ART & TRANSDISCIPLINE IN MEXICO
VOL.1 -2019
ENGLISH VERSION
BIOSCÉNICA. 20 YEARS MX-AR COLLABORATION NETWORKS PERFORMING ARTS, SCIENCES AND TECHNOLOGY ART AND SCIENCE IN MEXICO ART & TRANSDISCIPLINE IN MEXICO
VOL. 1 ENGLISH VERSION
EDITORIAL BOARD
BIOSCÉNICA Alejandro Ortiz González Ezequiel Steinman Minerva Hernández Trejo* Myriam Beutelspacher Alcántar
CONTRIBUTIONS Abigail Jara Durán* Alejandra Ceriani Ezequiel Steinman Kónic THTR Presents Luis Ángel Jiménez Barrios Marcela Rapallo Art & Transdiscipline in Mexico María Antonia González Valerio Vol. 1 Minerva Hernández Trejo Myriam Beutelspacher Alcántar This article collection gathers contributions from people engaged Nicolás Ortega in different ways with Bioscénica’s journey over the last 20 years. Reynaldo Thompson
Ricardo Cortés Espinosa Art, science, technology, education, performance, community, Tirtha Mukhopadhyay collaboration, empathy are the key concepts in this company’s work. To us, a transdisciplinary approach means willingness to get involved, EDITORIAL COORDINATOR AND DESIGNER to venture beyond knowledge spaces we recognize as our own, to Myriam Beutelspacher Alcántar build with the other new possibilities to modify and be modified.
PHOTO EDITOR AND ARCHIVE This first volume -of many, we hope- provides an account of the first Minerva Hernández Trejo steps that brought us this far, of the academic and artistic networks
woven as a result of our horizontal research creation methodology. COPY EDITOR
Alejandro Ortiz González We appreciate the support Bi / BBVA Bancomer Foundation Project for the program Plataforma Bioscénica 2018, which ENGLISH VERSION includes this present edition, in digital bilingual format. Ezequiel Steinman
CONTACT INFORMATION We wish to thank our collaborators who kindly contributed with [email protected] their texts and reflections, and those who responded to the open FB Bioscénica / TW @bioscenica call, with the conviction that following volumes will throw light Santa María Tepepan, Xochimilco, Ciudad de México on other aspects of this growing and expanding collaborative https://bioscenica.mx experience in Mexico and Latin America.
1st. Edition 2019 /////////// CC. Creative Commons Attribution-NonCommercial-NoDerivatives licence
* Sistema Nacional de Creadores de Arte ART & TRANSDISCIPLINE IN MEXICO ART & TRANSDISCIPLINE IN MEXICO
ART, SCIENCE AND TECHNOLOGY The Notion of the Living / Art, Science and Free Technology IN MEXICO International Festivals Minerva Hernández Trejo
Soft Acceptance or Refractory Life in Digital Performance Myriam Beutelspacher Alcántar
The Sense of Experimentation in Extra-scientific Fields María Antonia González Valerio
Nomad Plants: Symbols of Globalization Era (excerpt) Reynaldo Thompson & Tirtha Mukhopadhyay
From Star to Machine, by the Matter Luis Ángel Jiménez Barrios
Sorecer 360º Immersive Metaformance: Experiencing Ubiquity Abigail Jara Durán
Kinetophon, Thoughts on a Process Ricardo Cortés Espinosa
COLLABORATION NETWORKS: Performing Arts and Technology. Creating Scenarios to Experiment BIOSCÉNICA MEXICO-ARGENTINA and Produce in Transdisciplinarity Alejandra Ceriani
Artificial Grandparents at Laboratorio de Interactividad Corporal Ezequiel Steinman
Dialog Loom Marcela Rapallo
LABCET. INTERNATIONAL 14Skyline in the Context of Research and Creation Laboratory CO-CREATION METHODOLOGIES ‘LabCet / Epigénetica’ Kónic THTR
IMD + GeM live: ‘Empatïa 4.0’ Performative Co-creation Nicolás Ortega
Empatía 5.0 / DH Haptic Devices Minerva Hernández Trejo
IMAGE: RETROSPECTIVE MEMORY <<< EVD’58 BIOSCÉNICA RETROSPECTIVE Bioscénica. 20 years in Transdiscipline
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ARTS, SCIENCE AND TECHNOLOGY IN MEXICO
Bioscénica rises as the result of laboratories, groups and companies active since 1999, both independently and framed in public institutions, producing live arts and technologies creation, research and experimen- tation projects. In Mexico, it laid the foundation for a transdisciplinary articulation through the design of methodologies, curatorships and international festivals. With Translab, Cuerpo y Tecnología as the originating precedent (created at Medialab Program at Centro Multimedia / Centro Nacional de las Artes), we keep holding the purpose of giving value to the empirical knowledge gained through art production in the last 15 years of uninterrupted co-creation (1999-2014). Cu- rrently, Bioscénica combines these efforts promoting technology live arts with a poetics of its own, in the making for the last 20 years.
