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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Pub Date : 2023-01-15DOI: 10.7238/artnodes.v0i31.405249
Diego Díaz, Clara Boj
Based on the notion of the Datacene, understood as the time when data directly affects the social, cultural, economic, political, and even affective structures of the present, in this article we propose how Big Data and Artificial Intelligence give rise to the Internet of Behaviour: a new technological paradigm that has incredible potential to forecast and induce human behaviour. Since ancient times, humans have wanted to predict and alter the future, but in the last ten years, this wish has begun to become a reality due to great advances in the field of social engineering, raising serious doubts regarding social control and the loss of freedom. In this context of analysis, we present two projects developed within the framework of Art, Science, Technology and Society. Data Biography shows the enormous number of digital traces that we generate daily and uses them to compose a person’s biography, composed of 365 printed books. Machine Biography, for its part, investigates how current artificial intelligence techniques can predict and induce future human behaviour, for which we have used various forecast and generative models trained with data from our own digital activity, in order to generate another set of books with our foreseeable activity for the year 2050. Both projects invite us to consider from a critical perspective the present and future of the social transformations produced by Big Data and AI.
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Pub Date : 2023-01-15DOI: 10.7238/artnodes.v0i31.411211
Juan Pablo Fernández-Cortés
Este artículo se plantea investigar las relaciones entre el género operístico y la violencia virtual dentro del espacio videolúdico y su papel activo como elemento incorporado a las mecánicas del juego. A través de varios casos de estudio de videojuegos publicados entre 1998 y 2017, en los que la ópera juega un papel destacado –Parasite Eve (Squaresoft 1998), No one lives forever (Monolith Productions 2000), Assassin’s Creed III (Ubisoft 2012) y NieR: Automata (Platinum Games 2017)–, se analizan las técnicas empleadas para introducir referencias operísticas, como la espectacularización del cuerpo y la voz femenina y la inserción de escenas del repertorio operístico con una trama de carácter violento. Asimismo, se estudia el modo en que estas técnicas se integran en la retórica procedimental del juego gracias a la interacción con las reglas que rigen los mundos ludoficcionales.
在这篇文章中，我们将探讨歌剧类型和虚拟暴力之间的关系，以及它们作为游戏机制中的一个元素的积极作用。通过1998年至2017年发布的几款电子游戏案例研究，歌剧在其中扮演了重要角色——《寄生虫Eve》(Squaresoft 1998)、《No one lives forever》(Monolith Productions 2000)、《刺客信条3》(Ubisoft 2012)和《尼尔》:Automata(白金游戏2017)-分析了用于引入歌剧参考的技术，如身体和女性声音的壮观化，以及插入带有暴力情节的歌剧剧目场景。本研究的目的是研究这些技术是如何被整合到游戏的程序修辞中，通过与游戏虚构世界的规则的互动。
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Pub Date : 2023-01-15DOI: 10.7238/artnodes.v0i31.402701
Jose-Antonio Soriano-Colchero
En este artículo nos centramos en el estudio, a través de una investigación experimental, de tres propuestas diseñadas para la previsualización de instalaciones pictóricas anamórficas aplicadas a espacios arquitectónicos. Tras el análisis de las metodologías desarrolladas desde el siglo XVI hasta la actualidad, presentamos el desarrollo de nuevos procedimientos metodológicos, a través del software de diseño gráfico vectorial y de modelado virtual Sketchup, que permite generar tanto la deformación que debe aplicarse a la imagen original para generar la anamorfosis, estableciendo los parámetros de medida como distancias y ángulos, como la previsualización del resultado final en el espacio virtual. Cada uno de los casos experimentados es diferente, y nos ofrece unos resultados únicos. De esta forma, las conclusiones obtenidas se deben a los procedimientos y las finalidades que nos han llevado a utilizar dicho programa. Así, resulta de gran interés la facilidad que Sketchup presenta para generar este tipo de proyectos, de manera que ofrece una metodología más intuitiva que las tradicionales, y, en consecuencia, permite la creación de instalaciones anamórficas sin necesidad de conocer todos y cada uno de los parámetros técnicos necesarios en un principio. Esta investigación sirve como precedente de futuros estudios en los que analicemos la aplicación directa de la anamorfosis en entornos urbanos, modificando el paisaje a través de esta.
