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      • Fecha
        27 mayo, 2017

        Colectivo +1

        Colombia
        El Colectivo +1 está conformado por los fotógrafos colombianos Santiago Escobar-Jaramillo, Federico Ríos y Jorge Panchoaga, quienes tienen amplia experiencia fotográfica, con publicaciones, exposiciones y distinciones a nivel nacional e internacional. Su interés por vivir la experiencia fotográfica se sitúa en varios frentes:  a. La producción en campo; b. La enseñanza y aprendizaje; c. La publicación y exhibición de la fotografía; y d. La colaboración mutua.  El espíritu del Colectivo +1, como su nombre lo indica, es trabajar en colaboración con otros fotógrafos, instituciones, organismos y personas naturales que puedan sumar desde las ideas y los productos sobre un tema específico. Su trabajo en conjunto ha sido presentando en Casa Tres Patios y MAMM de Medellín, Universidad Nacional de Colombia y Primer Encuentro de Narrativas Visuales Fujifilm en Bogotá, Festival Internacional de la Imagen en Manizales y en el libro Fiestas de San Pacho en Quibdó, entre otros. Además, son co-fundadores y curadores de @EverydayMacondo en Instagram.
      • Fecha
        27 mayo, 2017

        Germán Eduardo Gómez Uribe

        Colombia
        Diseñador visual, Especialista en Estética y Magister en Estética e Historia del Arte. Se ha desempeñado como creativo en el área de la gráfica promocional, alternando con la labor de docente en la Universidad de Caldas, la Universidad Autónoma de Manizales y en los últimos años como docente de planta del programa de Diseño Gráfico de la Universidad de Bogotá Jorge Tadeo Lozano, en la cual coordina el área de Gráfica promocional y el Semillero de investigación en gráfica para empaques.
      • Fecha
        30 mayo, 2017

        Notes about experimental film and video-art. A perspective of  filmmaking between ‘production effects'

        Carlos Mauricio Gómez / Colombia
        Universidad Nacional de Colombia
        akademik.mau@gmail.com

        Since the emergence of the seventh art has felt the need to explore even beyond what already 'established' to deepen the characteristics of an emerging new film, away from mercantilist and commercial purpose that this was coming permeating from Hollywood; It is so precisely as theoreticians, artists and experimenters in film managed to come up with other speech, accepted and valid from an audiovisual context. It can be stated that the experimental film and video art has not been made to understand, but from a viewpoint of subjective judgment within a given space and time, is unable to reach a result as such, but the process itself, the ideas they are covering what is observed; thus, an infinite range of views and interpretations is obtained.
      • Fecha
        30 mayo, 2017

        Beauty Technology: Seamless interactions through interactive cosmetics

        Katia Vega / Perú
        UTEC
        katia@katiavega.com

        Beauty Technology is a novel area of research that presents an exploration between the body surface, beauty products and digital technology. The concept stemmed from a multidisciplinary perspective; computing, chemistry, body anatomy, human behavior, electronics and design. By using Beauty Technologies, we are trying to move away from traditional wearable devices worn on clothes and accessories where gestures for interaction and electronics are noticeable.
      • Fecha
        30 mayo, 2017

        The Dermal Abyss: Possibilities of Biosensors as a Tattooed Interface

        Katia Cánepa Vega  / USA
        MIT Media Lab, Harvard Medical School
        http://katiavega.com

        Advances in biotechnology suggest new use cases outside the domain of research. The Dermal Abyss (d-abyss) is our proposal to create novel biointerfaces within the skin. D-abyss renders an interactive display by patterning into the dermis biosensors whose colors change in response to variations in the interstitial fluid. d-abyss is designed to use the aesthetics, permanence, and visibility nature of tattoos to encode information.
      • Fecha
        30 mayo, 2017

        Poietic Strategies in Artistic Practice

        Sophie Carolin Wagner / Austria
        RIAT – Research Institute for Arts and Technology
        scw@riat.at, https://riat.ac.at//

        The term poiesis, the basis for the adjective poietic, is derived from Ancient Greek and denotes an act that is directed to create something out of nothing – from poieo (ποιέω): 'to make'; to create something where there was void. Giorgio Agamben calls it in 'The Man with no Content': 'something passed from nonbeing to being, from concealment into the full light of the work. The essential character of poiesis was not its aspect as a practical and voluntary process but it being a mode of truth understood as unveiling, a-letheia (ἀ-λήθεια).' (Agamben, 1999, p.42) Poiesis stands thereby in opposition to practice, whose end in itself is action: the notion of the will to act. Poiesis on the other hand is not about being a volitional process, but one of revealing and with that a mode of veracity; a possibility for humans to find their own certainties.
      • Fecha
        30 mayo, 2017

        Manipulated States of Consciousness: An Artistic Exploration of Perception, Sensation and Immersion

        Bonnie Mitchell / USA
        Bowling Green State University
        http://bonnie-mitchell.com

        Bonnie Mitchell’s electronic art installations explore the concept of perception and altered emotive states via interactivity, immersion and audio/visual stimuli. Over the past 20 years she has developed a wide range of electronic interactive installations that have altered the participant’s sense of reality, time and place.
      • Fecha
        30 mayo, 2017

        The Eyes of the Gods

        Jane Chang Mi / USA
        Honolulu Biennial, Pepperdine University, and UCSB
        janecmi@gmail.com

        Ancient Hawaiians named the estuary that feeds Pearl Harbor, Wai Momi, or the river of pearls. Oysters (Pinctada radiate) once flourished in the harbor. The shells were used as scrapers to make cloth and rope; they were also carved into fishhooks. The mother of pearl was valued for its iridescence, often used to make the eyes of the gods.
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