Futuros Possíveis/ Possible Futures

Arte, Museus e Arquivos Digitais


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Internacionalização dos arquivos de Mídia Arte / Internationalization of Media Art archives

O fato de não haver hoje nenhuma iniciativa em direção ao que o teórico Oliver Grau chama de “Internacionalização dos Arquivos da Mídia Arte” – como nos moldes dos arquivos de astronomia organizados pela EURO-VO, por exemplo — nos força a investir em uma crítica do arquivamento digital no sentido amplo da expressão. Partindo da provocação da “febre do arquivamento”, perpetrada por Derrida, a crítica vai ter como base noções como memória terciária (Stiegler) diagramática operativa (Ernst) e “born-digital objects” — além de se inspirar em metodologias inovadoras, como a arqueologia de mídias.

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The fact that there is currently no initiative towards what the theorist Oliver Grau calls “Internationalization of the Archives of Media Art” – such as the archives of astronomy organized by the EURO-VO, for example – forces us to invest in a critique of the digital archiving in  a broader sense of the term. From the provocation of “archiving fever”, perpetrated by Derrida, the criticism will be based on notions such as tertiary memory (Stiegler), diagrammatic operative (Ernst), and “born-digital objects” – besides being inspired by innovative methodologies, such as archeology of media.

Guilherme Kujawski

Anúncios


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Arte digital, diálogos e processos / Digital art, dialogues and processes

Muitos dos trabalhos que envolvem a arte, ciência e tecnologia colocam em evidência seu próprio funcionamento, seu estatuto, produzindo acontecimentos e oferecendo processos, se expondo também enquanto potência e condições de possibilidade. Os trabalhos não são necessariamente apresentados para fruição em termos de visualidade, ou de contemplação, mas carregam também outras solicitações para experienciá-los. Outras solicitações de diálogos, interações e de hibridizações, em vários níveis e também com outras referências e saberes, incluindo as máquinas programáveis e/ou de feedbacks, inteligência artificial, estados de imprevisibilidade e de emergência controlados por sistemas artificiais numa ampliação do campo perceptivo, oferecendo modos de sentir expandidos, entre o corpo e as tecnologias, em mesclas do real e do virtual tecnológico, como um atualizador de poéticas possíveis.

Entre as dificuldades na realização, exposição, leitura e experienciação desses trabalhos artísticos, me parecem o uso e o entendimento das estruturas específicas, novas interfaces e dispositivos e das distintas intervenções poéticas inerentes, e que muitas vezes enfatizam o processo em detrimento do objeto. Dificuldades também que se iniciam no estranhamento do uso de instrumentos digitais e suas lógicas operacionais, mas que hoje se diluem, no que diz respeito às suas utilizações e que se tornam cada vez mais recorrentes no uso cotidiano de máquinas, interfaces e utilitários, como computadores, navegadores, DVDs, câmeras digitais, celulares, GPS, sensores, etc.

É só na medida em que os artistas possam também experienciar as tecnologias é que vão poder começar a construção de projetos e trabalhos artísticos no campo da arte digital, muitas vezes pautados numa prática de criação coletiva. Com o computador, e outros dispositivos, isto não seria diferente, é só com a sua disseminação que se constrói não só as experimentações e processos, mas também se articula os colaboradores e/ou público para esses trabalhos, uma massa crítica. Temos então novo problema, que era distinto para muitos artistas: aonde conseguir esses materiais e equipamentos, como relacionar esses procedimentos e conhecimentos que não faziam parte de seus universos de referência iniciais e como manipulá-los, programá-los, hibridizá-los? Mas os trabalhos vão além das aparências e páginas de códigos, vão além dos dispositivos e interfaces e eventuais encantamentos -, trazendo a associação de universos complexos e na maior parte das vezes distintos, numa aproximação e coerência efêmeras, para trazer a sutileza dessas incorporações com novos olhares e conjugações.

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Many works involving art, science and technology bring to light its own functioning, its statute, producing events and offering processes, while also exposing themselves as potency and conditions of possibility. The works are not necessarily shown to fruition in terms of visuality, or of contemplation, but also demand other aspects to experience them. Other requests of dialogues, interactions and hybridizations, at various levels and also with other references and knowledge, including programmable machines and/or feedback, artificial intelligence, unpredictability and states of emergency systems controlled by artificial systems in an amplification of the perceptual field, offering expanded ways of feeling, between the body and technology, in blends of the technological real and  virtual, as possible poetics updater.