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Pub Date : 2023-01-15DOI: 10.7238/artnodes.v0i31.402822
Esther Pizarro Juanas
El lanzamiento del Sputnik en 1957, el primer satélite de la humanidad, inauguró una nueva era en la conquista del espacio exterior; pero también marcó el inicio de un nuevo tipo de contaminación invisible a nuestros ojos, la contaminación espacial. Desde entonces, nuestro planeta se ha rodeado de numerosos satélites encargados de estudiar nuestro clima, predecir catástrofes, ayudarnos a responder preguntas científicas importantes para la evolución humana y mantenernos continuamente conectados y vigilados. La vida útil de estos satélites se ve amenazada por la saturación de objetos que rodean la Tierra. Los choques accidentales entre objetos que orbitan el espacio exterior pueden producir nubes de desechos que se mueven a gran velocidad, con el consiguiente riesgo de colisión para futuras misiones espaciales. Cuanto mayor es la conectividad planetaria, más aumenta la contaminación espacial. Este escenario de saturación nos conecta con premisas conceptuales, como el ambiente artificial, la ecología sin naturaleza o el hiperobjeto; puntos de anclaje de diversos autores relacionados con el Antropoceno, que serán examinados en este texto, y que servirán de pilar teórico para la propuesta artística que presentamos. La investigación artística que lleva por título, Space Debris :: Constelaciones de desechos, analiza y evidencia el enorme enjambre de basura espacial que gira alrededor de la Tierra en sus cuatro órbitas principales. Basándose en datos extraídos de fuentes científicas, identifica las principales once potencias responsables de la acumulación exponencial de desechos espaciales, clasifica y categoriza los datos, y visibiliza cómo se distribuye toda esta constelación de desechos espaciales en el cosmos mediante una instalación escultórica inmersiva e interactiva.
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Pub Date : 2023-01-15DOI: 10.7238/artnodes.v0i31.402842
María Alejandra Crescentino
This article examines the challenges faced by physical and digital archives dedicated to video art in the Southern Cone, focusing on accessibility, preservation, and dissemination. To map such a complex situation, firstly, it identifies four influential Latin American video art festivals, including the Festival Franco-Chileno de Video Arte, the Festival Franco-Latinoamericano de Video Arte, Videobrasil and Buenos Aires Video, which promoted the production, circulation, and dissemination of audiovisual arts in the last two decades of the 20th century. Secondly, the article explores three regional initiatives – UMATIC, Açervo online Associação Cultural Videobrasil, and ARCA – that, since the mid-2000s, have carried out tasks of valuation and making accessible video art collections related to the aforementioned festivals. Drawing on Bolter and Grusin’s concept of remediation, it is proposed that these three initiatives be interpreted as remediation projects, as they are concerned with reshaping old media formats and multiplying media through hypermediation. The understanding of these projects also relies on the concept of “anomic archive”, which refers to the idea of a documentary archive constructed through an intentional process of collecting and sharing knowledge beyond traditional institutions. Finally, the article approaches digital archives as a means of accessing primary sources, proposing a reflection on the opportunities and risks posed by these remediation projects.
本文探讨了南锥体视频艺术实体和数字档案所面临的挑战，重点是可访问性、保存和传播。为了描绘这样一个复杂的情况，首先，它确定了四个有影响力的拉丁美洲视频艺术节，包括20世纪最后20年促进了视听艺术的生产、流通和传播的Franco Chileno de video Arte节、Franco Latinoamericano de video Arte节、Videobrasil和布宜诺斯艾利斯视频节。其次，本文探讨了三个区域倡议——UMATIC、Açervo在线Associação Cultural Videobrasil和ARCA——自2000年代中期以来，这些倡议一直在执行评估和制作与上述节日相关的可访问视频艺术收藏的任务。根据Bolter和Grussin的补救概念，建议将这三项举措解释为补救项目，因为它们涉及重塑旧媒体格式和通过超媒体增加媒体数量。对这些项目的理解也依赖于“失范档案”的概念，这是指通过有意收集和分享传统机构之外的知识的过程构建的文献档案的想法。最后，文章将数字档案作为访问主要来源的一种手段，提出了对这些补救项目带来的机遇和风险的反思。
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Pub Date : 2023-01-15DOI: 10.7238/artnodes.v0i31.402862
María Teresa Galarza-Neira
En primera instancia, este artículo pretende aproximarse a la reconfiguración de la educación superior, en el marco del Proceso de Bolonia en Europa, y sus iridiscencias en otros territorios. El texto contextualiza en este escenario una reflexión sobre la inclusión de la investigación artística en la academia. A continuación, se ofrece una exploración de las diversas modalidades que asume la investigación artística en la esfera universitaria. Para ello, a partir de las propuestas de Christopher Frayling, Henk Borgdorff y Lyle Skains, se marcan tres momentos en la configuración de esas modalidades, establecidas a partir de los modos de relación entre el arte y la investigación, según los cuales la primera puede ocupar el rol de objeto o método de la segunda, aunque también puede constituir el propio proceso-resultado de investigación.
