New forms of technology now support shared experiences between humans and other species and may enhance the function of nonhuman life forms. Design for the Non-Human, brings together artists and designers working on generative, agent-based artworks that either (1) allow a non-human life form to use technology in such a way that its abilities are greater than those of a non-technologically enabled member of its own species, or (2) extend the sensorium of us humans to the sensorial experiences of our companion species.
The experimental sound practices extend the acoustic referent of the conflict and produce cultural objects related to experiences of violence, displacement and social disparity. The Panel on Sonology will gather five artists-researchers whose works allow us to reflect on the role of music, sound art and sound design on communities disturbed by social inequality and violence. From differ- ent perspectives, the panelists will show personal modes of sonifying the conflict, discussing artistic experiences where experi- mental sound practices have been introduced in communities traced by social disruption: (1) Musical instrument building in the periphery, by Tomas Laurenzo (2) Acoustemology of the Armed Conflict in San Juan Nepomuceno, by Luz Eneida Ramirez (3) Mestizo Machines by Jorge Barco, (4) Sound: expression of the conflict and pedagogical tool, by Joaquín Llorca and (5) In the interstices of a memorial: A Review on Triangulation Gen- der/Sound/Technology, by Ana María Romano G. .
Training Methods for Transdisciplinary Collaboration: Best Practices and Didactics for Team Work
Roger Malina, G. Mauricio Mejia and Andrés F. Roldán / USA, Colombia University of Texas, Dallas, Universidad de Caldas
Collaborative work appears as a need for successful trans- disciplinary efforts and communal professional activity among individuals with different expertise. Collaboration frames activities in a scenario of mutual benefits, where each participant contributes with her work to personal and group goals. Collaboration is expected to augment individuality because participants’ peculiarities, strengths, knowledge, and skills may articulate and negotiate to achieve an integrated outcome, which could be more successful and constructive.
Collaborative work appears as a need for successful trans- disciplinary efforts and communal professional activity among individuals with different expertise. Collaboration frames activities in a scenario of mutual benefits, where each participant contributes with her work to personal and group goals. Collaboration is expected to augment individuality because participants’ peculiarities, strengths, knowledge, and skills may articulate and negotiate to achieve an integrated outcome, which could be more successful and constructive. However, individuals have limited abilities to exploit the personal and collective benefits of collaboration.
This text is a conceptual and formal analysis of works of video art, photography and activism in defense of women’s rights. It contextualizes the theoretical concepts of feminism, desire, liber- ty, reality, subversion or spectacle, in the framework of art and feminist critique in order to articulate an analysis running from the XXth to the XXIst century based on the theories of thinkers like Flusser, Lacan, Barthes, Debord and, more specifically concerning women, Lagarde, Beauvoir, Butler and Amoros. The aim is to show that art has had an important role in the diverse feminisms, contributing significantly to the improvement of the number of women in art and society, and that it continues to do so, being an accessible medium for reaching the dissident sector of the population, a medium that is creative in its confrontation, a medium whose duty is to communicate history and ensure that it is justly told, a tool for struggle camouflaged under the umbrella of art.
One of the discussions related to contemporary curatorial practices focuses upon the impact of new media and digital media in the formats and exhibition circuits. In addition to only exploring curatorships that showcase digital media art projects, what interests us in this article is to investigate how certain characteristics of media culture – such as collaborative processes and networking – are present in current curatorial practices.Examining this premise, we divided this article into two parts. In the first, we conducted a small curatorial history to show how the curatorial procedures have been adapted to the changes occurring in the field of contemporary art. In a second part, we use as a study case the curatorial projects developed by the Paço das Artes1 such as the Livro-Acervo, MaPA and Ex-Paço.
In this article I analyse performances, artworks and installations in audiovisual and contemporary art which emphasise tactile and corporeal experiences. This tendency can be observed in technological art, cinema and large visual attractions. I aim to demonstrate that due to technical developments and new tools, the possibilities now exist for new aesthetic experiences in which the body’s position and its biological reactions play a decisive role.
Andres Burbano Valdes, Felipe César Londoño, Juan José Díaz Infante and Esteban García Bravo / Colombia - Mexico - USA Universidad de los Andes, Universidad de Caldas, CEM, University Purdue
The Latin American Forum was a platform for trans-disciplinary and trans-cultural negotiations concretized in series of panels, workshops, roundtables, presentations, lectures, and exhibitions. The forum was operational four years in the framework ISEA: ISEA2010 in Germany, ISEA2011 in Turkey, ISEA2012 in the USA and ISEA2013 in Australia. Since the conception of the Latin American Forum, one of the goals was to propose hosting an ISEA conference in Latin America, thanks to the hard work of a group lead by Universidad de Caldas finally ISEA will be hosted, for the first time in Latin America, in Manizales, Colombia. The Latin American Forum was a complex series of venues that intended to articulate a diversity of proposals ranging from digital culture to the technological arts, from the critical production to the historical perspective, from the science to the technology fields always with the question of geographical and cultural critical perspective. Latin American Forum participants came from: Argentina, Australia, Australian Aboriginal Communities, Brazil, Chile, Colombia, Germany, Mexico, Navajo Nation, Peru, Uru- guay, USA and Venezuela.