IMAGE: RETROSPECTIVE MEMORY <<< DESCONFIGURACIONES
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The Notion of the Living Art, Science and Free Technology International Festivals*
MINERVA HERNÁNDEZ TREJO BIOSCÉNICA 2012 2015 2016
Mexico is home of a constantly growing community that explores This event sought to open shared spaces for reflection, dissemination beyond traditional techniques, combines them seeking new forms and analysis on theater, dance and/or performance that use digital through very different approaches. technology in close relation with the body. It attempted to achieve experience and knowledge exchanges with the international community. The game, the party, the infinitely small and the large-scaled, the insistent search of new options, community processes, they all relate Tool learning was not this event’s focus, it rather emphasized on to pieces present in several contemporary international festivals. thought and sharing between international specialists and Mexican Among them, Transpiksel 2016 (the first edition hosted in Mexico City) artists, resourcing to a transdisciplinary methodology1 of experimental found a vacant niche, where the living and self-reinvention transcend nature, with the task of finding dynamic knowledge engines and disciplines. mechanisms for active participation.
In these festivals, the body becomes a medium not only of reflection The second reference is ‘Encuentro de Artes Performáticas, Ciencia y but of experimentation, a trigger of possibilities: the living reveals Tecnología: Efusión: código y producción de sentido’ which took place in underlying secrets, materiality lets go of its former importance, December 2015 in San Luis Potosí. Here the topic revolved around new experience and the community take over as a starting point. technologies’ ability to offer hybrid models of corporeity, generating dissenting subjectivities from modern normativity. I will single out two events held in Mexico in the past years, to then frame Transpiksel Mexico 2016, focused on knowledge sharing from Under this view, the technological device is understood as a catalyst the standing point of art, science and technology. for new possibilities and expressive languages that nourishes the * Text first published in Revista de la artifact; and as a device that embodies an expressive dimension Facultad de Artes y Diseño / UNAM: In April 2010, the first Encuentro‘ de Artes Performáticas y Tecnología: impossible to achieve with traditional stage tools. Consequently, the Artediseño 3, awarded with 2017 Arte Liveness: protésis, gesto y metáfora’ aimed to produce epiphanic transdisciplinary scene seeks to become an expressive aesthetic ‘event’ Editorial 4/4 prize in category: Art, given detonators for reflection and anticipation of new models, not only 1. Supported by program PADID: Cartografías: where human and device are indivisible, perhaps not ontologically by Cámara Nacional de la Industria of creation, but as we say, of a transcorporal, delocalized, prosthetic teoría, creación y experiencia. but indeed in the realm of expression, mutually redimensioned and Editorial Mexicana (CANIEM 2017). and collective subject. multiprojected.
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A new eloquence and dramaturgy emerge thanks to the fact that through its education program, Corporación Universitaria para el these artificial devices act astransducers of our unknown gesture Desarrollo de Internet 2, Casa Tepepan, among many others. and as process makers of new symbolic material, thus providing an Finding a community of creators and inventors willing to share their innovative form of perception and communication that questions us, knowledge source-openly (so to speak), allows us to seek beyond challenging us beyond our cultural or expressive limitations. authorship and property in art. More than an international festival, Transpiksel became an experience A free and collaborative space was born here, where processes are where artists, creators, engineers, scientists, inventors and makers shared in the fertile soil provided by the transdisciplinary encounter converge to share their knowledge. with art. Science and technology come close to a magical act, not only Here the task we set ourselves was to work for the common good, to because of its intrinsic possibility of creating or revealing different expand the technology we use for different artistic practices toward realities, but they also raise the flag of common good in a historical an open territory. The proposal we formulated in Mexico emphasized moment where individualism prevails. the need of reflection on the use we give to new media. Do it yourself, do it with others is a call to break through our own Transpiksel Mexico was held September 5 to 13, 2016, offered 18 limits, it is an invitation to grow together. To give unexpected uses workshops, 12 conferences, 14 live acts and one collective exhibition, to what surrounds us is a form of protest, a search for freedom. Transpiksel brought together 47 artists from 8 countries