Art & Technology

In Greek mythology, Panoptes was an all-seeing giant, with a hundred eyes, an epitet for Helius (the Sun, source of light) and Argus. Surveillance processes reflect the very complex features of how information and knowledge are being processed in the global society after the impact of electricity and light. Surveillance has a double nature: it makes ourselves transparent and it makes itself transparent to us. Therefore, it is difficult to see the broad map and to understand the deep processes of technology-based control going on in society. These processes are fed by Internet of Things, GPS-based tracking systems, mobile technologies and by the very contribution of personal data from society in a naive mode. This text will focus on these questions to analyse how light/ electricity impacted the way society is developing the dominant surveillance model: (1) who are the agents; (2) which are the tools; (3) which are the individual and social practices; (4) where and when does surveilla...

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The co mplexity of conn ections and relation ships th at articu late ou r so ciety h as transformed the way we conceive and project the spaces of communication: the rise of the World Wide Web has furthered the development o f complex systems to manage i nformation while the hierarchical c onstruction of cl assificatory sy stems has gua ranteed t he fi rst fo otsteps f or t he formalization of online knowledge. Notwithstanding, some popular taxonomies (folksonomy) have been growing. These contemporary bottom-up processes inscribe social relationships in networks: they show that every phenomenon is inter-related and that i t is possible to manage a s ustainable dimension of k nowledge by m eans of a col laborative ap proach. However, a part f rom t hat dimension of connectivity between people, the social role of information must be also considered. This r ole rel ates t o t he de -codification of links, deals, bonds a nd c ontamination bet ween t he different layers of knowledge invol...

Background: The parasites Toxoplasma gondii (T. gondii) and Neospora caninum (N. caninum) are globally distributed; they infect warm-blooded animals, including many avian species. The aim of this study was to evaluate the presence of these parasites in ostriches from central China. In total, 402 ostrich (Struthio camelus) samples (293 hearts, 77 brains, and 32 serum) from slaughterhouses of the Henan Province and Hebei Province were collected. The heart juice (n = 283) and serum samples (n = 32) were tested for antibodies to T. gondii using the modified agglutination test (MAT). Hematoxylin and eosin (H&E) staining, immunohistochemical (IHC) staining, and the polymerase chain reaction were used to examine the cysts and DNA of T. gondii and N. caninum parasites, respectively. Results: Antibodies to T. gondii were detected in 6.4% (20/315) (cut-off, 25). No cysts or DNA of T. gondii or N. caninum were observed in any of the 293 hearts and 77 brains. Conclusion: The results showed a low prevalence of T. gondii antibody in ostriches, compared to that in the other animals. N. caninum occurs at low to negligible frequencies in ostriches from China. This is the first report on screening ostriches in China for T. gondii antibodies.

This paper explores the social challenge posed by the complex environments in relation to knowledge management in which contemporary society and all its activities are immersed. The main question addressed is how information design can contribute to the construction of hybrid, bottomup and collective ontologies-in-progress and dialogue with the complexity of the practices around the construction of digital knowledge. We argue that it is necessary for information design strategies to deepen its understanding of the semantic web and the new forms of creation of ontologies. This research seeks to broaden the analysis of the role of information design in this moment of change so that design can find a concrete space of agency in such a scenario. Information design can develop an essential role in developing more suitable prostheses, more versatile instruments and simpler technologies. That is a great responsibility and a great opportunity. A new design approach is required to dialog with the strategies of a web-based culture, as an example of a complex phaenomenon (Lewin, 1992), among which we can find hybrid, bottom-up and collective ontologies, built in itinere with the contribution of users that trace definitions, associations and variations, in a kind of defective semantics, founded on co-tagging, mash-up and syndication. Design has the possibility to establish a rhetorical of project in order to create a dialogue between the social and the technical tissues. This means not only to produce a toolkit to support new scenarios with sustainable models, but also to suggest a vision of a different cultural apparatus, to offer a new way to online interaction, and new points of access to the knowledge.

In Greek mythology, Panoptes was an all-seeing giant, with a hundred eyes, an epitet for Helius (the Sun, source of light) and Argus. Surveillance processes reflect the very complex features of how information and knowledge are being processed in the global society after the impact of electricity and light. Surveillance has a double nature: it makes ourselves transparent and it makes itself transparent to us. Therefore, it is difficult to see the broad map and to understand the deep processes of technology-based control going on in society. These processes are fed by Internet of Things, GPS-based tracking systems, mobile technologies and by the very contribution of personal data from society in a naïve mode. This text will focus on these questions to analyse how light/ electricity impacted the way society is developing the dominant surveillance model: (1) who are the agents; (2) which are the tools; (3) which are the individual and social practices; (4) where and when does surveillance take place; (5) which kind of literacy is required to raise awareness about global surveillance and lastly, (6) how art can contribute to raise awareness in society. A general framework about the features, agents, tools, times and spaces of surveillance (a brief map of the impact of ICT and light on privacy) will be offered. Focusing on the core of the research questions we will explore how art is a critical response to the rise of surveillance and making surveillance processes visible (Trevor Panglen; Ubermorgen; Paolo Cirio), in different media (videos, installations, performances and critical objects). Among these art practices are inverse surveillance and reflexivity (Stephen Mann 1998) and Queer Objects (Zach Blass). The presentation will conclude with a synthetic map of the main aspects of the problem and a few indications about the role of art.

