Pub Date : 2023-07-07DOI: 10.7238/artnodes.v0i32.411200
Johanna Caplliure
Una vez más nos adentraremos en la construcción de mundos posibles mediante una teoría de ficción política situada en los márgenes de lo que hoy día llamamos Gaia o Chthuluceno. La ficcionalización de la teoría nos ha servido para configurar una teoría de mundos posibles que, más allá de especular sobre su potencialidad, se erige como un reservorio de posibles vivos, presentes y compartidos. Estos mundos posibles se esbozan a través de los relatos de anticipación (Despret) o las SF (Speculative Fictions), narraciones especulativas (Haraway) de forma cosmopolítica (Stengers). Es decir, mediante la especulación sobre cómo se conforma el conjunto de una «comunidad ecológica multiespecie», atendiendo a los diferentes puntos de vista de sus actantes y a los efectos de sus posibles interacciones. Este ejercicio de imaginación tomará como base la teoría, pero también ciertos casos de estudio vinculados a la producción de las artes visuales actuales. Así, esta «comunidad ecológica multiespecie» nos permite preguntarnos por sus posibles, sus relaciones o su configuración, así como sobre los mundos que son capaces de construir. Estos posibles traman historias de futurición donde los marcos temporales y espaciales diversos: el pasado, el presente y el futuro, el aquí y ahora, el entonces y allí se proyectan en la teoría de mundos posibles.
{"title":"Relatos de anticipación que auguran mundos posibles","authors":"Johanna Caplliure","doi":"10.7238/artnodes.v0i32.411200","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.411200","url":null,"abstract":"Una vez más nos adentraremos en la construcción de mundos posibles mediante una teoría de ficción política situada en los márgenes de lo que hoy día llamamos Gaia o Chthuluceno. La ficcionalización de la teoría nos ha servido para configurar una teoría de mundos posibles que, más allá de especular sobre su potencialidad, se erige como un reservorio de posibles vivos, presentes y compartidos. Estos mundos posibles se esbozan a través de los relatos de anticipación (Despret) o las SF (Speculative Fictions), narraciones especulativas (Haraway) de forma cosmopolítica (Stengers). Es decir, mediante la especulación sobre cómo se conforma el conjunto de una «comunidad ecológica multiespecie», atendiendo a los diferentes puntos de vista de sus actantes y a los efectos de sus posibles interacciones. Este ejercicio de imaginación tomará como base la teoría, pero también ciertos casos de estudio vinculados a la producción de las artes visuales actuales. Así, esta «comunidad ecológica multiespecie» nos permite preguntarnos por sus posibles, sus relaciones o su configuración, así como sobre los mundos que son capaces de construir. Estos posibles traman historias de futurición donde los marcos temporales y espaciales diversos: el pasado, el presente y el futuro, el aquí y ahora, el entonces y allí se proyectan en la teoría de mundos posibles.","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":"42992047","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.v0i32.411199
Sandra Cuevas, Reynaldo Thompson, T. Mukhopadhyay
Throughout this text we will analyze some human concerns that are the subject of analysis in different fields of knowledge such as philosophy, art, science and technology. These concerns revolve around what is reality? what is fiction? what are the effects of hallucination? and what is virtuality? through different cultural products such as art, literature, cinema, psychoactive or entheogenic experiences, up to the most recent proposals of Virtual Reality and their forms of interaction. We will try to envision and propose new ways of perceiving reality, seeking a balance between the real and the virtual world. We will take a tour from the way we process reality and create fictions around it, to the illusionism that has constituted an important part of our search for consciousness, mediating between rationality and experimentation in the construction of new realities to finally make a proposal on Virtual Reality based on the therapeutic use of hallucinogens.