It seems to me that the use and understanding of specific structures, new interfaces and devices, and the different iinherent poetic interventions, that often emphasize process over object, are among the difficulties in the realization, exhibition, reading and experiencing of such artworks. Difficulties that also begin with the strangeness of the use of digital tools and their operating logic, but that today are diluted, regarding its uses and that become increasingly recurrent in everyday use of machines, interfaces and utilities, such as computers, browsers, DVDs, digital cameras, cell phones, GPS, sensors, etc.

It is only by experimenting with technologies that artists will be able to begin to construct digital art projects and artworks, often based on collective creation. With the computer and other gadgets, this would not be different, and it is only with their dissemination that experimentation and process is made possible. This is also necessary for the articulation of collaborators and/or audience for such works, in the development of critical approach to them. We have then a new problem, which was different to many artists: where to get these materials and equipment, how to relate these processes and knowledge that were not part of their initial fields of reference and how to manipulate them, program them, hybridize them?

However, such works go beyond appearances and code pages, and gadgets and interfaces, and eventual enchantments. They deal with the association of complex universes, often very different among them, with ephemeral approach and coherence, to convey the subtlety of these incorporations with new gazes and conjugations.

 

Gilbertto Prado


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Salvo pela cópia / Saved by the copy

Colecionar geralmente tem a ver com objetos raros ou únicos. De selos a obras de arte, o ato de colecionar ocorre em uma economia baseada na escassez. Mas a escassez raramente é uma questão no âmbito digital, no qual um arquivo pode ser copiado ad libitum sem perder a qualidade. Esse também é um dos motivos pelos quais é tão difícil convencer colecionadores públicos e privados a colecionar obras de arte digitais.

Se olharmos por outro ponto de vista, porém, poderemos perceber que copiar e compartilhar têm um potencial extraordinário. Arquivar não é mais apenas um ato ligado ao poder, instituições e autoridade: torna-se um fenômeno social. Esta palestra vai girar em torno de coleções de artistas de peças digitais, e sobre alguns casos de escassez artificialmente produzida e suas consequências.

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Collecting usually has to do with rare or unique objects. From stamps to works of art, the act of collecting occurs in an economy based on scarcity. But the shortage is rarely an issue in the digital realm, in which a file can be copied ad libitum without losing quality. This is also one of the reasons why it is so difficult to convince public and private collectors to collect digital artwork.

If we look from another point of view, however, we realize that copying and sharing have an extraordinary potential. Archive is no longer just an act connected to power and authority institutions: it is a social phenomenon. This talk will revolve around collections of pieces of digital artists, and on some cases of artificially produced shortages and their consequences.

Domenico Quaranta

<div style=”margin-bottom:5px”> <strong> <a href=”http://www.slideshare.net/futuros_possiveis/domenico-quaranta-salvo-pela-cpia-saved-by-the-copy&#8221; title=”Domenico Quaranta – Salvo pela cópia / Saved by the copy ” target=”_blank”>Domenico Quaranta – Salvo pela cópia / Saved by the copy </a> </strong> from <strong><a href=”http://www.slideshare.net/futuros_possiveis&#8221; target=”_blank”>Simposio Internacional Futuros Possíveis | International Symposium Possible Futures</a></strong> </div>


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Inter-Facing the Archive:The Media Art Portal netzspannung.org

Netzspannung.org and its groundbreaking interfaces create cognitive and data structures. What has been created here is a model for an international educational infrastructure that deserves imitation.” (Peter Weibel)

In most cases, that which has been concealed in digital archives is represented in lists and other index-card-like digital archives. As much as this form may be expedient for scientists, it has far less inspiring effects through the Internet, and on exhibition visitors.

Netzspannung.org has been online since 2001, and offers multiple accesses to valuable sources of knowledge. One interface here comprises the rubric “Tele-Lectures” by scientists and artists. Up to 150.000 international visitors access over 200 hours of Tele-Lectures and experimental study and teaching modules per month. Over 2.500 descriptions of works, texts, pictures and videos drawn from art design, music and computer science are available in the area “Archives”, and the e-Teaching platform. With current affairs, the rubric “Media Art Research” shows, among others, the extent to which artistic work is a research activity.

