(2009) Zubiaga, A. y Cilleruelo, L

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Abstract (spanish below)
Beyond our identity card, what we call identity has to do with what make us recognize others and be recognized, thus it relates to what make us be distinctive and remembered. There are those who want to be remembered in their individuality and those who are happy to form part of a collective identity. Many are called but few are chosen, and the chosen will be because of those called, by natural law, in a cycle of eternal recurrence. Why do we need to be recognized, individually as well as collectively? The answer to this question could be found in some type of evolutionary design, since it is possible to trace widely that pulse towards individual or group hegemony throughout the whole biological sphere.

We could then wonder why, for example, contrary to bees and probably the rest of other social animals, we are not satisfied with that immediate recognition between the I and the you, that is to say, the We, here and now, and nevertheless, we claim the past and project the future as legitimizing instances of our feelings of identity. We build beautiful and seductive stories about what we were and what we will be able to become, stories that constitute the most potent potion, the most captivating pheromone ever in existence. That segregating, and specifically human, code, reached its most exquisite perfection possibly when human beings learned to compose songs with lyrics. Feelings with memory. Songs to love, songs to work, songs to fight. Definitively, songs to unite and to disunite: the new means offer us the most crowded agora we could have ever imagined to sing our desire from the rooftops. That our wish becomes a reality is a more and more questionable aspiration.

Key words
identity, new media, reality, simulacrum.

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Resumen
Más allá del DNI, lo que llamamos identidad tiene que ver con aquello que nos hace reconocer y ser reconocidos. Por lo tanto, con lo que nos hace ser distintos y recordados. Hay quien quiere ser recordado en su individualidad, y quien se contenta con formar parte de una identidad colectiva. Muchos serán los llamados, y pocos los elegidos, y los elegidos lo serán por los llamados, por ley natural, en un ciclo de eterno retorno.
¿Por qué necesitamos ser reconocidos, tanto individual como colectivamente? La respuesta a esta interrogante puede que tenga que ver con algún tipo de designio evolutivo, porque es posible rastrear con amplitud esa pulsión por la hegemonía individual o grupal a todo lo largo y ancho de la esfera biológica.

Cabría entonces preguntarnos, por qué, por ejemplo, a diferencia de las abejas, y probablemente del resto de los animales sociales, no noscontentamos con ese reconocimiento inmediato entre el tú y el yo, es decir, el nosotros, aquí y ahora, y sin embargo, reivindicamos el pasado y proyectamos el futuro como instancias legitimadoras de nuestro sentimiento identitario. Construimos historias bonitas y seductoras sobre lo que fuimos y seremos capaces de llegar a ser, historias que constituyen la pócima más potente, la feromona más arrebatadora que se haya esparcido jamás. Ese código segregador, específicamente humano, alcanzó su perfección más exquisita posiblemente cuando el ser humano aprendió a componer canciones con letra. Sentimientos con memoria. Canciones para amar, canciones para trabajar, canciones para luchar. En definitiva, canciones para juntarse y separarse: Los nuevos medios nos ofrecen el ágora más atestada que jamás hayamos podido imaginar para cantar nuestro deseo a los cuatro vientos. Que ese deseo se convierta en realidad, es una aspiración cada vez más cuestionable.

Palabras clave
identidad, nuevos medios, realidad, simulacro

Cuaderno didactico publicado por el Departamento de Educación del Museo Nacional Reina Sofia con motivo de la exposición Máquinas y almas.
Este cuaderno didáctico a través de sus 45 páginas explora y aborda las principales claves de la utilización de los ordenadores en el arte: el arte digital.
Para ello se toma como punto de partida el trabajo de algunos de sus artistas más representativos: Theo Jansen (Holanda, 1948), John Maeda (EEUU, 1966), Sachiko Kodama (Japón, 1969), Evru (Zush) (Barcelona, 1946), Ben Rubin (EEUU, 1964), David Byrne (EEUU, 1952), Chico McMurtrie / Amorphic Robot Works (EEUU, 1961), Paul Friedlander (Reino Unido, 1951), Daniel Rozin (Israel, 1961), Daniel Canogar (España, 1964), Vuk Cosic (Serbia, 1966), Pierre Huyghe (Francia, 1962), Harun Farocki (República Checa, 1944), Antoni Muntadas (España, 1942), Antoni Abad (España, 1956), Natalie Jeremijenko.

