Artnodes最新文献_第4页

Hiperpublicación 100/24. Dos workshops performáticos para la investigación en la creatividad vernácula de internet Hiperpublicación 100/24。两个研究互联网乡土创造力的表演性工作坊

IF 0.3

Artnodes Pub Date : 2023-07-07 DOI: 10.7238/artnodes.v0i32.411264

E. Soriano

引用次数: 0

Relatos de anticipación que auguran mundos posibles 预示可能世界的预期故事

IF 0.3

Artnodes Pub Date : 2023-07-07 DOI: 10.7238/artnodes.v0i32.411200

Johanna Caplliure

{"title":"Relatos de anticipación que auguran mundos posibles","authors":"Johanna Caplliure","doi":"10.7238/artnodes.v0i32.411200","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.411200","url":null,"abstract":"Una vez más nos adentraremos en la construcción de mundos posibles mediante una teoría de ficción política situada en los márgenes de lo que hoy día llamamos Gaia o Chthuluceno. La ficcionalización de la teoría nos ha servido para configurar una teoría de mundos posibles que, más allá de especular sobre su potencialidad, se erige como un reservorio de posibles vivos, presentes y compartidos. Estos mundos posibles se esbozan a través de los relatos de anticipación (Despret) o las SF (Speculative Fictions), narraciones especulativas (Haraway) de forma cosmopolítica (Stengers). Es decir, mediante la especulación sobre cómo se conforma el conjunto de una «comunidad ecológica multiespecie», atendiendo a los diferentes puntos de vista de sus actantes y a los efectos de sus posibles interacciones. Este ejercicio de imaginación tomará como base la teoría, pero también ciertos casos de estudio vinculados a la producción de las artes visuales actuales. Así, esta «comunidad ecológica multiespecie» nos permite preguntarnos por sus posibles, sus relaciones o su configuración, así como sobre los mundos que son capaces de construir. Estos posibles traman historias de futurición donde los marcos temporales y espaciales diversos: el pasado, el presente y el futuro, el aquí y ahora, el entonces y allí se proyectan en la teoría de mundos posibles.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42992047","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}

引用次数: 0

Aesthetics of Hallucination: Ontology of Visual Kaleidoscopes From the Age of Myth to Virtual Reality 幻觉美学：从神话时代到虚拟现实的视觉万花筒本体论

IF 0.3

Artnodes Pub Date : 2023-07-07 DOI: 10.7238/artnodes.v0i32.411199

Sandra Cuevas, Reynaldo Thompson, T. Mukhopadhyay

引用次数: 0

Emerging themes in the Identifying Successful STARTS Methodologies project and exhibition 识别成功的STARTS方法项目和展览中的新兴主题

IF 0.3

Artnodes Pub Date : 2023-07-07 DOI: 10.7238/artnodes.v0i32.407435

D. Doyle, Richard Glover, Martin Khechara, Sebastian Groes

引用次数: 0

«No ideas but in things». I am sitting in a room, de Alvin Lucier, como dispositivo material-afectivo y ensamblaje vibratorio entre agencias humanas y no humanas “不是想法，而是东西”。我坐在阿尔文·卢西尔的房间里，作为人类和非人类机构之间的物质情感和振动组装装置