in 7 different Technology use is transformed, it becomes an ally, we turn its utility venues in Mexico City. This first edition was carried out by Arte+Ciencia into ‘our’ utility, thus we invent vanishing points, necessary horizons group from Universidad Nacional Autónoma de México (Facultad to become ourselves within the collective. de Filosofía y Letras) and independent collective Bioscénica, in close In a country so full of contrasts, appropriations naturally take place, collaboration with Facultad de Artes y Diseño (FAD / UNAM), Xochimilco tools are means, and means become tools with no permissions campus, with support of Secretaría de Cultura, FONCA, Instituto asked; the idea, the process is an open call to joy, to the unknown. Nacional de Bellas Artes, Ex-Teresa Arte Actual, Centro Cultural de A kind of Serendipity emerges here, each finding is nourished. Each España en México, Fundación Cultural Hersúa, Fundación Telefónica
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experimentation grows new research lines, generating pieces with no Chances are that Transpiksel will become a permanent laboratory, boundaries. Spontaneous crossings rise, eurekas, stimuli, questions, with no limits, hoping to weave a collaboration network that formed new possibilities come from playing, from trial, error and invention. a new skin for a world full of cracks. We imagine ways to heal our Whoever likes to experiment finds their home here, a home we build relationship with the world. together. Who could have imagined that disciplines would be back The more options the market puts out -surprisingly, not reflecting where they started, unseparated? any concern for common good-, the more unnecessary devices are As Peter Greenaway would reply when I suggested this idea to him produced, only achieving to lead us away from each other. That is in an interview held in 2000 at Museo Palacio de Bellas Artes, before why every new Transpiksel edition seeks to highlight specific geolocal the opening of his exhibition 100 objects to represent the world: ‘We problems, to define strategies we believe important. returned home’. In November 2016, Transpiksel’s precedent Piksel invited artists from Transpiksel erases the limits, it’s essentially collaboration, it’s a form a dozen countries to Bergen, Norway to carry out a new edition. The of resistance, it takes place among friends, accomplices, it’s a party central theme is marine world, which raises many questions: Are the that has just begun. A land so fertile that, just like water, it reaches fish we eat being ‘feminized’ due to pollution? How can we create an the least expected places: wherever we meet, ideas flourish. alternative communication network in the Post-Internet era? How to read the data the seas provide us? Is the ship a new tool for artistic Here we propose, we build, we share. ‘Me’ fades out and ‘we’ emerge mobility? Is it possible to carry out prototypes with ZERO-emission? with greater force . Biotechnology is no longer just a topic for scientists. Experimental This community has gone beyond the boundaries of mere common artists also research biological, biopolitical and bioefficiency issues spaces and seeks to recognize and strengthen knowledge transmission that affect society as a whole. Bioethics concerns us all. on the small scale, looking for new ways of perceiving the environment in order to figure out how to make a significant contribution from the trenches of science and art.
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As conscious citizens, artists pose these questions to the general public Precisely, the aforementioned festivals seek to entangle and incite through art pieces, performances and workshops where everyone new collaboration circuits, whether dealing with research, creation is invited to take part. and/or experimentation. These events offer different ways to create community and share knowledge from experience, theory, participation Piksel16 ZERO-level focuses on the biological and social aspects of and creation with a sensitive vision toward the environment and the the sea as sustainable environment. ZERO refers to: Zero-emissions, other, hence the relevance of the living as a guiding principle. Zero-waste, Zero-energy, Zero-pollution, Zero-plastic, Zero-waste. Furthermore, ZERO promotes bio-efficiency, bio-ecology, marine heritage, sustainable maritime transport, water as a creative canvas and civil commitment.
When so many arriving proposals reach beyond their own disciplines, a turmoil is generated due to the present collective experiment taking More information: http://transpiksel.bioscenica.mx place. All certainty on how we approach, understand, assimilate what we are grasping/learning is suspended. Here, the interdisciplinary gives way to transdisciplinarity. We seek to submerge participants in a quest for something yet nonexistent, from theory to practice, where the only manual is oneself. The viewer needs to be more and more active, here the spectator is part of the construction itself, becoming a transforming agent.