Indice de contenido:

1. Defiendo lo digital. En este apartado se recogen algunas cuestiones técnicas sobre los ordenadores: bits, algoritmos y los principales modelos de computación a lo largo de la historia.

2. Lo digital en la práctica artística: plantea desde un punto de vista artístico introducción a lo digital.

3. Principales lineas de actuación de los artistas desde lo digital:

• Simulación: la simulación de imágenes, de la vida y de la mente
• El código como lenguaje y estética de lo digital
• Comunidades virtuales y redes electrónicas

4. Evolución y estado de lo digital

5. Bibliografía y recursos comentados

6. Glosario

http://www.brumaria.net/erzio/bookshop.html

Prólogo como paradoja por Antoni  Muntadas

LOS MEDIOS EN MANOS DE LOS ARTISTAS pueden convertirse en una paradoja —como la vida misma— se exprimen, se fuerzan, se retuercen, se les da la vuelta… al fin con diversos resultados.

La curiosidad y entusiasmo de los investigadores en dedicar tiempo físico y esfuerzo intelectual en rastrear, clasificar, informar y difundir trabajos y experiencias con medios recientes plantea otra paradoja: la de las promesas y utopías frente a las realidades vividas.

San Diego, 11 de julio de 2005

Indice del libro

Muntadas: Prólogo como paradoja

Capítulo uno. Net.art: historia y contexto

Laura Baigorri y Lourdes Cilleruelo: Net.art, cerrando un ciclo
Lourdes Cilleruelo: Manual de referencia para el artista de Internet
Lourdes Cilleruelo: Arte y comunidades virtuales: el aspecto creativo de la comunicación
Lourdes Cilleruelo: Soportes o entornos navegables e interactivos
Lourdes Cilleruelo: Las interfaces de Internet
Laura Baigorri: Artistas latinos making Global Art

La palabra del autor

Internet y otras redes. Conversaciones entre Arcángel Constantini (ME), Brian Mackern (U), Belén Gache, Jorge Haro y Gustavo Romano (Ar)
Lourdes Cilleruelo: Creando y manipulando el informe (ecosistemas de código, ordenadores y redes). Software art. Entrevista a Lisa Jevbratt
Pedro Soler: Game Art. Entrevista a Anne-Marie Schleiner
Salvador Biedma: Performance. Entrevista a Dora García
Lourdes Cilleruelo: Medios Alienígenas. Entrevista a Rafael Lozano-Hemmer

Capítulo dos. Arte, información y sentido en el territorio del caos

Laura Baigorri: Todo muta. La legitimación del Net.Art al margen del circuito artístico institucional
Lourdes Cilleruelo: Perdidos en el cluster del data: ser visible en Internet
Lourdes Cilleruelo: seARchT Engines: [Des]información

Capítulo tres. Artivismo

Laura Baigorri: El futuro ya no es lo que era. De la Guerrilla Televisión a la Resistencia en la Red
Lourdes Cilleruelo: Acciones anti-copyright: arte, transgresión y subsistencia
Laura Baigorri: Recapitulando: modelos de activismo (1994-2003)
Laura Baigorri: No más arte, sólo vida. 3.1. Del activismo simulatorio a las tácticas de suplantación en la red

La palabra del autor

Laura Baigorri: Muntadas (autour de la censure)
Ricardo Domínguez: Simulaciones perturbadoras
Laura Baigorri: Aproximaciones artivistas al tratamiento de la información online. Technologies To The People
Laura Baigorri: Experimentación y creación independiente. Heath Bunting
Laura Baigorri: La obra de arte como alucinación colectiva. Una conversación con 0100101110101101.org

Bibliografía referenciada
Bibliografía general
Recursos
Índice onomástico
Ímágenes

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INTRODUCTION
Communication is one of the principle aspects of artistic creation on the Internet and it also characterizes that medium. This text focuses on the creation of social networks on the Internet as an artistic resource and practice1, providing an overview of how these communication platforms have evolved and the resources that were determining factors in that process. Centred on initiatives arising in Spain, it examines creations from the early days of the Internet (late 1994) until the present (October 2006).