IF 0.3

Artnodes Pub Date : 2023-07-07 DOI: 10.7238/artnodes.v0i32.409943

A. Horta

{"title":"«No ideas but in things». I am sitting in a room, de Alvin Lucier, como dispositivo material-afectivo y ensamblaje vibratorio entre agencias humanas y no humanas","authors":"A. Horta","doi":"10.7238/artnodes.v0i32.409943","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.409943","url":null,"abstract":"El presente artículo propone un análisis de I am sitting in a room (1970), la obra más conocida del compositor Alvin Lucier (1931-2021), desde la perspectiva que ofrecen algunas de las nuevas corrientes del pensamiento materialista, la teoría del afecto y el realismo agencial. En primer lugar, se expondrá la singularidad del trabajo del compositor, destacando la importancia de su dimensión material-afectiva y examinando el sentido de la máxima de Lucier «no ideas but in things». Se revisarán los conceptos de ensamblaje (Jane Bennett) e intra-acción (Karen Barad), que se pondrán en relación con algunas aportaciones realizadas desde el terreno de los estudios sobre el sonido y la voz a la discusión en torno a la vibración. Después de explicar con detalle el funcionamiento de I am sitting in a room, se podrá entender la pieza de Lucier como una forma de «enredo» (entanglement) (Barad) que resulta de la intrarrelación vibratoria entre los afectos de los diversos actantes, humanos y no humanos, que participan en la obra. Finalmente, atendiendo a las capacidades performativas que Karen Barad atribuye a los dispositivos (apparatuses) científicos y su papel en la producción de fenómenos, se concluirá que I am sitting in a room puede entenderse como un dispositivo de carácter pluriagencial y transontológico que afirma la interdependencia entre materialidad y discursividad e invierte la experiencia fenomenológica, para descubrirnos otras formas posibles de sentir, decir y habitar el mundo.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48061814","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}

引用次数: 0

Situated formats around the science-art-technology debate: an introduction to European Digital Arts Festivals (DAF) 围绕科学-艺术-技术的辩论:介绍欧洲数字艺术节(DAF)

IF 0.3

Artnodes Pub Date : 2023-07-07 DOI: 10.7238/artnodes.v0i32.412422

José Luis Reyes-Criado

{"title":"Situated formats around the science-art-technology debate: an introduction to European Digital Arts Festivals (DAF)","authors":"José Luis Reyes-Criado","doi":"10.7238/artnodes.v0i32.412422","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.412422","url":null,"abstract":"Digital Arts Festivals (DAF) are one of the most booming situated formats and performative experiences for debate, dissemination, exhibition and artistic practice around the science-art-technology intersection. From Ars Electronica or Transmediale and CTM in Berlin to the Spanish Sónar, L.E.V. or MIRA, more than 50 Digital Arts Festivals have appeared in Europe in the last few decades. Although the paradigm of the “festivalization of culture” has received a great deal of academic attention, DAFs have been minimally analysed. What are Digital Arts Festivals? How do they differ from other festivals? How can we define, categorize and analyse these festivals in depth in order to understand their role in cultural production and artistic creation today? In order to address these questions, this article presents the first results of an empirical study which began at the end of 2020 and is still ongoing and which concerns the paradigm of Digital Arts Festivals in Europe. Based on qualitative, multi-sited and wide-ranging research, and having generated a list of more than 50 DAFs in Europe and conducted a first round of semi-structured in-depth interviews with 10 festival directors, I introduce a starting definition of Digital Arts Festivals. Based on three case studies from Southern Europe – the Semibreve festival in Braga, the MIRA festival in Barcelona and the ROBOT festival in Bologna – I present a theoretical apparatus and an analytical approach in dialogue with the concept of festivalscape, that allows us to expand the study of Digital Arts Festivals, especially from the tools of cultural sociology.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48671379","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}

引用次数: 0

Modelos de interacción entre ciencia y arte: subordinación y transferencia 科学与艺术的互动模式:从属与转移

IF 0.3

Artnodes Pub Date : 2023-06-15 DOI: 10.7238/artnodes.v0i32.413254

Darío Lanza Vidal

引用次数: 0

The art of environmental personhood and the possibility of environmental statehood 环境人格的艺术与环境国家的可能性

IF 0.3

Artnodes Pub Date : 2023-05-15 DOI: 10.7238/artnodes.v0i32.411208

Devon Ward

{"title":"The art of environmental personhood and the possibility of environmental statehood","authors":"Devon Ward","doi":"10.7238/artnodes.v0i32.411208","DOIUrl":"https://doi.org/10.7238/artnodes.v0i32.411208","url":null,"abstract":"This paper examines the impact that the concept of environmental personhood has had on art and culture, and suggests that projects such as The Embassy of the North Sea hint at the possibility of environmental statehood. First, it reviews how the Te Awa Tupua (Whanganui River Claims Settlement) Act 2017 – which granted juridical personhood to the Whanganui River in New Zealand – inspired the creation of new works such as Weathering, Embedding: Ochopee Trail, terra0, A Voice for the Eel, and F/EEL. Next, a heuristic model called the agency-personhood continuum (APC) is used to identify the aesthetic tropes of environmental personhood. Analysis indicates that artworks that represent environmental personhood often utilize strategies of amplification, translation, performance, time compression, and metonymy. Finally, this paper seeks to encourage new discussions by suggesting that The Embassy of the North Sea and “Theatre of Negotiations” anticipate the concept of environmental statehood, which has the potential to provide greater protections for natural entities that span multiple countries – such as the Amazon River, the Andes, the Atlantic Ocean, and the Pacific Ocean. Theoretically, environmental statehood could also provide greater representation in supra-governmental assemblies such as the UN General Assembly. Ultimately, this article suggests that the culture-law feedback loop for environmental personhood presents a new ontological paradigm that provides greater recognition of the agency, identity, and sovereignty of natural entities.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46662589","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}