This article will contribute to a synthetic understanding of the factors that influence the subject's experience with digital data, in the presence of a new kind of 'materiality' that is formed in the confluence of physical matter and Information and Communication Technologies that I call Material-ict. The aim is to offer society a critical and creative way to deal with the process in which the electronic and physical dimensions of reality merge and enhance the awareness of the paradigm change that the Internet of Things is bringing to our experience. The article can contribute to the development of a new cognitive paradigm to challenge the current view that objects and environments are inanimate, and the shaping of a framework from which to reconsider interactions between people, social processes, things and environments in the society of knowledge. This framework offers insights into educative, technological developments and cultural programmes to integrate actants (actor-network theory) and citizens in the hybrid experience in which Internet, social processes and matter merge. The objective is to construct the first steps of an analysis framework to understand a few of the most important features that support the emergent model of representation that is impacting the subject's experience with digital data. In order to construct this framework, this research is grounded in the intersection of art, media and experience. The main dimensions analysed in the article are (1) the merging of digital and analogue forms of experience; (2) new actors and forms of interaction; (3) forms of heterogeneous knowledge construction; (4) lively interfaces and animated environments; and (5) biotechnological convergence. The article will show how the

This article will contribute to a synthetic understanding of the factors that influence the subject's experience with digital data, in the presence of a new kind of 'materiality' that is formed in the confluence of physical matter and Information and Communication Technologies that I call Material-ict. The aim is to offer society a critical and creative way to deal with the process in which the electronic and physical dimensions of reality merge and enhance the awareness of the paradigm change that the Internet of Things is bringing to our experience. The article can contribute to the development of a new cognitive paradigm to challenge the current view that objects and environments are inanimate, and the shaping of a framework from which to reconsider interactions between people, social processes, things and environments in the society of knowledge. This framework offers insights into educative, technological developments and cultural programmes to integrate actants (actor-network theory) and citizens in the hybrid experience in which Internet, social processes and matter merge. The objective is to construct the first steps of an analysis framework to understand a few of the most important features that support the emergent model of representation that is impacting the subject's experience with digital data. In order to construct this framework, this research is grounded in the intersection of art, media and experience. The main dimensions analysed in the article are (1) the merging of digital and analogue forms of experience; (2) new actors and forms of interaction; (3) forms of heterogeneous knowledge construction; (4) lively interfaces and animated environments; and (5) biotechnological convergence. The article will show how the

ABSTRACT.

En un contexto de crisis, el arte (entendido como producción) y la cultura (entendida como difusión de producción) han sido utilizadas desde las instituciones aplicando una lectura sesgada de lo que Virilio definía como industrialización de la visión.
La cultura audiovisual, en combinación con la utilización de los museos como elementos regeneradores de economías en declive, dan como resultado grandes edificios inabarcables físicamente en los que la visita está planteada desde el concepto de recorrido. En ese tránsito el control que el espectador ha tenido tradicionalmente sobre el tiempo que dedicaba  a la contemplación de las obras que componían una exposición, ha quedado anulada. En estos lugares, no hay lugar para la contemplación, las obras de arte se ven, en el mejor de los casos, se visionan. La sucesión de imágenes fragmentadas que componen la muestra, crean en la mente del visitante un relato visual que podemos relacionar directamente con el montaje audiovisual.

En paralelo a esta situación, se produce otra, condicionada por obras en las que la  duración pasa a formar parte de los elementos que componen la misma. Condicionan, no solo las circunstancias en las que se contempla una pieza, sino que añaden otra variación diferenciadora en lo que entendíamos por exposición.  Se produce una readaptación del significado de términos, ya que este tipo de obras obligan a dedicarles un tiempo de observación y una dedicación mayor. La pantalla consigue acaparar la atención, llegando a un cierto grado de recogimiento propiciando la contemplación.