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Soft Acceptance or Refractory Life in Digital Performance Along six years of acting training techniques I observed that MYRIAM BEUTELSPACHER ALCÁNTAR dramatic action could be nourished by the digital medium for its UNIVERSIDAD NACIONAL DE TRES DE FEBRERO / BIOSCÉNICA symbolic construction potential. But it was as a consequence of my education as designer that I landed at Centro Multimedia, a place devoted to electronic art research at Centro Nacional de las Experience is the measure Artes, Mexico. While working there since 2002, my daily activity of all things was Internet-related. Over a decade, I was able to observe Mexican Fernando Broncano 1 artists at work in the field of robotics, virtual and augmented reality, generative images, electronic interfaces and interactive systems for the screen. The body-technology concept seemed to be ignored as, in either playful or experimental environments, The promises implied in digital culture scientific fiction often lead technology was the single standing protagonist. to false imaginaries, idealizing the Human as media transcendent, reduced to storable data, tending to prove that the physical body is Tactics of resistance obsolete, and virtualized reality more convincing than reality itself. Live arts call on these imaginaries whenever the presence of the In this context, as En-ACT collective, we created net-art piece spectator /performer /interactor is taken as mere biodata or digital Artificial /Espejo4 showcased at Centro Cultural de España in the input, a tendency I believe exposes an ontological issue. That is to framework of Juego Doble (Double Game), a 2004 exhibition. say, our notion of the body is shifting toward an idea of a ‘digital’ Although the piece presented a screen format, it was set up format existence. In this regard, if body-computer relationships coupled with Marcel.lí Antúnez Roca’s performance work necessarily require data input (commonly sensing vital signs) in Transpermia. Collective member and philosopher Liliana Quintero order to process code, for instance aesthetically manipulating wrote five hypertext essays that explored the notion of ‘being in Electronic mirrors represent data in real-time, then how could this reduction of singularity be the world’, breaking down the relationship between natural and us as we want to be, but also questioned? How plausible has it been to express the qualitative artificial. Her thesis resourced to the Greektekhné and to the as what we are not. They show universe of human presence with quantitative digital processes? concept of poiesis in order to think electronic art’s instrumental us artificial bodies incapable How to restore genuine substance to human experience in the task from different paradigms. In that theoretical-critical of dying, and doing so they digital age? In order to dislocate the nature scaffolding resonated the philosophical warnings on the dangers satisfy our utopia in effigie2 of technique, conventional tactics of technical seduction in postmodernity. Standing before Internet’s Hans Belting 3 require modification. It is certain overwhelming predominance of the image we considered that, as art moved from the ritual implementing two different tactics of resistance: shock aesthetics5 scope to the political, regulating and disobedient uses of technology6. We appropriated advertising I have reached out to technology for its connective, collective institutions emerge. In a way, the design and mainstream visual aesthetics as weapons to create potential. My artistic activity doesn’t grow from the settings but work of art becomes destined, as conceptual contrasts between recognizable forms and unexpected from an intuitive conjugation that recovers certain arsenal of Benjamin rightly observed, to a contents. immaterial tools the body withholds in itself. shock aesthetics. Liliana Quintero7
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We discussed how new media impacts were not only transforming In the piece, my actual house collapsed as a reflection of body human communication but also had direct effects on the body and fractures, using as a metaphor the irruption of mass media in the the experience. At that time, Artificial’s deepest reflections struck intimate daily space. It was necessary to reconcile the mediated a chord with me. I was going through the experience of leaving gaze with the real environment and body. behind my theatrical body to the point that, when working on the As artist-designer-system operator it’s you who pre-establishes computer, I felt I was blocking part of my proprioception. As a result the technical criteria of interphase use, but the experience of this project, I understood where that sense of partition was always holds the surprise factor in reserve. The whole body, coming from when dealing with interface design and, ultimately, it perception and psyche reformulate, and this adaptation process defined my art making-thinking. is not immediate, like a computational reaction. This in-between The world of electronic art suddenly revealed its bias. The great space allows for the emergence of contrasts, internal struggles, orthopedics of biopolitical society that emerged with the Nation- frustrations, confusions, and also fascination. State consisted in introducing disciplinary technologies of the body Later, when in 2010 we founded Translab, Centro Multimedia’s through enabling control and surveillance devices to collect data performing arts and technology research program, I spotted a from people/bodies. Naturally, this logics affects the art field and it different kind of outcome. We createdEmpatía 9, a performance somehow determines how electronic art is created and appreciated. duet with lit outfits that throbbed at heart rate. Four cardiovascular From the joy we find when inventing new thresholds of perception, I sensors allowed us to exchange frequencies between us and to propose to make this crack visible. A crack that reveals itself as soon connect with participants. Simultaneously, chromatic changes as we lay eyes on technologic fragility. To recognize technology’s in the garments’ optical fiber made visible the interweaving of Fantasies related to technologic vulnerability through the body’s own sensory vulnerability. This subjective relationships, configuring a kind of garment-subject- eternity were confronted with the might introduce the suspicion of the fragile epistemological collective. simple feasibility of a growing list universe that underlies digital technologies. However, at the end of the performance a curiosity gap opened up of the ephemeral. Indeed ma- and I felt that viewers approached trying to find themselves in the chines can die. device, no longer to empathize with me but with the fascinating Siegfried Zielinski 8 strangeness of the circuit that was calculating and translating Biases and Interferences themselves. That experience allowed me to detected the instant when interphase becomes interference. Their link with me was kept as long as the auratic container of the live act was there, and In 2008, for the sake of returning to the body and to move away then, somehow, the interphase began to operate under a human- from certain idea of ‘desktop’ art, I conceived the performance computer logic. Is that the mirror neuron closing the circuit? What Habitat-Draw (FONCA Jóvenes Creadores program), a site-specific is the relational space that enables interphase design like? Since intermedia project that involved digital drawing with infrared devices. the heartbeat is an invisible biodata representation, was it still experienced as a heartbeat or as an input-output effect? Then, what does its poetic force rely on?