{"title":"Aesthetics of Hallucination: Ontology of Visual Kaleidoscopes From the Age of Myth to Virtual Reality","authors":"Sandra Cuevas, Reynaldo Thompson, T. Mukhopadhyay","doi":"10.7238/artnodes.v0i32.411199","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.411199","url":null,"abstract":"Throughout this text we will analyze some human concerns that are the subject of analysis in different fields of knowledge such as philosophy, art, science and technology. These concerns revolve around what is reality? what is fiction? what are the effects of hallucination? and what is virtuality? through different cultural products such as art, literature, cinema, psychoactive or entheogenic experiences, up to the most recent proposals of Virtual Reality and their forms of interaction. We will try to envision and propose new ways of perceiving reality, seeking a balance between the real and the virtual world. We will take a tour from the way we process reality and create fictions around it, to the illusionism that has constituted an important part of our search for consciousness, mediating between rationality and experimentation in the construction of new realities to finally make a proposal on Virtual Reality based on the therapeutic use of hallucinogens.","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":"42789475","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.v0i32.407435
D. Doyle, Richard Glover, Martin Khechara, Sebastian Groes
In 2019 a team of multi-disciplinary researchers undertook a research project entitled Identifying Successful STARTS Methodologies (ISSM) (2019-2021) in order to analyze the innovative and collaborative strategies utilized by the global Science, Technology and Arts (STARTS) Prize Winners and nominees. The aim was to identify and articulate successful STARTS Methodologies through a series of interviews and in-depth case studies of the recognized projects. The project culminated in a series of case studies and an exhibition at the Made in Wolves Gallery at the University of Wolverhampton, UK, and further presented at the UK Garden of Earthly Delights at Ars Electronica in 2020. The project identified three emerging themes: the significance of building a new language of art and science through a third space, the process of anti-disciplinarity as an emergent form of practice, and the importance of different ways of knowing through art and science. A number of the case studies and themes are presented here alongside images from the exhibition.
{"title":"Emerging themes in the Identifying Successful STARTS Methodologies project and exhibition","authors":"D. Doyle, Richard Glover, Martin Khechara, Sebastian Groes","doi":"10.7238/artnodes.v0i32.407435","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.407435","url":null,"abstract":"In 2019 a team of multi-disciplinary researchers undertook a research project entitled Identifying Successful STARTS Methodologies (ISSM) (2019-2021) in order to analyze the innovative and collaborative strategies utilized by the global Science, Technology and Arts (STARTS) Prize Winners and nominees. The aim was to identify and articulate successful STARTS Methodologies through a series of interviews and in-depth case studies of the recognized projects. The project culminated in a series of case studies and an exhibition at the Made in Wolves Gallery at the University of Wolverhampton, UK, and further presented at the UK Garden of Earthly Delights at Ars Electronica in 2020. The project identified three emerging themes: the significance of building a new language of art and science through a third space, the process of anti-disciplinarity as an emergent form of practice, and the importance of different ways of knowing through art and science. A number of the case studies and themes are presented here alongside images from the exhibition.","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":"49364249","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.v0i32.409943
A. Horta
El presente artículo propone un análisis de I am sitting in a room (1970), la obra más conocida del compositor Alvin Lucier (1931-2021), desde la perspectiva que ofrecen algunas de las nuevas corrientes del pensamiento materialista, la teoría del afecto y el realismo agencial. En primer lugar, se expondrá la singularidad del trabajo del compositor, destacando la importancia de su dimensión material-afectiva y examinando el sentido de la máxima de Lucier «no ideas but in things». Se revisarán los conceptos de ensamblaje (Jane Bennett) e intra-acción (Karen Barad), que se pondrán en relación con algunas aportaciones realizadas desde el terreno de los estudios sobre el sonido y la voz a la discusión en torno a la vibración. Después de explicar con detalle el funcionamiento de I am sitting in a room, se podrá entender la pieza de Lucier como una forma de «enredo» (entanglement) (Barad) que resulta de la intrarrelación vibratoria entre los afectos de los diversos actantes, humanos y no humanos, que participan en la obra. Finalmente, atendiendo a las capacidades performativas que Karen Barad atribuye a los dispositivos (apparatuses) científicos y su papel en la producción de fenómenos, se concluirá que I am sitting in a room puede entenderse como un dispositivo de carácter pluriagencial y transontológico que afirma la interdependencia entre materialidad y discursividad e invierte la experiencia fenomenológica, para descubrirnos otras formas posibles de sentir, decir y habitar el mundo.
