Pub Date : 2021-07-15DOI: 10.7238/artnodes.v0i28.388278
P. González
During the last year, science and technology have been playing an indispensable role in a difficult and complex context. All areas of our lives have been forced to adapt to digital processes at an accelerated pace. Faced with an obvious economic and social transformation, we want to consider the state of culture and creation, one of the sectors hardest hit by the crisis. Specifically, we are interested in focusing on the particular situation of digital creation, devastated especially by the lack of protection and funding, by the closure of galleries and specialised spaces. It is not a question of starting from scratch. Future possibilities must be presented as opportunities. First, by analysing what has been learned, experienced and discussed so far before and during the pandemic. From there, we must identify, on the one hand, the direct consequences of the pandemic, and on the other, the problems arising from the acceleration of the digital transformation. Especially in those aspects that allow us to relaunch and promote new lines of work, heterogeneous initiatives, or new methodologies while always bearing in mind that this knowledge and experience has to settle and survive under the rules of the digital economy. Both the creation and consumption of content requires new digital, communication, entrepreneurial and commercial skills. Let us look for new perspectives, let us face the transversality that the hybridisation between art, science and technology can offer. Let us analyse and share with all those involved in all the creative processes and avoid going back into a loop. We are facing a complicated and risky, but exciting project. It is more necessary than ever to learn from mistakes, and to extract the value of certain experiences related to digital art. And, above all, let us not forget two of the most important components: to value the creators, to recover the public, and to attract those who have never felt attracted by these types of artistic practices. Let us look for and share the way to encourage and promote new contents and scenarios.
{"title":"Digital creation: possible (and achievable) futures","authors":"P. González","doi":"10.7238/artnodes.v0i28.388278","DOIUrl":"https://doi.org/10.7238/artnodes.v0i28.388278","url":null,"abstract":"During the last year, science and technology have been playing an indispensable role in a difficult and complex context. All areas of our lives have been forced to adapt to digital processes at an accelerated pace. Faced with an obvious economic and social transformation, we want to consider the state of culture and creation, one of the sectors hardest hit by the crisis. Specifically, we are interested in focusing on the particular situation of digital creation, devastated especially by the lack of protection and funding, by the closure of galleries and specialised spaces. It is not a question of starting from scratch. Future possibilities must be presented as opportunities. First, by analysing what has been learned, experienced and discussed so far before and during the pandemic. From there, we must identify, on the one hand, the direct consequences of the pandemic, and on the other, the problems arising from the acceleration of the digital transformation. Especially in those aspects that allow us to relaunch and promote new lines of work, heterogeneous initiatives, or new methodologies while always bearing in mind that this knowledge and experience has to settle and survive under the rules of the digital economy. Both the creation and consumption of content requires new digital, communication, entrepreneurial and commercial skills. Let us look for new perspectives, let us face the transversality that the hybridisation between art, science and technology can offer. Let us analyse and share with all those involved in all the creative processes and avoid going back into a loop. We are facing a complicated and risky, but exciting project. It is more necessary than ever to learn from mistakes, and to extract the value of certain experiences related to digital art. And, above all, let us not forget two of the most important components: to value the creators, to recover the public, and to attract those who have never felt attracted by these types of artistic practices. Let us look for and share the way to encourage and promote new contents and scenarios.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46553689","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 : 2021-07-09DOI: 10.7238/ARTNODES.V0I28.380176
Rosa Núñez-Pacheco, Phillip Penix-Tadsen
Video games have become important objects of study for different academic disciplines. From the birth of the medium in the mid-twentieth century to the present, video games have offered new and creative ways of approaching reality and fiction, and not only serve as entertainment, but also have significant cultural, social, and technological implications. The formal study of this medium is the purview of the field of game studies, which brings together the contributions of various disciplines. This paper presents a bibliographical review of several theoretical trajectories in game studies, reflecting on the relevance of early debates on narratology and ludology, and examining the ways these initial divisions of the field have branched beyond that debate. Over the past several years, the narratological line of critique has established links with other theories such as cognitivism, the theory of fictional worlds and the contributions of unnatural narratology to the analysis of new technologies; ludology, for its part, has grown through its adaptations to postcolonial and decolonial theories in cultural studies, as well as through its connections to critical race and gender studies. We conclude that as game studies has evolved as a discipline, its initial theoretical debates have undergone profound transformations that have brought depth to the analysis of games’ meaning and diversified to the tools and techniques we have for analysing games as digital and cultural artefacts.