At the same time, Monika Fleischmann and Wolfgang Strauss develop not only new processes of data acquisition, but also scenographically orchestrate the archive for the exhibition space. Thus, the “Media-stream Browser” transforms the passive archive into an interactive flow of information containing pictures and texts. The “Semantic Map” facilitates a visual navigation, and, with the aid of the semantic map, makes possible an individual discovery of interrelations and connections.

In his publication “100 Products of the Future”, physicist and Nobel Laureate Theodor W. Hänsch counts the “Semantic Map” among the pioneering ideas destined to transform our lives.

Monika Fleischmann & Wolfgang Strauss

<div style=”margin-bottom:5px”> <strong> <a href=”http://www.slideshare.net/futuros_possiveis/monika-fleischmann-wolfgang-strauss-interfacing-the-archivethe-media-art-portal-netzspannungorg&#8221; title=”Monika Fleischmann &amp; Wolfgang Strauss – Inter-Facing the Archive:The Media Art Portal netzspannung.org” target=”_blank”>Monika Fleischmann &amp; Wolfgang Strauss – Inter-Facing the Archive:The Media Art Portal netzspannung.org</a> </strong> from <strong><a href=”http://www.slideshare.net/futuros_possiveis&#8221; target=”_blank”>Simposio Internacional Futuros Possíveis | International Symposium Possible Futures</a></strong> </div>


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Por que visualizar dados?/ Why do we need dataviz?

Em um contexto contemporâneo, no qual conjuntos de bases de dados computacionais cada vez mais onipresentes podem ser criados, acessados, manipulados e alimentados por todos a qualquer momento e em qualquer lugar, necessitamos novas estratégias e metodologias para compreender e tornar compreensíveis essas complexas estruturas de informação. A obsolescência embutida nos ciclos de inovação da própria tecnologia, a digitalização massiva “de todos os objetos do mundo”, a portabilidade de memórias (e acervos) e de espaços de socialização, são algumas manifestações da cultura informacional. Práticas midiáticas de arte e design, que envolvem criação e modelagem de dados e a apropriação estética de mecanismos de processamento da informação algorítmica, exploram sentidos e potenciais nem sempre evidentes desses ambientes informacionais.

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In a contemporary context, in which sets of databases are increasingly omnipresent, and can be created, accessed, manipulated and fed by anyone at anytime and anywhere, we need new strategies and methodologies to understand and make understandable these complex structures information. The integrated obsolescence in the cycles of innovation of technology itself, the mass digitization “of all objects in the world,” the portability of memories (and collections) and spaces of socialization, are some manifestations of information culture. Practices of media art and design, which involves data creation and modulation, and aesthetics appropriation of mechanisms of algorithmic information processing, explore senses and potentials in ways not always evident in these information environments.

Daniela Kutschat Hanns

<div style=”margin-bottom:5px”> <strong> <a href=”http://www.slideshare.net/futuros_possiveis/daniela-kutschat-hanns-por-que-visualizar-dados-why-do-we-need-dataviz&#8221; title=”Daniela Kutschat Hanns – Por que visualizar dados?/ Why do we need dataviz?” target=”_blank”>Daniela Kutschat Hanns – Por que visualizar dados?/ Why do we need dataviz?</a> </strong> from <strong><a href=”http://www.slideshare.net/futuros_possiveis&#8221; target=”_blank”>Simposio Internacional Futuros Possíveis | International Symposium Possible Futures</a></strong> </div>


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Experimentando Arquivos / Experimenting Archives

Archiving means collecting and selecting, organizing and preserving; it means translating and transferring; it means evaluating, putting in context and safekeeping, as well as making accessible. Archives are never completed or complete; most are constantly being revised and expanded, and are so complex that a concrete query is absolutely essential in order for archives to serve as sources of useful enlightenment.