{"title":"«No ideas but in things». I am sitting in a room, de Alvin Lucier, como dispositivo material-afectivo y ensamblaje vibratorio entre agencias humanas y no humanas","authors":"A. Horta","doi":"10.7238/artnodes.v0i32.409943","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.409943","url":null,"abstract":"El presente artículo propone un análisis de I am sitting in a room (1970), la obra más conocida del compositor Alvin Lucier (1931-2021), desde la perspectiva que ofrecen algunas de las nuevas corrientes del pensamiento materialista, la teoría del afecto y el realismo agencial. En primer lugar, se expondrá la singularidad del trabajo del compositor, destacando la importancia de su dimensión material-afectiva y examinando el sentido de la máxima de Lucier «no ideas but in things». Se revisarán los conceptos de ensamblaje (Jane Bennett) e intra-acción (Karen Barad), que se pondrán en relación con algunas aportaciones realizadas desde el terreno de los estudios sobre el sonido y la voz a la discusión en torno a la vibración. Después de explicar con detalle el funcionamiento de I am sitting in a room, se podrá entender la pieza de Lucier como una forma de «enredo» (entanglement) (Barad) que resulta de la intrarrelación vibratoria entre los afectos de los diversos actantes, humanos y no humanos, que participan en la obra. Finalmente, atendiendo a las capacidades performativas que Karen Barad atribuye a los dispositivos (apparatuses) científicos y su papel en la producción de fenómenos, se concluirá que I am sitting in a room puede entenderse como un dispositivo de carácter pluriagencial y transontológico que afirma la interdependencia entre materialidad y discursividad e invierte la experiencia fenomenológica, para descubrirnos otras formas posibles de sentir, decir y habitar el mundo.","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":"48061814","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.v0i32.412422
José Luis Reyes-Criado
Digital Arts Festivals (DAF) are one of the most booming situated formats and performative experiences for debate, dissemination, exhibition and artistic practice around the science-art-technology intersection. From Ars Electronica or Transmediale and CTM in Berlin to the Spanish Sónar, L.E.V. or MIRA, more than 50 Digital Arts Festivals have appeared in Europe in the last few decades. Although the paradigm of the “festivalization of culture” has received a great deal of academic attention, DAFs have been minimally analysed. What are Digital Arts Festivals? How do they differ from other festivals? How can we define, categorize and analyse these festivals in depth in order to understand their role in cultural production and artistic creation today? In order to address these questions, this article presents the first results of an empirical study which began at the end of 2020 and is still ongoing and which concerns the paradigm of Digital Arts Festivals in Europe. Based on qualitative, multi-sited and wide-ranging research, and having generated a list of more than 50 DAFs in Europe and conducted a first round of semi-structured in-depth interviews with 10 festival directors, I introduce a starting definition of Digital Arts Festivals. Based on three case studies from Southern Europe – the Semibreve festival in Braga, the MIRA festival in Barcelona and the ROBOT festival in Bologna – I present a theoretical apparatus and an analytical approach in dialogue with the concept of festivalscape, that allows us to expand the study of Digital Arts Festivals, especially from the tools of cultural sociology.
{"title":"Situated formats around the science-art-technology debate: an introduction to European Digital Arts Festivals (DAF)","authors":"José Luis Reyes-Criado","doi":"10.7238/artnodes.v0i32.412422","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.412422","url":null,"abstract":"Digital Arts Festivals (DAF) are one of the most booming situated formats and performative experiences for debate, dissemination, exhibition and artistic practice around the science-art-technology intersection. From Ars Electronica or Transmediale and CTM in Berlin to the Spanish Sónar, L.E.V. or MIRA, more than 50 Digital Arts Festivals have appeared in Europe in the last few decades. Although the paradigm of the “festivalization of culture” has received a great deal of academic attention, DAFs have been minimally analysed. What are Digital Arts Festivals? How do they differ from other festivals? How can we define, categorize and analyse these festivals in depth in order to understand their role in cultural production and artistic creation today? In order to address these questions, this article presents the first results of an empirical study which began at the end of 2020 and is still ongoing and which concerns the paradigm of Digital Arts Festivals in Europe. Based on qualitative, multi-sited and wide-ranging research, and having generated a list of more than 50 DAFs in Europe and conducted a first round of semi-structured in-depth interviews with 10 festival directors, I introduce a starting definition of Digital Arts Festivals. Based on three case studies from Southern Europe – the Semibreve festival in Braga, the MIRA festival in Barcelona and the ROBOT festival in Bologna – I present a theoretical apparatus and an analytical approach in dialogue with the concept of festivalscape, that allows us to expand the study of Digital Arts Festivals, especially from the tools of cultural sociology.","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":"48671379","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 : 2023-06-15DOI: 10.7238/artnodes.v0i32.413254
Darío Lanza Vidal
Que la ciencia y el arte mantienen continuas y complejas interrelaciones y realimentaciones mutuas es incuestionable. Como expresiones de la actividad intelectual humana, han recorrido caminos en ocasiones independientes, paralelos en otras e interdependientes en la mayoría. A un debate tan extensamente documentado como este, lo que el presente estudio pretende aportar es una visión personal que ayude a organizar las tipologías de estas relaciones y a comprender la dialéctica y las tensiones que actualmente se establecen en la colaboración de estos dos dominios, al tiempo que a describir los procesos que movilizan estas relaciones y los resultados que se obtienen de su puesta en práctica, tanto a través de la obra de autores que exploran estas estrategias como en la producción de un caso práctico.