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There is a soft acceptance of technological innovations At that point I have noticed we had to take a critical stance since that takes place every minute of outside is noticeable. It resembles a battle between mechanistic we were working on complex terrain and the interphase configures every day through massive media, predetermination and human will. a multi-relation device. The body, several bodies, including hardware, pharmaceutical pro- This is why I find it fundamental that us artists consider, at a While statistics compose a plan participants, performers, viewers are being directly confronted, ducts and the environment. theoretical, ethical, discursive or poetic level, the impact of of names-numbers representa- deformed or simply interpreted through computational means However, the same questions re- biometrics used as a technical filter of present body’s -either tions-form, experience always that are programmed by other human bodies. What parameters main: Will we evolve towards their own body or someone else’s- direct perception. Are we remembers the represented. are we resourcing to when we program artificial models that something we do not want to be? approaching a self-imposed validation system of the body as Fernando Broncano 10 observe, calculate and perceive ourselves? Are we facing a kind Do we lose something along readable input for an ‘artificial gaze’? of perceptual battle between what my eyes see and what the the way? system feeds me back? Is it possible to get used to blindly trust in Mark Coniglio 14 mediation? To perceive the other through this digital filter?
I read this same issue in David Rockeby’s experience. In Ulrich Ekman’s interview Transformations for Transforming Mirrors15 the digital artist makes a critical reflection on his own work, observing Soft Acceptance, Critical Viewpoints through the decades how thousands of spectators have reacted
to his interactive mirrors. In his own words, the computer is a In discussion panel Prótesis11 (2012 Encuentro Liveness12), Mark very biased medium, purely logical, objective and disinterested. Coniglio aimed his reflection at the hierarchical tension he His motivation for the piece Very Nervous System16 was to work observed in the body-technology relationship throughout his firmly against these biases. However, his observation was very career. Through a pyramidal graphic, he explained how in a different: people were often so fascinated with the intensity of performance authority is represented by the computer at the top, the interaction that they failed to reflect more deeply about the followed by composition, and, finally, dancers. This means there experience and its implications. is a certain complicity between bodies and digital systems where technological vices and virtues tend to be dominant. This is important because, through the concept of ‘mirror’, he highlights a feedback based in certain egocentric fascination for He took this observation to the limit when staging Loop Diver13 the device, resulting in an individual that tends to recognize him/ (2009). The concept axis of the piece is the loop, a precise metric herself physically as -my words- an input body. cycle created by the computer. He imposed this logic of machinic repetition on the body movement creating a choreography Rockeby believes that if the commitment is dialogical in an designed on Isadora software. algorithmic environment then it is distracting and inefficient, because recursion is interesting as long as a structural or Despite following the exact same guidelines, digital processes functionally coherent meta-phenomenon emerges open enough and human processes produced an exasperating tension which, to avoid being purely self-referential. Therefore, the interaction according to Coniglio, generated frustration and impotence in language must strive to be intuitive, the experience must be the dancers because they struggled to be perfect. A constant intimate, and the body must be strongly engaged in a human-scale -antinatural- pressure to adapt to a rhythm imposed from the physical environment.
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Would it be enough to identify and solve the material relationship the primitivist spiritual vision of Artaud’s (1896-1948) theater, with the hardware environment, in its proportion, scale and who assimilated Mexican rituals’ animistic magic and spiritual portability? My reading is that Rockeby advocates going beyond power of objects, animals and rocks, which for Dixon manifest reviewing the ergonomics of the prosthesis, since technology in the ubiquity of hypermedia systems. The Digital Double, a accompanies intrinsic formulations related to the way the direct analogy to the book ‘The Theater and its Double’, does not individual acts in order to develop their thought structures, i.e. represent the divided subjectivity of postmodern consciousness, their epistemological dimension. but rather a symbol of the unified, cosmic and transcendental The origin of totalitarianism self. His reflection on theater as alchemy allows to achieve the According to Rockeby, the technologies he developed during the is found in the abolition encounter between spiritual, digital and virtual beings. 1990s have already been internalized and assimilated, ‘normalizing’ of the sacred. how we move in front of interactive digital mirrors. Since then, Basarab Nicolescu 21 technologies encouraged the creation of false empowerment and real participation; in contrast, people continue to show enthusiasm for participating, but no interest in assuming any responsibility in Performance art, transdisciplinarity and complexity their role as interactors. This is important because it identifies a
willingly passive and technically active human behavior. In my performance pieces Código*Pléyade and Código*Voz-Ignis, Very quickly, new ubiquitous technologies and mobile networks part of my master degree research22, I introduced thermodynamics incorporate computers into a person’s environment in such and complexity models into the field of electronic arts to study Between the living and the virtual, a way that computers can no longer be perceived as external what is dissipated and what is conserved along a process. the scene needs to take position, agents. This makes human sense of orientation yield in favor of not as a mirror of reality, but as a I conceived a techno-poetics of fire as a subtle tactics of resistance certain computational intelligence which becomes invisible and new place where the spectator’s to stress out the link between perceptual limits and experience unquestionable. whole being is questioned. framings. The flame, in its movement, flowing and becoming Marta I. Silva 18 a number, configures a correlation of the human being’s transformation.