An analysis will be made of communication platforms (decentralized alternative channels) constructed by artists or for artistic projects using their resources and tools. It will take a chronological look at different projects related to user networks that have developed along with the Internet, from BBSs to the Semantic Web. Given that their primary purpose is based on creating social communication networks, those projects have a large social component, fostering the use of resources that make users the main producers and managers of information. Communication and collective creation, characterized by the simultaneous action of different users in real time, stand out as the protagonists of these artistic events.

Two different periods have been defined: the first, where the prevailing concept was that of archives and globalized access to information (E-lists, E-zines, and directories); and the second, where what predominates are collective creation, remixing, and classifying information so that it can be recovered and subsequently re-used (folksonomies, blogs, and wikis). Both periods include the idea of an archive where community contributions are gathered and classified. In order to gain a better understanding of the classification concept inherent to the idea of archives, we will review different attempts at order throughout human history.

In his essay The Order of Things: An Archaeology of the Human Sciences, Michel Foucault establishes three significant phases. The first is based on the idea of similarities (as exemplified by the figure of Don Quixote). The second responds to the Classical conception (until the 18th century) that posed an artificial, unique and unchanging order characterized by identities and differences, which introduced the possibility (it’s just a matter of time) of gathering all human knowledge into one room. Different thinkers as of the 19th century have contributed to the breakdown of the Classical model rooted in Cartesian rationality: Charles Darwin and his theory of evolution; Karl Marx and historical materialism and Marxist economics; Sigmund Freud and psychoanalysis; and Albert Einstein and the theory of relativity. Foucault mentions a third stage, comprising two ways of constructing natural history. In the first, time “draws a line perfecting the set of a classification table”, a sort of memory built piece by piece that ensures continuity (fossil: stable set). The second is constructed out of cases that together form a continuous network of species. That continuity is not assured by memory but rather by a project (monster: emerging set). Foucault demands a place for aberrations, given that, in his opinion, that is where differences emerge.

This double conception of evolution comprised by the figures of fossils (the idea of continuity, memory) and monsters (the idea of aberrations as an element allowing for emergence) can be applied to the two primary models of virtual communities: the first, where the idea of archives is foremost (E-lists, E-zines, and directories) which suggests the continuity of a linear, fixed, and immutable history; and the second, represented by monsters, something mutable, infinite, and emergent. This second idea places us in what is known as Web 2.0, in the construction of archives and social hierarchies of knowledge that attempt to solve problems like information overload and its heterogeneous character.

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Abstract
The birth of the World Wide Web and Mosaic Navigator has marked a crucial turning point in the history of the Internet – that is, the beginning of a primarily visual and multimedia phase. The development of the Internet as a multimedia space has been a direct result of the integration previously existing narratives and means already present in the web.

The following report is part of a more extensive research project titled, “Towards a More Authentically Expanded Cinema,” which has contributed significantly to the study of the Internet as a multimedia resource in two main aspects: firstly, in the experimentation of new narratives and visual aesthetics (from which the title of this report is derived) that encompasses various methods used on the Internet better known as Expanded Cinema (Youngblood, 1970). The second main aspect consists of New Methods of Audiovisual Transmission and Diffusion through the Internet. This can consist of streaming.art pieces all the way up to those that conceive the Internet as an audiovisual media archive space.

This report attempts to analyse the different narratives that are emerging from the resources available on the web through a more ample perspective (expanded cinema) while elaborating on the tools being utilised. New digital formats have generated new aesthetics which resemble known models of video-art such as the construction of video-walls or video installations through the use of GIF and Quick Time animation as is the case with the piece, Heated Pool (2001) by the German group T-2K: a web version of the famous installation il nuotatore (1984) by Studio Azzurro; as well as new narratives made through Hypertext and from new formats like Quick Time VR or Flash, and its elaborate interfaces. These non-linear narratives, that can be placed somewhere between traditional cinema and interactive books, have created such interesting terms as videoweb, web cinema, net.art.film, and interactive net.film, etc.