{"title":"Modelos de interacción entre ciencia y arte: subordinación y transferencia","authors":"Darío Lanza Vidal","doi":"10.7238/artnodes.v0i32.413254","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.413254","url":null,"abstract":"Que la ciencia y el arte mantienen continuas y complejas interrelaciones y realimentaciones mutuas es incuestionable. Como expresiones de la actividad intelectual humana, han recorrido caminos en ocasiones independientes, paralelos en otras e interdependientes en la mayoría. A un debate tan extensamente documentado como este, lo que el presente estudio pretende aportar es una visión personal que ayude a organizar las tipologías de estas relaciones y a comprender la dialéctica y las tensiones que actualmente se establecen en la colaboración de estos dos dominios, al tiempo que a describir los procesos que movilizan estas relaciones y los resultados que se obtienen de su puesta en práctica, tanto a través de la obra de autores que exploran estas estrategias como en la producción de un caso práctico.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44508571","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 : 2023-05-15DOI: 10.7238/artnodes.v0i32.411208
Devon Ward
This paper examines the impact that the concept of environmental personhood has had on art and culture, and suggests that projects such as The Embassy of the North Sea hint at the possibility of environmental statehood. First, it reviews how the Te Awa Tupua (Whanganui River Claims Settlement) Act 2017 – which granted juridical personhood to the Whanganui River in New Zealand – inspired the creation of new works such as Weathering, Embedding: Ochopee Trail, terra0, A Voice for the Eel, and F/EEL. Next, a heuristic model called the agency-personhood continuum (APC) is used to identify the aesthetic tropes of environmental personhood. Analysis indicates that artworks that represent environmental personhood often utilize strategies of amplification, translation, performance, time compression, and metonymy. Finally, this paper seeks to encourage new discussions by suggesting that The Embassy of the North Sea and “Theatre of Negotiations” anticipate the concept of environmental statehood, which has the potential to provide greater protections for natural entities that span multiple countries – such as the Amazon River, the Andes, the Atlantic Ocean, and the Pacific Ocean. Theoretically, environmental statehood could also provide greater representation in supra-governmental assemblies such as the UN General Assembly. Ultimately, this article suggests that the culture-law feedback loop for environmental personhood presents a new ontological paradigm that provides greater recognition of the agency, identity, and sovereignty of natural entities.
{"title":"The art of environmental personhood and the possibility of environmental statehood","authors":"Devon Ward","doi":"10.7238/artnodes.v0i32.411208","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.411208","url":null,"abstract":"This paper examines the impact that the concept of environmental personhood has had on art and culture, and suggests that projects such as The Embassy of the North Sea hint at the possibility of environmental statehood. First, it reviews how the Te Awa Tupua (Whanganui River Claims Settlement) Act 2017 – which granted juridical personhood to the Whanganui River in New Zealand – inspired the creation of new works such as Weathering, Embedding: Ochopee Trail, terra0, A Voice for the Eel, and F/EEL. Next, a heuristic model called the agency-personhood continuum (APC) is used to identify the aesthetic tropes of environmental personhood. Analysis indicates that artworks that represent environmental personhood often utilize strategies of amplification, translation, performance, time compression, and metonymy. Finally, this paper seeks to encourage new discussions by suggesting that The Embassy of the North Sea and “Theatre of Negotiations” anticipate the concept of environmental statehood, which has the potential to provide greater protections for natural entities that span multiple countries – such as the Amazon River, the Andes, the Atlantic Ocean, and the Pacific Ocean. Theoretically, environmental statehood could also provide greater representation in supra-governmental assemblies such as the UN General Assembly. Ultimately, this article suggests that the culture-law feedback loop for environmental personhood presents a new ontological paradigm that provides greater recognition of the agency, identity, and sovereignty of natural entities.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46662589","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 : 2023-01-15DOI: 10.7238/artnodes.v0i31.402840