The gathering space organically stems from the concept of arch- Paths of Liberty machine proposed by Edgar Morin, a complex thermodynamic Considering how surveillance culture stems from technology, and system that transcends a bidirectional logic of data flowing the ethical-political implications of its impact in the body and its between bodies and computers. It recognizes the human scale technology assimilation process, I believe it utmost essential that as immersed in a macrocosmic system. Self-perception of the performative art insists on the poetic construction of being here. unfathomable and the mysterious per se is the only way to verify the living body, never the approval of an external artificial In his book Digital Performance,19 Steve Dixon recovers the intelligence attempting to decipher that body’s biometrics and/or historical line of the spiritual vision found in Sacred Theater20 its appearance. to refer to the creation of a virtual other based on oneself. The real body / virtual body dualism cannot be understood without
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Life is refractory to any dogma and any totalitarianism. Therefore, the transdisciplinary attitude presupposes inner thought and experience, science and consciousness, effectiveness and affectivity. The identity of meaning between the flow of information that crosses the levels of Real- ity and the flow of consciousness that crosses the levels of perception. Basarab Nicolescu 23
More information http://m-y-r-i.net/tesis-de-maestria
NOTES MIDIDancers and Isadora software. novo contexto cultural e novos paradigmas”, 2013 2014 2016 * Text first published in Revista E-Performance 12. International Performance Arts and in Poéticas tecnológicas, Tercer seminario de Cuerpo Máquina Acción vol.4, 2018 - Dir. Alejandra Technology Festival: Liveness: Prótesis, Gesto danza, teatro y performance.
Ceriani, UNLP y Metáfora (Liveness: Prosthesis, Gesture and 19. Dixon, Steve. Digital Performance. A Arquemáquina Código*Pléyade Arquemáquina Código*Voz-ignis is Actos de autodesaparición 1. Broncano, Fernando. Humanismo Ciborg. p.104. Metaphor). Curators: Minerva Hernández and History of New Media in Theater, Dance, is a visualization of digital drawings a performance device that triggers Collective action / photoperfor- 2. In effigie means ‘as an image’, in opposition to Myriam Beutelspacher. CENART, 2012. Performance and Installation, p. 241 made with candle lights. The prem- multiple flows of thermal, mechani- mance for drawing a diasporic body. ‘incarnated’ or ‘in the flesh’. 13. Loop Diver. https://www.youtube.com/ 20. Sacred Theater is a postdramatic poetics ise is to spread the fire coming cal and electrical energy evoking The task is to disseminate the flame 3. Belting, Hans. Antropología de la imagen, (An watch?v=GcBZQA15qlg promoted by Peter Brook, a theater of the from the Pleiades stars from one cosmogenetic machine cycles. The that sets in motion a thermody- Anthropology of Images) p. 31. 14.Interview. Imperica Magazine “Mark Coni- invisible-made-visible that takes up the idea hand to the other. The subtle bifur- heat of a flame is transformed into namic engine that recalls cosmos. 4. Artificial/Espejo, collective (2003-2005) - Myriam glio: repetition and invention”: 2011 of a total, ritual and metaphysical spectacle cation of the flames evokes typical electronic flickering, introducing While the flame moves around using Beutelspacher, Liliana Quintero and Omar Sánchez.. https://www.imperica.com/en/features/mark- claimed by Antonin Artaud in mid 20th cen- biological behavior of cell-division digital variations to polyphonic matches, a long-exposure photo- http://cmm.cenart.gob.mx/artificial coniglio-repetition-and-invention tury. His sociocultural critical vision addres- by inheriting color codes. songs and primitive mantras. graph captures the trace of contact 5. Quintero, Liliana. “Modernity”. Walter Benjamin’s 15. Ekman, U. Interview. “Transformations ses how rituals that nourished spiritual life and dispersion. concept quoted by Quintero in reference to “El of Transforming Mirrors: An Interview with have vanished or were corrupted, for which final de las vanguardias (The end of avant-garde) by David Rokeby”. he proposes to capture the invisible currents
Eduardo Subirats. 16. Very Nervous System (1982-1990) served that govern our lives. By assuming this position, I propose to make the forgotten visible 6. Critical Art Ensamble’s tactics. as practical study of man-machine physical 21. Nicolescu, B. La Transdisciplinariedad. and the biased experienceable, in order to make evident the 7. Quintero, Liliana. Op.Cit. interaction. It is an interactive sound installa- Manifiesto, (Manifesto of Transdisciplinarity). operations of control and domination over our own nature. If 8. Zielinski, S. Arqueología de los Medios, (Media tion that resourced to video cameras, image p.67 certain technological achievements and ideological models disrupt Archeology) p. 4 processors, computers, synthesizers and 22. Electronic Arts Master’s Degree Thesis: the notion of human life as a whole, I sense that the role of the 9. Video. Empatía 1.0 (2012) Myriam Beutelspacher a sound system to create a space in which Arquemáquinas. Indagaciones estéticas en electronic artist, especially in the field of digital performance, & Minerva Hernández body movements themselves create sounds torno al Devenir electrónico del fuego (Arch- needs to be resized after a fundamental convergence of the 10. Broncano, Idem and music. machines. Aesthetic Inquiries on the Electro- community, the creative, the critical and the imaginative, to draw a 11. Mark Coniglio and Dawn Stoppiello founded in- 17. Mark Coniglio’s concept discussed at nic Becoming of Fire). Performative body of path of technocultural emancipation. teractive dance company Troika Ranch in New York Liveness and recovered by Translab for their work: Código*Pléyade and Código*Voz-ignis. in 1994. Coniglio has been awarded for his techno- Cartographic methodology.. 23. Nicolescu, Idem.