{"title":"Divergent theoretical trajectories in Game Studies: a bibliographical review","authors":"Rosa Núñez-Pacheco, Phillip Penix-Tadsen","doi":"10.7238/ARTNODES.V0I28.380176","DOIUrl":"https://doi.org/10.7238/ARTNODES.V0I28.380176","url":null,"abstract":"Video games have become important objects of study for different academic disciplines. From the birth of the medium in the mid-twentieth century to the present, video games have offered new and creative ways of approaching reality and fiction, and not only serve as entertainment, but also have significant cultural, social, and technological implications. The formal study of this medium is the purview of the field of game studies, which brings together the contributions of various disciplines. This paper presents a bibliographical review of several theoretical trajectories in game studies, reflecting on the relevance of early debates on narratology and ludology, and examining the ways these initial divisions of the field have branched beyond that debate. Over the past several years, the narratological line of critique has established links with other theories such as cognitivism, the theory of fictional worlds and the contributions of unnatural narratology to the analysis of new technologies; ludology, for its part, has grown through its adaptations to postcolonial and decolonial theories in cultural studies, as well as through its connections to critical race and gender studies. We conclude that as game studies has evolved as a discipline, its initial theoretical debates have undergone profound transformations that have brought depth to the analysis of games’ meaning and diversified to the tools and techniques we have for analysing games as digital and cultural artefacts.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46544672","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 anamorfosis es una variante de la perspectiva matemática estudiada por artistas e in-telectuales europeos desde el siglo xvi, y se alcanzó la publicación del método definitivo en el siglo xvii. Su original aura misteriosa sería sustituida, debido a la consideración sobre las imágenes a las que se le aplicaba, por mero entretenimiento tras su popularización durante el siglo xviii, mediante los gabinetes de curiosidades y Kunst-und Wunderkammeern. No obstante, la anamorfosis ha continuado estudiándose y aplicándose a proyectos de creación artística. Así, el objetivo de la presente publicación es el desarrollo de una actualización sobre cómo la anamorfosis es aplicada al arte contemporáneo a través del estudio de numerosas obras, evidenciando las posibilidades técnicas y conceptuales que este sistema ofrece tanto al arte en sí como a la sociedad en general a través de este. Todas las obras analizadas –relacionadas con la anamorfosis óptica y catóptrica a través de la escultura, la fotografía y la pintura de artistas callejeros o relacionados a las galerías de arte– propician un discurso que invita a la reflexión sobre la realidad contemporánea o hiperrealidad. Con ello, damos a conocer el método de la anamorfosis, además de incentivar a los artistas visuales a aplicarlo en futuras creaciones, dado el interés que genera el método por su versatilidad en cuanto a potencial metodológico y de significación, demostrado en el cuerpo del artículo y en las conclusiones. La imagen anamórfica es entendida, por lo tanto, como metaimagen que evidencia su propia artificiosidad, incitando al observador a reflexionar sobre la realidad y exigiendo nuevas formas de interpretar lo observado.