Rosa Berbel
El surgimiento del Earth-Body Art en la década de los setenta coincide con un momento de efervescente reflexión en torno a las posibilidades del cuerpo y la naturaleza en la creación artística. El protagonismo del giro performativo, el pensamiento feminista y las reivindicaciones ecologistas colocaron al cuerpo en el centro de las prácticas culturales y políticas, alentando nuevas comprensiones del género y la sexualidad, de lo humano y lo no humano. En este sentido, la serie Siluetas (1973-1980) de la artista cubanoamericana Ana Mendieta constituye una de sus más destacadas representantes, al fusionar las indagaciones sobre el cuerpo emprendidas por las performances Body Art con las propuestas del Land Art. Aunque la obra ha sido, con frecuencia, abordada críticamente desde las herramientas ecofeministas, consideramos que la idea del cuerpo en ella excede cualquier representación tradicional de la femineidad, para colocarse en un paradójico plano fantasmal que suspende los binarismos y sus jerarquías. A partir del espectro derridiano y del análisis de su potencialidad utópica, este artículo plantea una relectura de los cuerpos espectrales de Mendieta como cuerpos situados en un tiempo y un lugar indeterminados, un modo de subversión estética y política y la manifestación de una futuridad emancipatoria.
{"title":"Cuerpo fantasmal, naturaleza herida: potencias utópicas en las Siluetas de Ana Mendieta","authors":"Rosa Berbel","doi":"10.7238/artnodes.v0i31.402840","DOIUrl":"https://doi.org/10.7238/artnodes.v0i31.402840","url":null,"abstract":"El surgimiento del Earth-Body Art en la década de los setenta coincide con un momento de efervescente reflexión en torno a las posibilidades del cuerpo y la naturaleza en la creación artística. El protagonismo del giro performativo, el pensamiento feminista y las reivindicaciones ecologistas colocaron al cuerpo en el centro de las prácticas culturales y políticas, alentando nuevas comprensiones del género y la sexualidad, de lo humano y lo no humano. En este sentido, la serie Siluetas (1973-1980) de la artista cubanoamericana Ana Mendieta constituye una de sus más destacadas representantes, al fusionar las indagaciones sobre el cuerpo emprendidas por las performances Body Art con las propuestas del Land Art. Aunque la obra ha sido, con frecuencia, abordada críticamente desde las herramientas ecofeministas, consideramos que la idea del cuerpo en ella excede cualquier representación tradicional de la femineidad, para colocarse en un paradójico plano fantasmal que suspende los binarismos y sus jerarquías. A partir del espectro derridiano y del análisis de su potencialidad utópica, este artículo plantea una relectura de los cuerpos espectrales de Mendieta como cuerpos situados en un tiempo y un lugar indeterminados, un modo de subversión estética y política y la manifestación de una futuridad emancipatoria.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45728200","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 : 2023-01-15DOI: 10.7238/artnodes.v0i31.402397
Amalia F. Foka
Affective computing is an interdisciplinary field that studies computational methods that relate to or influence emotion. These methods have been applied to interactive media artworks, but they have focused on affect detection rather than affect generation. For affect generation, computationally creative methods need to be explored that have recently been driven by the use of Generative Adversarial Networks (GANs), a deep learning method. The experiment presented in this paper, Forging Emotions, explores the use of visual emotion datasets and the working processes of GANs for visual affect generation, that is, for generating images that can convey or trigger specified emotions. This experiment concludes that the methodology used so far by computer science researchers to build image datasets for describing high-level concepts such as emotions is insufficient and proposes utilizing emotional networks of associations according to psychology research. Forging Emotions also concludes that to generate affect visually, merely corresponding to basic psychology findings, such as bright or dark colours, does not seem adequate. Therefore, research efforts should aim to understand the structure of trained GANs and compositional GANs in order to produce genuinely novel compositions that can convey or trigger emotions through the subject matter of generated images.