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Pub Date : 2023-01-15DOI: 10.7238/artnodes.v0i31.403453
Caterina Antonopoulou
More-than-human networks and the impact of material non-human entities have come into focus, in both social and computer sciences, since the late twentieth century. In social sciences, a plethora of conceptualizations emerged to describe complex, dynamic, heterogeneous and non-hierarchical structures of material and non-material, human and non-human, congruent and conflicting entities. In computer science, the birth of the Internet and the subsequent emergence of the World Wide Web drew scientists’ attention to networks, as well. Later, the advent of the Internet of Things (IoT) contributed to a shift in the prevailing perception of the Internet, from an immaterial entity to a network of interconnected material objects. Critical media artists explore the agency of non-human entities and the hybrid networks they articulate with heterogeneous agents. Some of them employ interconnected material objects to initiate tactical interventions at the intersection of art and activism. In this paper, we study tactical media artworks that incorporate material and technologically augmented everyday objects. We treat material objects as threefold entities – social, artistic and technological – and focus on the heterogeneous dynamic networks articulated around them. We investigate the actions and interactions of the entities involved, which result in a transformation of the emerging network. We show that these actions and interactions establish small-scale spatiotemporal spheres in which power relations are redistributed. The paper begins with a review of selected social and philosophical theories that introduced new terms, topologies and concepts for describing more-than-human networks. It then moves on to the advancement of networked technologies, focusing on the Internet’s materiality and the Internet of Things. Finally, it examines more-than-human networks, their transformations and the role of material objects in tactical media artworks through the analysis of two selected case studies.
{"title":"Transformations of more-than-human networks and the impact of material objects on tactical media artworks","authors":"Caterina Antonopoulou","doi":"10.7238/artnodes.v0i31.403453","DOIUrl":"https://doi.org/10.7238/artnodes.v0i31.403453","url":null,"abstract":"More-than-human networks and the impact of material non-human entities have come into focus, in both social and computer sciences, since the late twentieth century. In social sciences, a plethora of conceptualizations emerged to describe complex, dynamic, heterogeneous and non-hierarchical structures of material and non-material, human and non-human, congruent and conflicting entities. In computer science, the birth of the Internet and the subsequent emergence of the World Wide Web drew scientists’ attention to networks, as well. Later, the advent of the Internet of Things (IoT) contributed to a shift in the prevailing perception of the Internet, from an immaterial entity to a network of interconnected material objects. Critical media artists explore the agency of non-human entities and the hybrid networks they articulate with heterogeneous agents. Some of them employ interconnected material objects to initiate tactical interventions at the intersection of art and activism. In this paper, we study tactical media artworks that incorporate material and technologically augmented everyday objects. We treat material objects as threefold entities – social, artistic and technological – and focus on the heterogeneous dynamic networks articulated around them. We investigate the actions and interactions of the entities involved, which result in a transformation of the emerging network. We show that these actions and interactions establish small-scale spatiotemporal spheres in which power relations are redistributed. The paper begins with a review of selected social and philosophical theories that introduced new terms, topologies and concepts for describing more-than-human networks. It then moves on to the advancement of networked technologies, focusing on the Internet’s materiality and the Internet of Things. Finally, it examines more-than-human networks, their transformations and the role of material objects in tactical media artworks through the analysis of two selected case studies.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46740748","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.v0i31.402859
R. Hoetzlein
New Media Art reflects the dramatic creative and cultural shifts in science and technology of the past century. With these shifts, the multitude of forms of art-making have expanded to include a wide range of ideas and techniques. Following several decades of new contributions, this plurality of expression has resisted monolithic or curatorial approaches to organization along the lines of media. This paper defines knowledge cultures as flexible, overlapping, non-exclusive, ideological sub-groups and seeks to identify such groups within the practice and theory of New Media Art. While practising groups may be associated with specific media such as games, 3D printing, or artificial intelligence, we seek to identify knowledge groups by their explicit, hidden or shared ideological principles.
{"title":"Knowledge Cultures in New Media Art","authors":"R. Hoetzlein","doi":"10.7238/artnodes.v0i31.402859","DOIUrl":"https://doi.org/10.7238/artnodes.v0i31.402859","url":null,"abstract":"New Media Art reflects the dramatic creative and cultural shifts in science and technology of the past century. With these shifts, the multitude of forms of art-making have expanded to include a wide range of ideas and techniques. Following several decades of new contributions, this plurality of expression has resisted monolithic or curatorial approaches to organization along the lines of media. This paper defines knowledge cultures as flexible, overlapping, non-exclusive, ideological sub-groups and seeks to identify such groups within the practice and theory of New Media Art. While practising groups may be associated with specific media such as games, 3D printing, or artificial intelligence, we seek to identify knowledge groups by their explicit, hidden or shared ideological principles.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49654735","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.v0i31.411124
Moisés Mañas Carbonell, María José Martínez de Pisón Ramón
En 2023, el Laboratorio de Luz (UPV) cumple 33 años, y es un buen momento para reflexionar y compartir esa reflexión sobre las aportaciones y los posicionamientos del trabajo realizado por este grupo de investigadores y colectivo artístico, que está considerado como uno de los primeros nodos de universidad, arte, ciencia y tecnología del panorama español. Repensar el trabajo de este colectivo implica también revisar las condiciones de posibilidad que existían en el contexto español hace 30 años y las que existen actualmente para la investigación arte-ciencia-tecnología en España. Revisar el Laboratorio de Luz es también atender al ejercicio de comprender la importancia de la evolución de la colaboración interdisciplinar y el valor de las aportaciones individuales en lo colectivo en el marco de la investigación en arte y la docencia artística universitaria en el contexto español.
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