paper explores how a growing number of practitioners are tackling societal concerns through digital strategies and thus drawing attention to several critical topics, such as: gender issues, environmental delinquency, racial discrimination, social injustices, political corruption, abuse of power, invasive technologies and surveillance abuse. In the course of the analysis, a relevant role is given to practices based on hacktivism, public engagement and intercreative procedures that aim at highlighting, disclosing, or spreading the state of affairs which are still uncovered in traditional media and thus expanding the role of investigative art/journalism in the Postdigital Age. The case studies presented show how media artivism emerges as an autonomous field shaped by practitioners acting on the premise of a vocation on the fringe between society and the art world.
{"title":"An archaeology of media artivism: attempting to draft the history of digital culture for social change","authors":"Carolina Fernández-Castrillo, Diego Mantoan","doi":"10.7238/artnodes.v0i33.420928","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.420928","url":null,"abstract":"The emergence of media artivism over the last decades constitutes a new and relevant field of study for researchers of digital culture and social change, digital art historians and media archaeologists. Since the inception of the new millennium and the spread of electronic culture, media artivism has grown into a field of its own with distinctive organizations, artists, curators and critics devoted to engaged practices that are close to political antagonism and far from the concerns of the elitist art world. Considering the worsening environmental and political crisis around the globe, the spread and conscious use of new technologies becomes essential to update the concept of artivism, intended as a kind of action-taking art devoted to social issues. By establishing an epistemological framework along the lines of media archaeology and digital art history, the research highlights the role of media artivism in the context of recent historical and societal developments, as well as its potentially leading role for behavioral and social change. From pioneering experiences to current practices, the paper explores how a growing number of practitioners are tackling societal concerns through digital strategies and thus drawing attention to several critical topics, such as: gender issues, environmental delinquency, racial discrimination, social injustices, political corruption, abuse of power, invasive technologies and surveillance abuse. In the course of the analysis, a relevant role is given to practices based on hacktivism, public engagement and intercreative procedures that aim at highlighting, disclosing, or spreading the state of affairs which are still uncovered in traditional media and thus expanding the role of investigative art/journalism in the Postdigital Age. The case studies presented show how media artivism emerges as an autonomous field shaped by practitioners acting on the premise of a vocation on the fringe between society and the art world.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140507550","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 : 2024-01-15DOI: 10.7238/artnodes.v0i33.417835
J. M. Martín Martínez, Sergio Luna Lozano
El artículo analiza cómo han surgido una serie de estrategias artísticas en torno a la estética de la obsolescencia y al reúso y manipulación de dispositivos electrónicos que dibujan un campo específico que cuestiona el papel de la tecnología en la cultura actual. Utilizando como hilo conductor los textos del artista y activista canadiense Garnet Hertz, se estudia cómo estas estrategias se desarrollan en el contexto de los movimientos colaborativos asociados al activismo do it yourself (DIY) y bricoleur y de las prácticas artísticas que identificamos como circuit bending y hardware hacking, que serán analizadas aquí centrándonos en la obra de los artistas Reed Ghazala, Nicolas Collins, Jon Satrom y Benjamin Gaulon, y en los recursos divulgativos asociados. En este escenario, el artista bricoleur reivindica una cultura tecnológica inscrita en la materialidad de los dispositivos y en las posibilidades especulativas de su manipulación crítica.
