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      • Fecha
        2 junio, 2017

        Chris Marker, all the media/arts together

        Raymond Bellour / Francia

        Novelista, ensayista, crítico, editor, cineasta, proyectista, artista mutimedia, músico incluso, hay pocos campos en los que Chris Marker no sobresalió. Esta conferencia estará dedicada principalmente a la serie de obras que, desde Zapping Zone (1990) a The Hollow Men (2005), se han desarrollado como obras multimediales (instalaciones y CD-Rom), inventando nuevos espacios y nuevas constelaciones en una obra que, sin embargo, ha sido hasta el final fiel al cine.
      • Fecha
        2 junio, 2017

        Eastern Cultural Heritage, Digital Remediation and Global Perspectives

        Christin Bolewski / United Kingdom
        Loughborough University
        Paper

        The paper describes findings from a practice-based research project exploring cross-cultural influences between the West and the East by recreating the concept of Shan-Shui-Hua – the traditional Eastern landscape painting within the new genre of Video- Painting as wall-mounted flat screen video installation. It uses concepts of Art Appropriation, Remediation and Remix to re- investigate relationships of man and nature in Eastern traditional landscape art and philosophy and transposes the content to contemporary global environmental issues and digital visualization technology.
      • Fecha
        2 junio, 2017

        Art and Interaction: Language and Meaning Production

        Fernando Fogliano / Brazil
        UNESP
        Paper

        This study seeks to deepen the understanding of interactive processes in the field of technological art. For such, it will search in the studies of Mark Johnson and George Lakoff the necessary elements for the production of a perspective able to offer a deeper understanding of the processes that involve the production of meaning and aesthetic experience.
      • Fecha
        2 junio, 2017

        Mechanisms of Listening and Spatial Mental Imagery

        Luca Forcucci / Switzerland
        with support from The Swiss Arts Council Pro Helvetia
        Paper

        Listening requires attention, engagement toward an environment, and relies on subjectivity and (self) consciousness. The paper explores mechanisms of listening in the sonic arts through an on- going research based on art process informed by cognitive science. The project focuses in particular on the American composer Pauline Oliveros’ concept of deep listening (Oliveros 2005). She proposes an expansion to all what is humanly possible to listen to. It leads to the phenomenal world that lies inside the auditory cortex about one’s personal space perception. To engage toward an environment as a sonic architecture and as a perceived atmos- phere, necessarily involves the body. Sound and space are linked to vibration, and resonating energy within the body may result in mental imagery of space. The vibrational aspect of sound through experience provides new ways for spatial perception, as well as new paths in novel philosophy of sound and auditory perception. That is, the paper investigates fields of possibility of sonic meaning and experience in mind in relation to the world. Collaboration with cognitive science includes the investigation of body perception in relation to a spatial ecology.
      • Fecha
        2 junio, 2017

        Image Manipulation Practices through the History and Evolution of Photography

        Rafael Ángel / Colombia
        Corporación Universitaria Autónoma de Nariño
        Paper
        http://www.aunarcali.edu.co

        Etymologically, photography can be understood as an image painted with light, but in a more complex view, its definition has evolved from the analog processes used since its early days to the digital practices we witness today. Industrialization and new technologies applied to visual arts have affected the way people see these practices, have changed its values and pushed its boundaries, forcing artists and amateur performers to reevaluate the limits and possibilities of their disciplines to approach new territories through innovation and exploration.
      • Fecha
        2 junio, 2017

        Production Processes of Mexican Digital Artists

        Cynthia Villagomez / Mexico
        Universidad de Guanajuato
        Paper

        My hypothesis is that the observation of processes, products and context of Mexican digital artists’ activity reveals common patterns that define Mexican Digital Art as a distinct artistic area. Through a qualitative research which included semi-structured interviews applied to eight artists, I was able to gather and ana- lyse data that confirmed my hypothesis. No other virtual or physical documents address this issue with the perspective shown in my research.
      • Fecha
        2 junio, 2017

        Avoid Setup: Insights and Implications of Generative Cinema

        Dejan Grba / Serbia
        New Media, Faculty of Fine Arts, University of the Arts in Belgrade; Digital Art PhD Program, Interdisciplinary Studies, University of the Arts in Belgrade
        Paper
        http://dejangrba.dyndns.org

        Generative artists have started to engage the poetic and expressive potentials of film playfully and efficiently, with explicit or implicit critique of cinema in a broader cultural context. This paper looks at the incentives, insights and implications of generative cinema by discussing the successful and thought-provoking art projects that exemplify the complex connections between the creativity in cinematography and the procedural fluency which is essential in generative art.
      • Fecha
        2 junio, 2017

        magined Geography, Border Futurism, Guatemex

        Claudia Pederson / USA
        wichita state university
        Paper

        This paper examines Guatemex (2006), an intervention at the border of Mexico and Guatemala by three Mexican artists, Rene Hayashi, Eder Castillo, and Antonio O’Connel. I discuss the project’s significance in relation to its conception as a concrete response to local needs, as it was designed to provide internet access and information to undocumented migrants crossing the interstitial space of Usumacinta River, the fluid border between Mexico and Guatemala. In this light, I also consider how Guatemex builds on, speaks to, and expand on notions about architecture, “border art”, “imagined geography”, utopian community, and “securitization”.
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