引用次数: 0

Cuerpo fantasmal, naturaleza herida: potencias utópicas en las Siluetas de Ana Mendieta 幽灵般的身体，受伤的自然：安娜·门迪塔轮廓中的乌托邦力量

IF 0.3

Artnodes Pub Date : 2023-01-15 DOI: 10.7238/artnodes.v0i31.402840

Rosa Berbel

{"title":"Cuerpo fantasmal, naturaleza herida: potencias utópicas en las Siluetas de Ana Mendieta","authors":"Rosa Berbel","doi":"10.7238/artnodes.v0i31.402840","DOIUrl":"https://doi.org/10.7238/artnodes.v0i31.402840","url":null,"abstract":"El surgimiento del Earth-Body Art en la década de los setenta coincide con un momento de efervescente reflexión en torno a las posibilidades del cuerpo y la naturaleza en la creación artística. El protagonismo del giro performativo, el pensamiento feminista y las reivindicaciones ecologistas colocaron al cuerpo en el centro de las prácticas culturales y políticas, alentando nuevas comprensiones del género y la sexualidad, de lo humano y lo no humano. En este sentido, la serie Siluetas (1973-1980) de la artista cubanoamericana Ana Mendieta constituye una de sus más destacadas representantes, al fusionar las indagaciones sobre el cuerpo emprendidas por las performances Body Art con las propuestas del Land Art. Aunque la obra ha sido, con frecuencia, abordada críticamente desde las herramientas ecofeministas, consideramos que la idea del cuerpo en ella excede cualquier representación tradicional de la femineidad, para colocarse en un paradójico plano fantasmal que suspende los binarismos y sus jerarquías. A partir del espectro derridiano y del análisis de su potencialidad utópica, este artículo plantea una relectura de los cuerpos espectrales de Mendieta como cuerpos situados en un tiempo y un lugar indeterminados, un modo de subversión estética y política y la manifestación de una futuridad emancipatoria.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45728200","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}

引用次数: 0

Forging Emotions: a deep learning experiment on emotions and art 锻造情感:关于情感和艺术的深度学习实验

IF 0.3

Artnodes Pub Date : 2023-01-15 DOI: 10.7238/artnodes.v0i31.402397

Amalia F. Foka

{"title":"Forging Emotions: a deep learning experiment on emotions and art","authors":"Amalia F. Foka","doi":"10.7238/artnodes.v0i31.402397","DOIUrl":"https://doi.org/10.7238/artnodes.v0i31.402397","url":null,"abstract":"Affective computing is an interdisciplinary field that studies computational methods that relate to or influence emotion. These methods have been applied to interactive media artworks, but they have focused on affect detection rather than affect generation. For affect generation, computationally creative methods need to be explored that have recently been driven by the use of Generative Adversarial Networks (GANs), a deep learning method. The experiment presented in this paper, Forging Emotions, explores the use of visual emotion datasets and the working processes of GANs for visual affect generation, that is, for generating images that can convey or trigger specified emotions. This experiment concludes that the methodology used so far by computer science researchers to build image datasets for describing high-level concepts such as emotions is insufficient and proposes utilizing emotional networks of associations according to psychology research. Forging Emotions also concludes that to generate affect visually, merely corresponding to basic psychology findings, such as bright or dark colours, does not seem adequate. Therefore, research efforts should aim to understand the structure of trained GANs and compositional GANs in order to produce genuinely novel compositions that can convey or trigger emotions through the subject matter of generated images.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48085670","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}

引用次数: 1