{"title":"La anamorfosis en el arte contemporáneo. Un análisis de las diferentes estrategias de su aplicación en las creaciones de artistas actuales","authors":"Jose-Antonio Soriano-Colchero","doi":"10.7238/A.V0I28.381600","DOIUrl":"https://doi.org/10.7238/A.V0I28.381600","url":null,"abstract":"La anamorfosis es una variante de la perspectiva matemática estudiada por artistas e in-telectuales europeos desde el siglo xvi, y se alcanzó la publicación del método definitivo en el siglo xvii. Su original aura misteriosa sería sustituida, debido a la consideración sobre las imágenes a las que se le aplicaba, por mero entretenimiento tras su popularización durante el siglo xviii, mediante los gabinetes de curiosidades y Kunst-und Wunderkammeern. No obstante, la anamorfosis ha continuado estudiándose y aplicándose a proyectos de creación artística. Así, el objetivo de la presente publicación es el desarrollo de una actualización sobre cómo la anamorfosis es aplicada al arte contemporáneo a través del estudio de numerosas obras, evidenciando las posibilidades técnicas y conceptuales que este sistema ofrece tanto al arte en sí como a la sociedad en general a través de este. Todas las obras analizadas –relacionadas con la anamorfosis óptica y catóptrica a través de la escultura, la fotografía y la pintura de artistas callejeros o relacionados a las galerías de arte– propician un discurso que invita a la reflexión sobre la realidad contemporánea o hiperrealidad. Con ello, damos a conocer el método de la anamorfosis, además de incentivar a los artistas visuales a aplicarlo en futuras creaciones, dado el interés que genera el método por su versatilidad en cuanto a potencial metodológico y de significación, demostrado en el cuerpo del artículo y en las conclusiones. La imagen anamórfica es entendida, por lo tanto, como metaimagen que evidencia su propia artificiosidad, incitando al observador a reflexionar sobre la realidad y exigiendo nuevas formas de interpretar lo observado.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47723395","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 : 2021-07-09DOI: 10.7238/ARTNODES.V0I28.385861
Umberto Roncoroni Osio
This article attempts a critical examination of the actual digital art production, posing key questions about its artistic value inside the contemporary esthetic discourse, including the relationships with the art system. Considering the properties of the numeric language, two important topics will be discussed: the dialectic artwork-process and the meaning of digital multimedia. With the support of up-to-date computational creativity theories and the evidences of experimental digital art, the treacherous influence of the romantic aesthetic paradigm and the traditional art system will be tested. As a possible solution, the author suggests rethinking the components of software as meta-medium, such as its information assets, its algorithms, the code textual properties, interactivity and interfaces. In the conclusions it will be stressed that the immateriality of software is paramount to avoid misunderstandings and to open new fields of research. For instance, natural computation, ethnomathematics and ethnocomputing are valuable social and educational contents and meanings that could substantially improve digital art.
{"title":"Criticisms of digital art: foundations and theoretical limits","authors":"Umberto Roncoroni Osio","doi":"10.7238/ARTNODES.V0I28.385861","DOIUrl":"https://doi.org/10.7238/ARTNODES.V0I28.385861","url":null,"abstract":"This article attempts a critical examination of the actual digital art production, posing key questions about its artistic value inside the contemporary esthetic discourse, including the relationships with the art system. Considering the properties of the numeric language, two important topics will be discussed: the dialectic artwork-process and the meaning of digital multimedia. With the support of up-to-date computational creativity theories and the evidences of experimental digital art, the treacherous influence of the romantic aesthetic paradigm and the traditional art system will be tested. As a possible solution, the author suggests rethinking the components of software as meta-medium, such as its information assets, its algorithms, the code textual properties, interactivity and interfaces. In the conclusions it will be stressed that the immateriality of software is paramount to avoid misunderstandings and to open new fields of research. For instance, natural computation, ethnomathematics and ethnocomputing are valuable social and educational contents and meanings that could substantially improve digital art.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43560508","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 : 2021-07-09DOI: 10.7238/ARTNODES.V0I28.385626
Álvaro Pina Arrabal
En este trabajo se realiza un análisis del discurso videolúdico de SOMA (2015), seleccionado por su alta carga diegética, filosófica y, en última instancia, discursiva. Las ideas sobre la ética del transhumanismo y la conciencia humana que plantea se estudian como parte de un discurso mayor: los límites morales de la ciencia y la tecnología. Así, se ofrece un marco teórico en el que se señala la potencialidad discursiva de los videojuegos a partir de su carga narrativa. En concreto, se aboga por una concepción del videojuego como discurso multimodal electrónico, de manera que para analizar un discurso videolúdico haya que atender a los distintos elementos multisemióticos que lo integran y no solo al texto (lo que supondría sesgar y/o limitar el análisis del discurso en cuestión). Se parte de presupuestos narratológicos y se proponen siete indicadores discursivos que encauzan el discurso multimodal de SOMA: cronotopos diegéticos, elementos metamórficos narrativos, elementos narrativos opcionales, actantes con potencial cesativo, diálogos, decisiones morales y el cuestionario. Se concluye que los videojuegos, en cuanto que “sistemas afectivos” (Anable, 2018), propician la representación y consiguiente transmisión de sentimientos humanos complejos (como los derivados de la propuesta transhumanista) que cabe estudiar desde un análisis del discurso multimodal que atienda a los distintos componentes semióticos que integran el videojuego.