“I contractually bind to not keeping a copy of the site or duplicate if somewhere else”

With these words and contractually, Válery Grancher, who the Cartier Pour làrt Contemporain foundation had put in charge of developing the Internet piece “Self” (1), renounced the right to keep a copy of his site or clone it in another web page. The artist joked saying that he would be the only person who would not have a copy of his own work. Grancher referred to the fact that every time we access a web page, an exact copy of it is temporarily recorded in the memory of our navigator.

Since the appereance of means of technical reproduction, art has lost its quality of uniqueness and has therefore been derpived of its “aura of authenticity” of Walter Benjamin, which it loses in teh act of reproduction. With respect to other means, in the work of net.art this loss is expressed not only in its facility to be copied but also in its capacity to be distributed: “to be on-line means to be distributed” (3). Contrary to Benjamin, labels like “willingness to be copied” (4), established by the jury at Ars Electronica 1996 to evaluate WWWArt, value its capacity for reproduction: The success of a work of art is directly proportional to its dissemination and extension on the net. The Internet work is capable of expanding itself through this means, sending its virtual clones: teletransporting them. A year later the jury of the same festival expressid it like this:
“Survival” on the net is often about being copied: loading a copy of a webpage in your browser’s cache, giving out freeware or shareware (that is, copies of one’s program), offering people the possibility to copy, save, cut, paste and use information, pictures, programs, or other chunks of distilled ideas and creativity. Being copied on the net is indeed a measure of success: the more one’s page is linked to, the more one’s program or interface is used by others, the more people subscribe to one’s memes by replicating it, and the more viable and vivid the meme becomes, the better adapted it is.

This concept originally finds its explication in Richard Dawkins book titled “The Selfish Gene” where the autor puts forward the idea that we are nothing but machines whose job is the perpetual existence of the selfish genes of our cells. By analogy with genes, Dawkins builds the notion of “memes”: cultural information units, cognitive, behavioural patterns that propagate themselves and replicate through communication, a paradigm of a culture-based history of development. These units of cultural information are structured to survive on the web: copied, linked.

So therefore, the concep of “memes” goes against that of copyright. “to be copied” is synoymous with sucess on the net. The net.art can and should be downloaded and saved on our hard disk. With respect to thist subject, one of the most interesting cases is regarding the duplication of the website of Documenta X, by the artist Vuk Cosic. Before disappearance from the web, Cosic made an exact copy of it and put it on his website, an action that according to the author, the idea of ready-made was implicit. Reaffirming this theory Rachel Baker thinks that one of the most interesting processes of the net.artist is to redirect, reframe the information: “turning shit into gold”. Like, for example, the work “WWWArt Award” by Shulgin mentions, which recompiles works which where not made in the art senseand, following the tradition of Duchamp’s ready-makers, turns them into art.

1. About net.art

How would you define Internet art /net.art after 10 years of its birth?

While it might had make sense to give it one label back in 1994 I don’t think it makes sense today. I still do work with, about and on the Internet but I feel more connected to minimalist and conceptualist tradition than to a net art or even to a New Media “tradition”.

In your opinion, what is the most important contribution of net.art to the artistic context?

One important contribution are the new types of collaborations that have emerged – the type of inexplicit collaborations that was born on email lists and as a result of the nature of the medium. Examples range from Natalie Bookchin’s homework project to RSG Carnivore project.

Your artworks move among net.art and software art. How would you define your artworks? Are you considered yourself an net.artist?

I never did define myself as a net.artist. I am just an artist that got really excited about, and interested in, programming and the Internet.

2. Artists or programers? about software.art

Olga Goriunova, Alexei Shulgin in their article “Artistic Software for Dummies and, by the way, Thoughts About the New World Order” (READ_ME FESTIVAL 1.2 May 2002, Moscow) defines the artistic software as “software created for purposes different than traditional pragmatic ones. Such programs are not seen as tools for the production and manipulation of digital objects – from online bank accounts to works of art – they are works of art in their own right. Are you agree with this definition? Why? Why not?

Some parts of the definition seem right, others are more problematic.Software art is for sure art on its own, not a means of producing art. My software typically produces images but I don’t consider the images art, I consider the software, or the system, art. However the purpose of the art software can be a pragmatic one. It can be a tool and, I think you could make a tool for online banking as art. Just as you could make a bank as art (just as you could make a restaurant as art the way Les Levine did in the sixties.) As long as the tool knows it is a tool it can work as art. One of the necessary conditions for something to be art is that the ‘something’ has to be aware of how it is what it is – how it is and functions as painting, sculpture, performance, restaurant etc. So software that is art needs to be aware how it is software, and software that is too busy producing things might not be able to do so, but it could.