{"title":"El circuit bending y el hardware hacking como prácticas artísticas en el contexto de la estética de la obsolescencia y el activismo DIY y bricoleur","authors":"J. M. Martín Martínez, Sergio Luna Lozano","doi":"10.7238/artnodes.v0i33.417835","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.417835","url":null,"abstract":"El artículo analiza cómo han surgido una serie de estrategias artísticas en torno a la estética de la obsolescencia y al reúso y manipulación de dispositivos electrónicos que dibujan un campo específico que cuestiona el papel de la tecnología en la cultura actual. Utilizando como hilo conductor los textos del artista y activista canadiense Garnet Hertz, se estudia cómo estas estrategias se desarrollan en el contexto de los movimientos colaborativos asociados al activismo do it yourself (DIY) y bricoleur y de las prácticas artísticas que identificamos como circuit bending y hardware hacking, que serán analizadas aquí centrándonos en la obra de los artistas Reed Ghazala, Nicolas Collins, Jon Satrom y Benjamin Gaulon, y en los recursos divulgativos asociados. En este escenario, el artista bricoleur reivindica una cultura tecnológica inscrita en la materialidad de los dispositivos y en las posibilidades especulativas de su manipulación crítica.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140508405","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 : 2024-01-15DOI: 10.7238/artnodes.v0i33.418111
Derek Curry, Jennifer Gradecki
This case study presents the artistic research and production process for an interactive installation, Epic Sock Puppet Theater (ESPT), that uses artivist tactics to engage with the divisive socio-political content of online disinformation campaigns. The project allows viewers to interact with a dataset of social media posts made by “sock puppets” or imposter accounts used as part of state-sponsored disinformation campaigns so the viewer can become better equipped to recognize disinformation in their own social media feeds, less susceptible to its negative effects and less likely to unwittingly share it. The project is based on inoculation theory, a biological metaphor for building resistance against future disinformation through careful preemptive exposure to disinformation messages, as well as research that found that the revelation of a sock puppet account helped social media users identify other sock puppets spreading disinformation. In this case study, we summarize our research, user testing, and artistic process as a resource for others who may be interested in combining research, art and activism. Through our research and experimentation, we carefully selected artistic tactics, focusing on techniques from Brechtian epic theater to present emotionally and politically charged content that is designed to polarize viewers in a way that allows for critical reflection. The result is an artistic solution to a socio-technical problem: an animatronic sock puppet theater that simultaneously helps to familiarize and distance the public from online sock puppet disinformation, to creatively mitigate its negative effects.
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Pub Date : 2024-01-15DOI: 10.7238/artnodes.v0i33.417688
Lucy Sabin Rose
This paper responds to Breathe:2022, a multi-sited public artwork across London and the UK by mixed media artist Dryden Goodwin. Read as artivism, I argue that Breathe:20222 demarginalizes existing discourse on air pollution by intervening in public space and framing air pollution as an embodied and intersectional experience. This paper contextualizes Breathe:2022 in relation to a contemporary politics of atmospheric governance following the tragic case of Ella Kissi-Debrah. I hold that Goodwin’s artistic portrayal of breathing shows a processual condition of exposure that resituates knowledge of air in the breathing body. In doing so, the work suggests a possible paradigm shift in narratives of air pollution whereby phenomenological understandings of breathing and breathlessness might enhance, corroborate, put into perspective or hold to account scientific measurements of air quality. To orientate this approach, I put forward the notion of “breathing interfaces” as material and affective zones (buildings, bodies and digital media) where qualities of air become palpable and where bodies and worlds become together. Circling back to Breathe for Ella in the conclusion, I reflect forces of hope and uncertainty regarding the legacy of Goodwin’s artivism and its related campaigns.
{"title":"Breathe for Ella: artivism, intersectionality and sensing air pollution","authors":"Lucy Sabin Rose","doi":"10.7238/artnodes.v0i33.417688","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.417688","url":null,"abstract":"This paper responds to Breathe:2022, a multi-sited public artwork across London and the UK by mixed media artist Dryden Goodwin. Read as artivism, I argue that Breathe:20222 demarginalizes existing discourse on air pollution by intervening in public space and framing air pollution as an embodied and intersectional experience. This paper contextualizes Breathe:2022 in relation to a contemporary politics of atmospheric governance following the tragic case of Ella Kissi-Debrah. I hold that Goodwin’s artistic portrayal of breathing shows a processual condition of exposure that resituates knowledge of air in the breathing body. In doing so, the work suggests a possible paradigm shift in narratives of air pollution whereby phenomenological understandings of breathing and breathlessness might enhance, corroborate, put into perspective or hold to account scientific measurements of air quality. To orientate this approach, I put forward the notion of “breathing interfaces” as material and affective zones (buildings, bodies and digital media) where qualities of air become palpable and where bodies and worlds become together. Circling back to Breathe for Ella in the conclusion, I reflect forces of hope and uncertainty regarding the legacy of Goodwin’s artivism and its related campaigns.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140507161","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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