{"title":"Discurso videolúdico y transhumanismo en SOMA","authors":"Álvaro Pina Arrabal","doi":"10.7238/ARTNODES.V0I28.385626","DOIUrl":"https://doi.org/10.7238/ARTNODES.V0I28.385626","url":null,"abstract":"En este trabajo se realiza un análisis del discurso videolúdico de SOMA (2015), seleccionado por su alta carga diegética, filosófica y, en última instancia, discursiva. Las ideas sobre la ética del transhumanismo y la conciencia humana que plantea se estudian como parte de un discurso mayor: los límites morales de la ciencia y la tecnología. Así, se ofrece un marco teórico en el que se señala la potencialidad discursiva de los videojuegos a partir de su carga narrativa. En concreto, se aboga por una concepción del videojuego como discurso multimodal electrónico, de manera que para analizar un discurso videolúdico haya que atender a los distintos elementos multisemióticos que lo integran y no solo al texto (lo que supondría sesgar y/o limitar el análisis del discurso en cuestión). Se parte de presupuestos narratológicos y se proponen siete indicadores discursivos que encauzan el discurso multimodal de SOMA: cronotopos diegéticos, elementos metamórficos narrativos, elementos narrativos opcionales, actantes con potencial cesativo, diálogos, decisiones morales y el cuestionario. Se concluye que los videojuegos, en cuanto que “sistemas afectivos” (Anable, 2018), propician la representación y consiguiente transmisión de sentimientos humanos complejos (como los derivados de la propuesta transhumanista) que cabe estudiar desde un análisis del discurso multimodal que atienda a los distintos componentes semióticos que integran el videojuego.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44284592","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}
During the last year, science and technology have been playing an indispensable role in a difficult and complex context. All areas of our lives have been forced to adapt to digital processes at an accelerated pace. Faced with an obvious economic and social transformation, we want to consider the state of culture and creation, one of the sectors hardest hit by the crisis. Specifically, we are interested in focusing on the particular situation of digital creation, devastated especially by the lack of protection and funding, by the closure of galleries and specialised spaces. It is not a question of starting from scratch. Future possibilities must be presented as opportunities. First, by analysing what has been learned, experienced and discussed so far before and during the pandemic. From there, we must identify, on the one hand, the direct consequences of the pandemic, and on the other, the problems arising from the acceleration of the digital transformation. Especially in those aspects that allow us to relaunch and promote new lines of work, heterogeneous initiatives, or new methodologies while always bearing in mind that this knowledge and experience has to settle and survive under the rules of the digital economy. Both the creation and consumption of content requires new digital, communication, entrepreneurial and commercial skills. Let us look for new perspectives, let us face the transversality that the hybridisation between art, science and technology can offer. Let us analyse and share with all those involved in all the creative processes and avoid going back into a loop. We are facing a complicated and risky, but exciting project. It is more necessary than ever to learn from mistakes, and to extract the value of certain experiences related to digital art. And, above all, let us not forget two of the most important components: to value the creators, to recover the public, and to attract those who have never felt attracted by these types of artistic practices. Let us look for and share the way to encourage and promote new contents and scenarios.