{"title":"Forging Emotions: a deep learning experiment on emotions and art","authors":"Amalia F. Foka","doi":"10.7238/artnodes.v0i31.402397","DOIUrl":"https://doi.org/10.7238/artnodes.v0i31.402397","url":null,"abstract":"Affective computing is an interdisciplinary field that studies computational methods that relate to or influence emotion. These methods have been applied to interactive media artworks, but they have focused on affect detection rather than affect generation. For affect generation, computationally creative methods need to be explored that have recently been driven by the use of Generative Adversarial Networks (GANs), a deep learning method. The experiment presented in this paper, Forging Emotions, explores the use of visual emotion datasets and the working processes of GANs for visual affect generation, that is, for generating images that can convey or trigger specified emotions. This experiment concludes that the methodology used so far by computer science researchers to build image datasets for describing high-level concepts such as emotions is insufficient and proposes utilizing emotional networks of associations according to psychology research. Forging Emotions also concludes that to generate affect visually, merely corresponding to basic psychology findings, such as bright or dark colours, does not seem adequate. Therefore, research efforts should aim to understand the structure of trained GANs and compositional GANs in order to produce genuinely novel compositions that can convey or trigger emotions through the subject matter of generated images.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48085670","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 : 2023-01-15DOI: 10.7238/artnodes.v0i31.403473
J. Doyle, Simone Jones, Elizabeth Lopez
After eighteen months of online art education during the COVID-19 pandemic, the authors consider Form and Time, a required first-year studio art course at OCAD University in Toronto, as a case study within global practices of reconfiguration and experimentalism in art and design pedagogy during the crisis. Form and Time was scheduled to launch as a required first-year course on campus at OCADU in Fall 2020, but quarantine prompted the pivot to fully remote. Critiques of the traditional art school’s situated format were launched before COVID-19 by anti-ableist, Indigenous and feminist scholars, addressing access barriers and stressing resilience in the face of crisis and oppression. The pandemic disrupted the centrality of in-person studios and critique methods in post-secondary art education; this accelerated and took unexpected turns during the online pedagogical experiments of the early pandemic. In this context, Form and Time foreshadows new modes of art school studio delivery, decentering and critically intersecting with studio precedents suddenly disrupted by remote learning during COVID-19. Form and Time’s weekly asynchronous video lectures and online meetings probed themes of Space, Form and Time. Students posted weekly studio experiments on discussion boards, using materials close at hand. As with other art and design courses, everyday objects and materials provided a platform for discussing material conditions and encounters during the pandemic. Students depicted their unique surroundings using strategies of observation and walking. They accessed faculty-made online micro-workshops recorded by the various course instructors on home studio material techniques. These comprise a growing online archive shared by faculty teaching the multi-section course. Looking forward, we anticipate further crises. Greater interplay between online, blended and hands-on art studio education will prioritize flexibility that can better adapt to life pressures and emergencies, opening access for a diverse range of learners in decentered locations.
在新冠肺炎大流行期间进行了18个月的在线艺术教育后，作者将多伦多OCAD大学一年级工作室艺术必修课《形式与时间》视为危机期间艺术和设计教育学重构和实验主义全球实践的一个案例研究。《形式与时间》计划于2020年秋季在OCADU校园内作为一年级必修课程推出，但隔离促使该课程转向完全远程。新冠肺炎爆发前，反对者、土著和女权主义学者对传统艺术学校的情境形式提出了批评，解决了进入障碍，强调了在危机和压迫面前的韧性。疫情破坏了面对面工作室和批评方法在中学后艺术教育中的中心地位；在疫情早期的在线教学实验中，这种情况加速并发生了意想不到的转变。在这种背景下，《形式与时间》预示着艺术学校工作室交付的新模式，偏离中心，并与新冠肺炎期间突然被远程学习打乱的工作室先例批判性地交叉。Form and Time的每周异步视频讲座和在线会议探讨了空间、形式和时间的主题。学生们每周在讨论板上张贴工作室实验，使用手头的材料。与其他艺术和设计课程一样，日常用品和材料为讨论疫情期间的物质条件和遭遇提供了一个平台。学生们使用观察和行走的策略来描绘他们独特的环境。他们访问了教师制作的由各种课程讲师录制的关于家庭工作室材料技术的在线微研讨会。其中包括一个不断增长的在线档案，由教授多节课程的教师共享。展望未来，我们预计会出现进一步的危机。在线、混合和动手艺术工作室教育之间的更大互动将优先考虑能够更好地适应生活压力和紧急情况的灵活性，为分散地点的各种学习者提供机会。
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