Pierre Levy argues interestingly in the early nineties in the text “The Art of Cyberspace” that artists need to shift their interest from the content, the products of processes, to the machines, tools and processes themselves in order to maintain some control over the meaning generated from their work. I.e. in order to maintain the traditional modern authorship role, artists should produce tools, something that in the modern tradition would per definition not be art at all.

What is the role of programmers in the art context? Artist or programmer? Is this question relevant? how do you understand the relationship between a artist and a programmer?

I am an artist who creates with programming. Just as people in many other fields spend most of their day programming. While the widespread usage of programming is one of the reasons for why it is an interesting art medium, it’s such an omnipresent “tool” nowadays that the term “programmer” might not mean much. It could almost be as meaningless as calling everyone that writes in a natural language on a daily basis, which is most of us, a ‘writer’. But the concept of an artist-programmer can be important in defining various types of computer based art. There are artists who work with programming as their medium and there are New Media artists who have no interest in engaging with the technology on that level. I belong in the first group and I might not even be a New Media artist at all (or at least I am rarely interested in what is labeled as New Media art).

Do you think that software is a “transparent” tool for the creation? if not, what is or in what of consist its influence at the artwork.? Why are you personally attracted to ‘software art’?

Of course no medium is transparent. A painting always talks about ‘painting’ on some level. However, because computer programming, networks and software are not isolated art mediums, because their specific history and diversity of usage, it is possible to immerse yourself in these mediums, expressing the mediums themselves, and be political in the same time. Even the formal level of these mediums is loaded with cultural significance. Writing code is a perfect medium for me, it allows me to be simultaneously formal, political and conceptual. In an interview in a Swedish news paper the German media theorist Friedrich Kittler said that in order to understand contemporary culture one need to know at least one natural language and one artificial language. I do believe there is something in that.

2. Searching for a context for your artwork…

In his famous article “Generation flash” Lev Manovich says “This generation does not care if their work is called art or design. This generation is no longer is interested in “media critique” which preoccupied media artists of the last two decades; instead it is engaged in software critique. This generation writes its own software code to create their own cultural systems, instead of using samples of commercial media. The result is the new modernism of data visualizations, vector nets, pixel-thin grids and arrows: Bauhaus design in the service of information design”

Are you identified with this description and, so that, with this generation flash?

Lev Manovich is correct in that there is a group of artists that do focus on the remixing and sampling abilities of computers. However, some of the work he is describing is not about that. What makes computers interesting for me is not how you can combine and simulate any other medium. I am not interested in the possibility to sample and remix, not in computers as universal machines manipulating symbolic abstractions of thoughts and natural languages. What fascinates me are the networked and layered aspect of these technologies, the protocols constructing them and what emerge from these protocols. What the unintentional sampling and remixing taking place in them is saying about us as a species and the world. I think code, computers and networks are forming a whole new entity in themselves. Not like any other before. It’s ontology is somewhere between an organism and a geology, an eco system of some sort. (I call it the Infome.) And that is probably not only modernist but a supermodernist stance.

5. About your artwork

Internet is a medium very popular, many people access to Internet everyday, however most of them don’t know its real essence, technical infrastructure and its strategies (I am thinking in Jon Ippolito’s article “ten myths about Internet.art” ) Do you think that projects as 1:1 (data visualizing and internet cartography) and Stillman (collaborative information filtering) are necessary for this reason?

Yes, I do want to make people aware of the cultural assumptions inherent in computer and network technologies and I do want to show that we have access to these technologies on many levels, not just as consumers and “content” providers.

What does the aesthetics of code consist of?

I don’t think most artist-programmers are as interested in aesthetics of code as they are interested in the aesthetics of systems. The system of course reveal the code in some way but the code could typically have been written many different ways to produce the same system. Art is inherently concerned with the perception and use of the work, and what is experienced is the system, not the code. Personally I believe that the choice of computer language to use is a more important aesthetic decision than how you actually write your if-statements and loops in that language.