{"title":"Digital creation: possible (and achievable) futures","authors":"P. Díaz","doi":"10.7238/AV0I28.388278","DOIUrl":"https://doi.org/10.7238/AV0I28.388278","url":null,"abstract":"During the last year, science and technology have been playing an indispensable role in a difficult and complex context. All areas of our lives have been forced to adapt to digital processes at an accelerated pace.\u0000\u0000\u0000Faced with an obvious economic and social transformation, we want to consider the state of culture and creation, one of the sectors hardest hit by the crisis. Specifically, we are interested in focusing on the particular situation of digital creation, devastated especially by the lack of protection and funding, by the closure of galleries and specialised spaces.\u0000\u0000\u0000It is not a question of starting from scratch. Future possibilities must be presented as opportunities. First, by analysing what has been learned, experienced and discussed so far before and during the pandemic. From there, we must identify, on the one hand, the direct consequences of the pandemic, and on the other, the problems arising from the acceleration of the digital transformation. Especially in those aspects that allow us to relaunch and promote new lines of work, heterogeneous initiatives, or new methodologies while always bearing in mind that this knowledge and experience has to settle and survive under the rules of the digital economy. Both the creation and consumption of content requires new digital, communication, entrepreneurial and commercial skills.\u0000\u0000\u0000Let us look for new perspectives, let us face the transversality that the hybridisation between art, science and technology can offer. Let us analyse and share with all those involved in all the creative processes and avoid going back into a loop. We are facing a complicated and risky, but exciting project. It is more necessary than ever to learn from mistakes, and to extract the value of certain experiences related to digital art. And, above all, let us not forget two of the most important components: to value the creators, to recover the public, and to attract those who have never felt attracted by these types of artistic practices. Let us look for and share the way to encourage and promote new contents and scenarios.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47823092","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 : 2021-07-09DOI: 10.7238/ARTNODES.V0I28.385735
Predrag K. Nikolić, Ruiyang Liu
In this paper, we introduce the artwork «Syntropic Counterpoints: Metaphysics of The Machines» which is part of the ongoing art-based research project «Syntropic Counterpoints». We aim to investigate the potentials of using artificial intelligence as an interdisciplinary creative medium. Moreover, to raise fundamental questions related to the artificial agents' role in raising human-AI society throughout the continuous period of reaching its emancipation. We are proposing the conceptual approach and methods in creating the audio-visual AI automated content through philosophical discussions between the four AI philosopher clones of Aristotle, Nietzsche, Machiavelli, and Sun Tzu. Special attention is given to the hybrid usage of technologies that led us toward transforming artificial intelligence into a co-existing artistic entity and novel creative framework for art and design practitioners. Therefore, we discuss some of the crucial questions related to our research and further directions in exploring AI abstraction in the context of robot creativity and its potential future forms. Our approach toward the liberation of machine creativity is through the use of words and grammar as a creative tool humans developed to express worlds «beyond» the world. The interaction between the audience and the installation is antagonistic as the process of further AI emancipation seems inevitable.
{"title":"Metaphysics of The Machines: From Human-Robot-Robot Interaction to AI Philoso-phers Abstraction","authors":"Predrag K. Nikolić, Ruiyang Liu","doi":"10.7238/ARTNODES.V0I28.385735","DOIUrl":"https://doi.org/10.7238/ARTNODES.V0I28.385735","url":null,"abstract":"In this paper, we introduce the artwork «Syntropic Counterpoints: Metaphysics of The Machines» which is part of the ongoing art-based research project «Syntropic Counterpoints». We aim to investigate the potentials of using artificial intelligence as an interdisciplinary creative medium. Moreover, to raise fundamental questions related to the artificial agents' role in raising human-AI society throughout the continuous period of reaching its emancipation. We are proposing the conceptual approach and methods in creating the audio-visual AI automated content through philosophical discussions between the four AI philosopher clones of Aristotle, Nietzsche, Machiavelli, and Sun Tzu. Special attention is given to the hybrid usage of technologies that led us toward transforming artificial intelligence into a co-existing artistic entity and novel creative framework for art and design practitioners. Therefore, we discuss some of the crucial questions related to our research and further directions in exploring AI abstraction in the context of robot creativity and its potential future forms. Our approach toward the liberation of machine creativity is through the use of words and grammar as a creative tool humans developed to express worlds «beyond» the world. The interaction between the audience and the installation is antagonistic as the process of further AI emancipation seems inevitable.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44629107","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}
Desde el Media Art hallamos una larga serie de expresiones culturales de carácter innovador en respuesta a las nuevas inquietudes e intereses surgidos en la era de la posverdad. En la presente investigación se hará especial hincapié en el importante papel del hacktivismo para incentivar la participación ciudadana en la lucha contra la desinformación y el abuso de poder desde el ámbito más experimental de la cultura digital. Adoptaremos como objeto de estudio el corpus artístico de Paolo Cirio, por su interés al abordar el papel central de la información como medio y contenido creativo. En sus obras, la activación de originales mecanismos de visualización de datos e interacción con el usuario va dirigida no solo a denunciar injusticias y falsedades, sino también a estimular una intervención real sobre los propios hechos. A partir del análisis de algunas de sus principales aportaciones se establecerá un marco teórico original para la identificación de aquellas aportaciones creativas que entran dentro de la que denominaremos “condición transreal”. La relevancia de esta propuesta reside en el planteamiento de unas coordenadas para el estudio de aquellos proyectos transmedia de carácter interactivo, y en la mayoría de las ocasiones contestatario, capaces de brindar un nuevo modelo de relación con la audiencia y una atractiva estrategia de expansión del universo informativo desde el compromiso social mediante una acción directa sobre la realidad.