ABSTRACT
In a crisis context, art (understood as production) and culture (as production diffusion) have been used for institutions applying a slanted interpretation of what Virilio defined as industrialization of vision. Audiovisual culture, combined with the use of museums as regenerators of falling economies, produce huge buildings where the visit is presented as an itinerary. As a result, the control that the visitor used to have over the time spent in in the contemplation of the works that constituted an exhibition, has left annulled. In these places, there is no place for the contemplation. The Works of art are just seen, or at most are viewed. The fragmented succession that constitutes the work, produce in the visitor’s mind a visual narration that is connected with the audiovisual editing.
Along with this situation, there is another one, caused by works where its duration becomes one of the elements which defines it. This kind of work not only determines the conditions in which the piece is contemplated, but add a new differentiating variation about we understood as exhibition. A new readjustment in the meaning of terms is provided, due to the fact that this kind of works requires a longer time of watching and more dedication. The screen is able to get attention, reaching a degree of seclusion, encouraging contemplation

La accesibilidad y popularización de sistemas digitales de registro de imágenes, han repercutido tanto en el mundo del arte como en el de la cultura visual, las industrias culturales  o cultura mainstream. 
La proliferación de imágenes ha dado lugar, por diferentes motivos que van desde la nostalgia, la necesidad de subir archivos de bajo peso a la red o la  reivindicación de  la desaceleración y el gusto por las cosas sencillas a situaciones en las que se hace alarde de la precariedad. Se recurre a los planos largos, al Low Tech, a los “errores” de los sistemas analógicos, a la recuperación en formatos en desuso, las imágenes de 8 bits,  al ruido visual, pero todo ello ya no ocurre desde la inocencia, ahora se produce desde el conocimiento no solo de la tecnología, sino también de la producción  derivada del uso de esa tecnología, ------------------------------------------------------------------------------------------------------------------------ The accessibility and popularization of digital image registration systems have affected both, the scope of art and visual culture, and also cultural industries or mainstream culture. the proliferation of images, for a number of reasons, ranging from nostalgia, the need of uploading low weight files, or the demand of slowdown and the taste for simple things, has provoked situations which flaunt precariousness. Long lasting shots, Low Tech,  characteristic errors produced by analoge systems, the recovering of unused formats, 8-bit images, visual noise, … but all this no longer occurs from the innocence, but from the knowledge of not only the technology, but the production  made by means of that technology.

Un proyecto artístico utiliza la caseta donde se aloja la maquinaria de elevación del puente de Deusto para darle un nuevo uso a un elemento del pasado industrial bilbaíno.
Ideado por Juan Pablo Orduñez / Mawatres en colaboración con Arantza Lauzirika, pretende recuperar un elemento del pasado industrial absorbido por el entorno para ser utilizado como lugar de exposición de una serie de intervenciones especificas realizadas por alumnos e investigadores de la facultad de BBAA de la UPV-EHU

En 1958, año en que las emisiones de Televisión Española se extienden a todo el estado, el artista vasco Jorge Oteiza realiza una pieza basada en la Unidad Malévich; un año después, pone fin a su actividad escultórica. Esta coincidencia anecdótica es la excusa para hacer un pequeño análisis de lo ocurrido en los años transcurridos desde el cese de la actividad escultórica de Oteiza a la popularización de la tecnología, la llamada Sociedad de la Ubicuidad y la aparición en escena de una nueva figura: el productor, generador, consumidor de contenidos (prosumer).

Este libro recoge textos de los organizadores e invitados a las jornadas AKME sobre Arte, Cultura y Nuevos Medios que se organizan desde 2004 con carácter bienal en la Facultad de Bellas Artes de Universidad del País Vasco / Euskal Herriko Unibertsitatea, con la intención de acercar al ámbito universitario prácticas artísticas en constante evolución, que por sus características especificas son difíciles de incorporar dentro del organigrama universitario.Las jornadas se basan en la muestra y exposición práctica de artistas que trabajan en parámetros de producción artística y creativa que no están predeterminados por la producción objetual... Tienen relación con la imagen, el sonido, los medios alternativos, el uso de las TICs en el arte y, en general, con la producción cultural más actual.En esta selección de textos se abordan temas relacionados con la producción artística y las licencias de distribución no convencionales y diferentes aspectos de la cultura visual, entendida como una tendencia que ha ido invadiendo diferentes entornos sociales, mediales y existenciales mediante los cuales se ha pretendido corromper los códigos de la política cultural impuesta.El libro quiere servir de reflexión para la organización de ediciones futuras, comprometidas con la idea de acercar una visión del arte lo más cercana posible a la realidad de las prácticas artísticas contemporáneas que han suplantando a los métodos tradicionales de producción, provocando un cambio en la naturaleza del arte y una redefinición de las teorías que se ocupan del papel del autor-artista.

Bilbao is a city that looks ahead towards the future through the eyes of culture, or at least that's how it seems. In fact, it is an old port village, transformed by the iron industry and brought down by the industrial decline of the 80s. After long years of transformation it has committed itself to culture as a regenerating element of an economy in decline and it seems that it has won. It has decided to provide the urban framework with big buildings designed by top architects, with a functionality typical of a city of services that, at the same time, act as sculpture attractions.