Variantologia Australis. Editors Siegfried Zielisnki, Eckhart Furlus and Claudia Giannetti.
Entre pelicula perforada y computadores. Editor Maria Paula Lorgia.
book launch website
Between punched film stock and the first computers. Editor Sean Cubitt and Paul Thomas.
Pat Badani Editor.
journal issue website
Alessandro Ludovico Editor.
journal issue website
Pat Badani Editor.
journal issue website
With Brian McKern. Editor Jose Jimenez.
Book on Kac's Website
Texts about the work of Eduardo Kac by: Karin Ohlenschlager, Arlindo Machado, Machiko Kusahara,
Gunalan Nadarajan, Eleanor Heartney, Hugues Marchal, Christiane Paul, Suzana Milevska, Linda Weintraub,
Didier Ottinger, Maria Teresa Vilarino Picos, Francisco Ali Brouchoud, Rodrigo Restrepo Angel,
Simone Osthoff, Susannah Schouweiler. Editor Andres Burbano.
Book on Kac's Website
"In his book "The Electroacustic Music in Chile - 50 years" Federico Schumacher dedicates one chapter
to introduce, describe and analyze the Asuar Digital Analog Computer:
COMDASUAR, a personal computer dedicated exclusively to musical purposes
built from scratch by Jose Vicente Asuar in 1978 in Santiago de Chile.
At the end of that chapter the author writes the following about the composer"
This paper revisits the work of engineer Konrad Zuse on the basis of an interview with his eldest son, Hšrst Zuse. It elaborates on historical, technical and cultural aspects of Konrad Zuse's work, paying special attention to the characteristics of the Z3 computer built in Berlin in 1941. This particular machine is considered today as the first binary, electromechanical, programmable computer. The paper places the Z3 in the context of film historiography and cinematographic alternative developments, taking into account the fact that the Z3 had an interface to read instructions from punched film stock.
The central idea of the paper is to present an intuitive approach for an interaction between some concepts from Neurosciences and the current discussion on the nature of cities. The original concepts come from interviews that the author made in Europe with experts on that field of Sciences in 2003/2004.
Here a fragment: "In other words, the most important aspect of the brain is not its structure, but what it produces: the mind, the consciousness. So there is an important lesson here to be learned, the most important thing of a city is not its divisions, its buildings, its neighborhoods or its traffic, the most important and mysterious thing of a city is what it produces. It is not easy to find a word, but I guess what a city produces is an Ecology, to put it in a more accurate way, what the interaction of structures and processes in a city generates is an Artificial Ecology."
One useful thing about this paper is that it has already been translated into Chinese. You can see that in the images that I will include. The text was already published in BAB2006 - Architectural Biennial Beijing catalogue.
Is a ...
In preparation for Siegfried Zielinski's visit to los Andes University, we decide to publish a small book compiling some representative texts from Zielinski's books. It is not an easy task, especially because it is the first time that a book dedicated entirely to the Zielisnkis writings appears in Spanish.
Some texts come from his book Audivisions (Amsterdam University Press), others form Deep Time of the Media (MIT Press), and others are not jet published. Given that to translate this academic and creative texts is complicated we decided to edit the book including some original texts in German and English.
By invitation of the adjunct curator of 2nd Architectural Biennial of Beijing, I wrote some reflections on the intersection between urbanism and brain structure - based on "ways of neuron project" interviews.
"In other words, the most important aspect of the brain is not its structure, is what it produces: the mind, the consciousness. So there is an important lesson here to be learned, the most important thing of a city is not its divisions, its buildings, its neighborhoods or its traffic, the most important and mysterious thing of a city is what it produces. It is not easy to find a word, but I guess what a city produces is an Ecology, to put it in more accurate way, what the interaction of structures and processes in a city generates is an Artificial Ecology."
more info coming soon
In the book "Performative Science and Beyond" by Hans Diebner, there is a chapter presenting "ways of neuron" in the context of the Basic Research Institute production. The Basic Research Institute at ZKM, Zentrum fur Kust und Medientechnologie was oriented to work in specific projects that can create "interfaces" between -so called - cultures. In this case the culture of sciences, and social sciences. Also there was a space for aesthetics and art in these researches. I was invited as "scientific in residence" to develop a web project there: a prototype of an on line documentary on Neuroscience research.