{"title":"La condición transreal: información expandida y hacktivismo en el Media Art","authors":"C. F. Castrillo","doi":"10.7238/A.V0I28.377879","DOIUrl":"https://doi.org/10.7238/A.V0I28.377879","url":null,"abstract":"Desde el Media Art hallamos una larga serie de expresiones culturales de carácter innovador en respuesta a las nuevas inquietudes e intereses surgidos en la era de la posverdad. En la presente investigación se hará especial hincapié en el importante papel del hacktivismo para incentivar la participación ciudadana en la lucha contra la desinformación y el abuso de poder desde el ámbito más experimental de la cultura digital. Adoptaremos como objeto de estudio el corpus artístico de Paolo Cirio, por su interés al abordar el papel central de la información como medio y contenido creativo. En sus obras, la activación de originales mecanismos de visualización de datos e interacción con el usuario va dirigida no solo a denunciar injusticias y falsedades, sino también a estimular una intervención real sobre los propios hechos. A partir del análisis de algunas de sus principales aportaciones se establecerá un marco teórico original para la identificación de aquellas aportaciones creativas que entran dentro de la que denominaremos “condición transreal”. La relevancia de esta propuesta reside en el planteamiento de unas coordenadas para el estudio de aquellos proyectos transmedia de carácter interactivo, y en la mayoría de las ocasiones contestatario, capaces de brindar un nuevo modelo de relación con la audiencia y una atractiva estrategia de expansión del universo informativo desde el compromiso social mediante una acción directa sobre la realidad.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45518244","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 : 2021-07-09DOI: 10.7238/ARTNODES.V0I28.386317
Salomé Cuesta Valera, Paula Fernández Valdés, Salvador Muñoz Viñas
Digital technology, which appeared in the '80s and consolidated itself in the following decade with what was called the “third industrial revolution”, has transformed not only our daily environment, but also the way in which we produce and experience the artistic work. Digital art, a subcategory of the so-named art of the new media, presents multiple forms and is in continual evolution, parallel to the devices which make it possible; but its commercialisation in the contemporary art market becomes complex, so digital works present a series of characteristics such as the paperless ofice, obsolescence and reproducibility which may be considered to be not particularly profitable by collectors. Despite this, in recent months the sale of some digital artworks, to which numerous texts are referred to under the name of cryptoart, have increased notably, reaching figures in the millions for the first time in auction houses. The commercial success of these pieces is due to the fact that, together with the work's archive, they include a type of cryptographic certificate, the non- fungible-tokens or NFTs, which collect the the work's data and inscribe them in a blockchain; transforming a multiple and disseminated work into a digital item that is unique and traceable, whose property can be transmitted as one would do with any other object in the offline world. Although they favour in principle the creation and sale of digital art, NFTs present their own problems, especially related to their access, use and sustainability; are NFTs a permanent tool or only a method of fleeting speculation? How does this certification affect property and the author's rights? Is it possible and will it be sustainable to employ them as a strategy for the preservation of digital works? This article carries out an analysis of the principal characteristics and problems of digital art in a general sense, as well as the solutions and preoccupations which the cryptographic certificates offer in all aspects in the life of a work of art: production, dissemination and preservation.