Artistic practice can proceed according to similar principles. The artist as gatherer, organizer or interpreter of information creates works, and can be seen, in a figurative sense of the term, as an archivist of highly personal artifacts. Particularly in these times of the internet as a sort of general Überarchiv and of the accompanying illusion that digital information is destined for eternity, media artists are coming up with highly individualistic approaches to the creative process and thereby raising issues that subsequently confront, among others, the institutions charged with the responsibility of conserving cultural objects. This presentation on the basis of the latest submissions to the Prix Ars Electronica—the cyberarts competition that has been held since 1987 and has received almost 54,000 entries in the form of documentations of media art and digital art—shows which forms digital art production can assume and which thematic bridges can be spanned to the artist as experimental archivist.

In addition to the presentation of related projects from the Ars Electronica network, the presentation will focus on the Ars Wild Card, a workshop & archiving tool. Ars Wild Card is a smartphone application developed by Ars Electronica Linz in 2011 originally as a participative workshop tool for exhibitions and interventions in public spaces. This application and QR codes assigned to each exhibited project make it possible to generate content about the works on display in a frame with which installation visitors can photograph the works and comment on them right on site. The application also permits personal impressions to be collected via online sharing at the http://awc.aec.at/ website. Plus, there’s the option of posting the substantively framed and commented images on all popular social media sites. At the exhibition venue, Ars Wild Cards printed out as postcards constitute a constantly growing collection of snapshots of the exhibition taken by visitors on site or via online participation. Visitors can also take printed-out Ars Wild Card postcards home with them.

For the first time, the Ars Wild Card will be extended to function as a documentation system for this conference setting. The outsourcing of the information collection process will be achieved via the Ars Wild Card system and by equipping the conference speakers and the audience in attendance with the smartphone application. This will be an experiment to see how the members of this group express their own personal points of view. All of the contributions will be exhibited during the conference, and can be followed online at the Ars Wild Card website.

Manuela Naveau


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NETescópio: Dez perguntas em aberto sobre a conservação de arte eletrônica / NETescópio: Ten unanswered questions about the preservation of electronic art

Partindo de Netescópio, o arquivo de obras de net arte do MEIAC (Museo Extremeño e Iberoamericano de Arte Contemporáneo de Badajoz, Espanha), como estudo de caso, uma série de perguntas referentes à conservação de arte eletrônica serão postadas na rede. Essas perguntas vão abordar os seguintes temas: o paradoxo de tornar o efêmero duradouro; a net arte como uma forma de intervenção ou performance em espaços públicos; conservação de código fonte e telas versus conservação do fluxo de instruções e ações que constituem o conceito da obra. E, em termos gerais, sobre a conservação da informação: qual seria a melhor tática a aplicar para garantir sua sobrevivência? A prática de conservação científica mais cara ou a hiper-reprodução compulsiva através de qualquer mídia disponível? Os sistemas sobreviventes são aqueles que se defendem melhor ou os que se reproduzem mais?

Departing from Netescopio the archive of net-art works from the MEIAC, as case study, a series of questions will be posted concerning the conservation of electronic art. These questions will address the following subjects: the paradox of making the ephemeral endurable; the net art as interventions or performances in public spaces; conservation of source code and screens versus the conservation of the flow of instructions and actions that constitute the concept of the work. And in general terms, regarding the conservation of information: øwhich should be the best tactics to apply in order to ensure its survival? øThe most expensive scientific conservation practice or the compulsive hiperreproducton through any media available? øAre the surviving systems those that better defend themselves or those that reproduce the most?

Gustavo Romano

<div style=”margin-bottom:5px”> <strong> <a href=”http://www.slideshare.net/futuros_possiveis/gustavo-romano-netescpio-dez-perguntas-em-aberto-sobre-a-conservao-de-arte-eletrnica-netescpio-ten-unanswered-questions-about-the-preservation-of-electronic-art&#8221; title=”Gustavo Romano – NETescópio: Dez perguntas em aberto sobre a conservação de arte eletrônica / NETescópio: Ten unanswered questions about the preservation of electronic art” target=”_blank”>Gustavo Romano – NETescópio: Dez perguntas em aberto sobre a conservação de arte eletrônica / NETescópio: Ten unanswered questions about the preservation of electronic art</a> </strong> from <strong><a href=”http://www.slideshare.net/futuros_possiveis&#8221; target=”_blank”>Simposio Internacional Futuros Possíveis | International Symposium Possible Futures</a></strong> </div>