logical developments as the first MIDI controller for 18. Silva, Marta, “Antigas motivações poéticas;
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> Articles by María Antonia González Valerio, Reynaldo Thompson & Tirtha Mukhopadhyay and Luis Ángel IMAGEN:IMAGE: SIN SIN ORIGEN ORIGEN SIN SIN SEMILLA SEMILLA Jiménez Barrios
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The Sense of Experimentation in Extra-scientific Fields
DRA. MARÍA ANTONIA GONZÁLEZ VALERIO according to disciplines, thus matter), carried out in Summer to perform operations in rats UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO Science would correspond to 2012 at Cinvestav, after Tres Art and introduce them a powder the mode of verifying previous Collective’s2 call to experiment with proteins that favor bone statements and the medium with the production of ectopic generation, then stitch them up of the living and the matter; bone in laboratory rats, and to and place them in the animal Experimentation can be com- into the experiment, affirming it has a previously fixed purpose, whereas Philosophy would cor- perform clearing and staining facility cages. A few days later, prehended from a wide per- as such. hence its primordial sense respond to the mode of inde- techniques in frogs. Second, an the rats had to undergo surgery spective, it is an activity we is that of verification and its However, this openness could termination and the medium installation by BIOS Ex machinA again to remove the small bone carry out on a daily basis, it is a paradigm is scientific research. be contrasted with the type of of thought and action; and Art collective (Workshop for the pieces that had formed. way of dealing with the world in Between these two extremes experimentation that follows would also correspond to the manufacture of the human provisional terms. many variations could be In the case of the frogs, they an established method, seeking mode of indetermination, but and the nonhuman) to detect found; between precision and had to be killed first and then We experiment constantly, and the demonstration or verifica- the medium would be matter transgenic corn contamination indeterminacy the experiment put in a solution before placing as we do so, we remain in a tion of a previous statement. and language. through resistance to glypho- can present itself diversely. them in the agitator to obtain state of openness, of indetermi- sate herbicide, carried out be- Experimentation presents dif- But these rigid disciplinary dis- some beautiful transparent nacy in which possibility ap- Among these considerations we tween 2012 and 2013 at MUAC ferent manifestations according tinctions are hardly sustainable, frogs with blue dyed bones. pears as such. Hence, the great should also include a differen- /UNAM. to what the experiment deals they would even crack as soon calls to experimentation, like F. tiation based on the things the Those of us who took part in with. On one end of the arc we as concrete cases are analyzed. The common element of both Nietzsche’s philosophy, hit this experience deals with, because this workshop came from non- could mark experimentation What is more interesting to was working with living organ- note where something needs it is not the same whether the scientific fields, mostly from as a game, in the sense that think now are the possible isms: animals and plants. How- to be tried and tried again, ‘object’ of experimentation is Arts and Humanities. What was even when the rules are set crossings between experi- ever, the meaning of the experi- where what is important is not thought, action, experience or the point of going to the lab? beforehand we cannot know mentation modes and means. ments was different, although the result achieved but the at- the body itself, or if it is some- What was the goal working with the outcome, neither there is a Specifically, I am interested on in both cases the boundary was tempt itself, the wandering and thing external: a living organ- these animals? We were not specific end being sought. This the question of what happens death. not the safe arrival. It can also ism, tissue or inorganic matter. proving anything that was not game model would not be the if we carry out scientific-like be said that the experience of Or if it is sounds, words, pig- The research protocol to pro- already known scientifically. agonistic one but children’s rep- experimentation in a philo- thinking is precisely that, an in- ments, forms, compositions, duce