"Simulation mode: In this mode the simulation of a binary network is activated and enables to accede the content of the data base. The user has the possibility to interact with the information in an intuitive way, and simultaneously is able to visualize a network processing" [Fragment]Pg. 150.
Artist statement: "Hermeneutics * basic sciences = interface. This is the main element of the project in terms of interface conceptualization. For Hans Diebner,Physicist, the interface is a concrete space of relation between two spheres of scientific knowledge:
on one hand are hermeneutics or sciences of language and on the other are physics within the context of exact sciences. This space of relation is the interface, "interface" meaning the cultural, technological and artistic "place" where interpretation systems and phenomena themselves are connected.
This powerful and complex concept of "interface" is the most important reason to develop a scientific documentary with interactive profile that aims to understand and give structure to the notion of interface according to the nature of its content, being always aware of the role of this project in the cultural, artistic, scientific and technological scenes"
This text is part of a project that explores different strategies for a dynamic articulation of two discourses in Latin America: on one hand, a deliberation on science, technology, and society, and on the other a thought on contemporary aesthetics. Different phenomena, which share the revealed problematic between biology, technology, and art, will be taken in account for the sake of the essayŐs development.
Contemporary art, art and science, Latin-American art, technology and
This is a paper published in a Social Sciences indexed magazine, this issue was dedicated: Technology and Society. The editor is Professor Jesus Mart’n Barbero
"ISEA 2004: 12th International Symposium of Electronic Art
The idea of an "ocean crossing" is common when talking about the result of meaningful journeys at the conceptual, aesthetic or even technical levels. The node which plays home to the ISEA 2004 event is a place where this crossing is seen not only as a metaphor, but as a practical necessity in order to take on ArtŐs problems in terms of its relationships with its geographical, social and technological surroundings. First: the boat trip on the Baltic Sea between Helsinki, Stockholm and Tallinn. Tallinn, the capital of Estonia, hosts the second part of the event, before the trip continues on to Helsinki where the event closes. The first tentative name for ISEA 2004 was ŇWhen the New Technologies Became OldÓ.Ó
"Hipercubo is an academic research project that is developed since 1998. The main purpose is to study the relations between art, science and technology in Latin America. Hipercubo/ok/ is a print book + a CD ROM (experimental software) that materializes the research that we have been working on all these years. This project has three interesting fields to show/display in Bridges II:
The process of the production of the book. It was a compilation conformed of different papers. Articles, essays and interviews were written by scientists, artists, technicians, who live in different countries and cities (Argentina, Brazil, Chile, Colombia, Spain, France, Italy, Mexico, Uruguay, and the USA.). The process of the book was to generate a collaborative meeting through electronic media. - The analysis of the contents of the papers allowed us to draw up a brief history of the processes of experimental communication made by artists since the 60Ős until now in Latin America. Showing a complex network of experimental communicative phenomena. - The experimental software. We considered pertinent to make a experimental CD ROM that worked like a bridge between the reflective and creative process of the book. This was done working in collaboration with an expert programmer Mr. Hernando Barragan who elaborates some samples of software art that includes an artistic browser which deconstruct the Web. Testimonies of collaboration between a researcher and a technician. It would be a pleasure for us to present in Bridges II our methods of work and the results of our research project".
Text for presentation the in Bridges II, Canada. [fragment]
If we can identify the Web as an appropriate medium to develop new artistic practices, we then need to sharpen our critical tools in order to identify those works that could truly be converted into a motivating force for authentic changes in these practices. It is not enough to work in a new medium or for the projects to be renewals or innovations. Even the idea of novelty for its own sake could be distrusted.
The Web is becoming one more medium within the arts, albeit an absolutely pertinent medium at this time. The point is, that if art has always made us visit new territories, the experiments on the Web and by means of the Web may be on the verge of transforming the broadest ideas of what we consider a work of art. The tele-presence, the unsuspected development of levels of interactivity, practices related to virtual activity, the interconnectedness among various kinds of technology, etc. are all beginning to create an enormous palette of possibilities of previously unsuspected styles of art".