{"title":"NFT and digital art: new possibilities for the consumption, dissemination and preservation of contemporary works of art","authors":"Salomé Cuesta Valera, Paula Fernández Valdés, Salvador Muñoz Viñas","doi":"10.7238/ARTNODES.V0I28.386317","DOIUrl":"https://doi.org/10.7238/ARTNODES.V0I28.386317","url":null,"abstract":"Digital technology, which appeared in the '80s and consolidated itself in the following decade with what was called the “third industrial revolution”, has transformed not only our daily environment, but also the way in which we produce and experience the artistic work. Digital art, a subcategory of the so-named art of the new media, presents multiple forms and is in continual evolution, parallel to the devices which make it possible; but its commercialisation in the contemporary art market becomes complex, so digital works present a series of characteristics such as the paperless ofice, obsolescence and reproducibility which may be considered to be not particularly profitable by collectors.\u0000\u0000\u0000Despite this, in recent months the sale of some digital artworks, to which numerous texts are referred to under the name of cryptoart, have increased notably, reaching figures in the millions for the first time in auction houses. The commercial success of these pieces is due to the fact that, together with the work's archive, they include a type of cryptographic certificate, the non- fungible-tokens or NFTs, which collect the the work's data and inscribe them in a blockchain; transforming a multiple and disseminated work into a digital item that is unique and traceable, whose property can be transmitted as one would do with any other object in the offline world. Although they favour in principle the creation and sale of digital art, NFTs present their own problems, especially related to their access, use and sustainability; are NFTs a permanent tool or only a method of fleeting speculation? How does this certification affect property and the author's rights? Is it possible and will it be sustainable to employ them as a strategy for the preservation of digital works?\u0000\u0000This article carries out an analysis of the principal characteristics and problems of digital art in a general sense, as well as the solutions and preoccupations which the cryptographic certificates offer in all aspects in the life of a work of art: production, dissemination and preservation.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48598450","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}
El registro volumétrico ofrece la posibilidad de trabajar con grabaciones de actores reales en producciones cinematográficas interactivas de realidad virtual. Queerskins: Ark (Szilak y Tsiboulski, 2020) es una de las primeras creaciones narrativas que aplican y exploran esta técnica, capaz de potenciar las respuestas empáticas de la audiencia. El presente trabajo parte del análisis de esta obra, con el objetivo de identificar los procedimientos de creación empleados en su construcción. Este estudio emplea una metodología cualitativa que se compone de tres fases. Una primera de revisión bibliográfica, posteriormente se profundiza en el proceso de creación de Queerskins: Ark a través de una serie de entrevistas semiestructuradas a los autores. Finalmente se analiza el metraje virtual aplicando un modelo propio diseñado en tres bloques. Los proyectos de investigación, llevados a cabo para comprobar el impacto de la narrativa audiovisual de RV en el espectador, siempre han optado por las estrategias de toma de perspectiva. La obra objeto de estudio, por el contrario, experimenta con la aplicación de recursos expresivos y artísticos con el mismo fin. Los resultados expuestos demuestran la existencia de métodos alternativos para generar respuestas empáticas en la audiencia.
{"title":"Estrategias del cine volumétrico para generar empatía en la audiencia. El caso de Queerskins: Ark","authors":"Francisco-Julián Martínez-Cano, Emilio Roselló-Tormo, Emilio Roselló-Tormo","doi":"10.7238/ARTNODES.V0I28.386381","DOIUrl":"https://doi.org/10.7238/ARTNODES.V0I28.386381","url":null,"abstract":"El registro volumétrico ofrece la posibilidad de trabajar con grabaciones de actores reales en producciones cinematográficas interactivas de realidad virtual. Queerskins: Ark (Szilak y Tsiboulski, 2020) es una de las primeras creaciones narrativas que aplican y exploran esta técnica, capaz de potenciar las respuestas empáticas de la audiencia. El presente trabajo parte del análisis de esta obra, con el objetivo de identificar los procedimientos de creación empleados en su construcción. Este estudio emplea una metodología cualitativa que se compone de tres fases. Una primera de revisión bibliográfica, posteriormente se profundiza en el proceso de creación de Queerskins: Ark a través de una serie de entrevistas semiestructuradas a los autores. Finalmente se analiza el metraje virtual aplicando un modelo propio diseñado en tres bloques. Los proyectos de investigación, llevados a cabo para comprobar el impacto de la narrativa audiovisual de RV en el espectador, siempre han optado por las estrategias de toma de perspectiva. La obra objeto de estudio, por el contrario, experimenta con la aplicación de recursos expresivos y artísticos con el mismo fin. Los resultados expuestos demuestran la existencia de métodos alternativos para generar respuestas empáticas en la audiencia.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44984801","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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