What are you working in now? What are your new art projects?

I am still doing various data tracing projects. One project I have been working on for some years, The Infome Imager, is a collaborative tool allowing users to create Web crawlers that collect and visualize behind the scenes data from the Web.

4. Free.software

Why do you think there is so much interest at the moment in free software? Is the free software movement important for the art? Why?

One of the most interesting aspects of network and computer technologies is that they create and emphasize new, inexplicit, modes of collaboration and that they allow us too look at us as a collective intelligence, as a species, an eco system or possibly even as one organism. The free software movement simultaneously facilitates and thrives on this fact.

Full text : http://jevbratt.com/interviews/cilleruelo.html

Ciclo de conferencias “La vida de los insectos” organizadas con motivo de la exposición Insectos, un dispositivo de Francisco Ruiz de Infante pensado especialmente para el Centre d’Art la Panera, con un hilo conductor: la vida de los insectos, como metáfora de la vida de los humanos. Este recorrido acoge una muestra colectiva reunida bajo la misma temática.

Diapositivas de la conferencia en PDF

Enlaces de textos y proyectos  relacionados: http://www.dariola.net/docs/insectos.html

De las colonias de hormigas a las redes telemáticas resume el contenido de esta conferencia que analiza las analogías entre las colonias de hormigas y las redes telemáticas y cómo las estructuras y dinámicas de las primeras son estudiadas para su aplicación en biomodelos informáticos. El doctor Marco Dorigo es uno de los investigadores que trabajan en esta línea, es decir en la computación bioinspirada para la creación de robots hormiga.

Internet puede ser considerada como una gran colonia de hormigas, una gran mente colectiva en la que se desarrollan dinámicas colectivas y emergentes. En esta línea de procesos colectivos y emergentes se encuadra la web.2.o:

• Los nuevos modelos de comunidades apuestan por una Internet entendida como una gran mente colectiva, donde sus componentes, al igual que las neuronas del cerebro, se rigen por un modelo no jerárquico reforzando sus conexiones según sus intereses, mediante su interacción y comunicación.
• Las taxonomías y las folksonomías deben de considerarse como herramientas complementarias. Las fuerzas estabilizantes y desestabilizantes son igual de necesarias puesto que, citando de nuevo a Foucault, mientras que unas mantienen una continuidad (fósil) las otras dejan un resquicio abierto a la evolución (monstruo).

__________________________________________________________________________

Ciclo de conferencias. La vida de los insectos
Del 5 al 19 de junio del 2007, a las 19:30 h

Con motivo de la exposición + Insectos, y dentro del programa de actividades paralelas, el Centre d’Art la Panera, programa un conjunto de conferencias y actividades para indagar y reflexionar alrededor del mundo de los insectos. En este sentido, esta temática se abordará desde la disciplina científica de la zoología, desde el net.art y las comunidades on-line, y desde la disciplina de la literatura.

Insectos constructores o arquitectos?
Conferencia a cargo de Anna Omedes, directora del Museo de Zoología de Barcelona
Martes, 5 de junio a las 19.30 h

Los seres vivos delimitan espacios que les permiten mejorar la supervivencia y mediante comportamientos específicos construyen estructuras. Estas estructuras o construcciones pueden ser inmensas, microscópicas, sofisticadas, sencillas, individuales, comunitarias, aéreas, acuáticas, o subterráneas, pero todas tienen una razón de ser y unos constructores que sacan provecho. Se pueden encontrar construcciones en muchos grupos zoológicos, pero solo en las arañas, los insectos, las aves y los mamíferos las construcciones consolidan la mayor diversidad y complejidad. Los insectos sociales como las hormigas, las termitas, las abejas y las avispas llegan a construir estructuras grandes, complejas y sofisticadas. El trabajo en equipo (en casos formado hasta en ocasiones por un millón de individuos) permite la especialización de trabajadores para conseguir una mayor eficiencia. Los atributos constructivos de los insectos sociales los hace arquitectos?

Las comunidades artísticas on-line
Conferencia a cargo de Lourdes Cilleruelo, Doctora en Bellas Artes. Profesora universitaria, comisaria y autora de diferentes artículos sobre net.art
Jueves, 7 de junio, a las 19.30 h

Uno de los aspectos más interesantes de la creación artística de internet- y aspecto diferencial del medio- es que se basa en la comunicación. Esta charla centra su atención en la creación de redes sociales en internet como recurso y práctica artística. Su estructura plantea un recorrido a través de la trayectoria de estas plataformas de comunicación y analiza los recursos que han determinado su evolución. Al mismo tiempo, se presentará el proyecto Dariola.net, sitio web orientado a analizar este fenómeno y crear una plataforma de intercambio de recursos y herramientas para artistas, iniciativa en la que actualmente se encuentra trabajando Lourdes Cilleruelo junto con Mariano Maturana.

Víctor Molina. Doctor en Filosofía. Es profesor titular del Institut del Teatre de Barcelona y Director del área de teatro del Institut d’Humanitats.
Martes, 19 de junio a las 19.30 h

Desde la literatura, Víctor Molina realizará un recorrido por la exposición + Insectos a partir de las interrelaciones que se establecen entre esta disciplina y la disciplina artística.

Uno de los aspectos más interesantes de la creación artística de Internet – y aspecto diferencial del medio- es aquella que se basa en la comunicación. Este texto centra su atención en la creación de redes sociales en Internet como recurso y práctica artísticaⁱ. Su estructura plantea un recorrido a través de la trayectoria de estas plataformas de comunicación y analiza los recursos que han determinado su evolución. Centrado en las iniciativas surgidas en el Estado Español abarca las creaciones desde los inicios de Internet (finales 1994) hasta hoy en día.

En su ensayo Las palabras y las cosas Michael Focault cita dos formas de construir la historia natural. Esta doble concepción de la evolución recogida en las figuras de fósiles (idea de continuidad, memoria) y monstruos (idea de aberración como elemento que permite la emergencia) pueden aplicarse a los dos principales modelos de las comunidades virtuales: el primero en el que se marca la idea de archivo (listas de correos, e-zines, y directorios) que plantea una continuidad una historia lineal, fija e inmutable; y el segundo (folksonomías, blogs y wikis) representado por los monstruos, algo mutable infinito y emergente. Esta segunda idea nos sitúa en la llamada web 2.0, en la construcción de archivos y jerarquías sociales de conocimiento que intentan solucionar problemas como la sobrecarga de información y su carácter heterogéneo.

Dos conclusiones. En primer lugar, los nuevos modelos de comunidades apuestan por una Internet entendida como una gran mente colectiva, donde sus componentes, al igual que las neuronas del cerebro, se rigen por un modelo no jerárquico reforzando sus conexiones según sus intereses, mediante su interacción y comunicación. En segundo lugar, las taxonomías y las folksonomías deben de considerarse como herramientas complementarias. Las fuerzas estabilizantes y desestabilizantes son igual de necesarias puesto que, citando de nuevo a Foucault, mientras que unas mantienen una continuidad (fósil) las otras dejan un resquicio abierto a la evolución (monstruo).

5as Jornadas sobre Arte y Multimedia. Metanarrativa(s)?
CaixaForum, Barcelona 2005 (28- 29 enero)

Resumen

El nacimiento del World Wide Web en combinación con el navegador Mosaic supuso un antes y un después en Internet: el inicio de una etapa eminentemente visual y multimediática. El desarrollo de Internet como soporte multimediático vino determinado por la integración de medios y narrativas, previamente existentes, en el ciberespacio.

La siguiente comunicación forma parte de una investigación más amplia de título Hacia un auténtico expanded cinema que aborda el estudio de Internet como soporte multimediático en dos aspectos: el primero, la experimentación de nuevas narrativas y estéticas visuales -que da título a esta comunicación-, recoge diferentes prácticas en Internet entendidas éstas como cine extendido (Youngblood, 1970); el segundo, nuevos métodos de divulgación y transmisión audiovisual a través de la red, abarca desde trabajos relacionados con el streaming.art hasta aquellos que entienden Internet como archivo audiovisual.

Desde una amplia perspectiva (cine expandido) y adentrándose en su propia maquinaria, esta comunicación intenta analizar las diferentes narrativas que surgen de las posibilidades y recursos de la propia Red.
narrativas_internet