ectopic bone was already In any case, and with luck, we resentations or the play of the sophic or an artistic field. For cessant attempt that turns back etc. developed and tested. Dr. Víctor would verify that the experi- waves1. On the other end of the this purpose, I will focus on two on itself without concluding, Calderón, from the biochemis- ments worked and that the ex- arc, we could locate an experi- Experimentation modes and examples. renewed each time it leaps back try laboratory at Cinvestav, and pected results were reached. mentation that is precise and means could be identified First, the workshop ‘Lógica his team introduced us to the Undoubtedly, the first ques- molecular de la materia viva’ practice, trained and guided us tion to pop up is one of ethical (Molecular logic of the living at all times. The challenge was
1 I am referring here to the idea of game that sustains the philosophical hermeneutics of HG Gadamer, in Truth and method, which works as a common thread to think about art and language. The game is an event, something that occurs and that goes beyond the players’ intentions. 2 http://www.tresartcollective.com/
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nature over an instrumental and Art are confronted with was rather to put ourselves in a presumed linearity of a scien- background. What is the jus- the scientific experimentation state of openness and let some- tific experiment. This was in any tification for killing animals in mode. What there is to see here thing happen. It was an experi- case a complex experiment, a lab context? The countlessly is what results from the simul- ment over an experiment, or unpredictable and with no heard argument is that in any taneous execution of modes. one mode of experimentation measurable results. Openness, case there would be some The workshop required that we that went through the other. possibility and indeterminacy justification if, and only if, it is learn precise techniques and were to be left as such. The means were also involved. necessary in order to achieve proceed without modifying the For it was not only that the ac- It should be argued that this a greater good or a greater protocol. It was not only the tion involved just the animals extended experimentation is purpose, for example, some challenge of holding a warm ‘object’ of the experiment, the now also a standing place from benefit for Humanity due to body in our hands, feeling its rats and the frogs, but it also in- which it is necessary to think, the development of a new drug heartbeat, picking up the scal- volved us. The experimentation from where philosophical re- that requires previous animal pel and opening its back; but means were also experience, flection takes its path and from testing. also of following instructions action, thought, coexistence where artistic production takes to the letter. The result was the The questioning would not rise and group work, the images, place. However, the distinction expected: to extract ectopic in the case of experiments with sounds, smells, photographs, of modes and means must be bone from the rat. The scien- plants. Neither with bacteria. videos and even the body itself maintained because disciplin- tific prediction was fulfilled. With insects, probably not. Un- dressed in white with gloved ary crosses make sense not in We performed the scientific doubtedly, it is closeness to the hands armed with a quivering the confusion of the one and experimentation mode without Human being that, from most scalpel. the other, or in the indistinct achieving any new discoveries considerations, triggers criti- dissolution of borders, but in using a live medium. But at the What we witnessed was a cism. And that makes us think, the maintenance of differences same time we were carrying simultaneous conjunction of it was one of the direct conse- in order to cross them and out the other mode of experi- modes and means. It was not quences of experimentation in produce another type of experi- mentation and using the other only a matter of following a the laboratory, to face this kind any scientific knowledge (basic Distinguishing experimentation ences, even inside a laboratory, means. previously tested research of questioning and try to grasp or applied). That experiences in modes and means is precisely even with living organisms. protocol to demonstrate that it from different angles. What such a context mean an excess, relevant to address these This implied that the indeter- as a result, ectopic bone could The second example I want does it mean and what respon- an entertainment. That ex- knowlesge crossings, which minate open experimentation be produced in rats, extracted, to address is the detection sibility brings working with live perimental philosophy does not seem to suspect an outrage was put to execution: with no weighed, and then record the of transgenic corn because it ‘matter’? require working directly with when non-scientific disciplines previous knowledge of what achieved results. The view was implies another way of experi- matter or with living organisms; burst into such jealously guard- was going to happen and no From a certain perspective, much wider and we had to menting. This was a practice that an art that resources to ed premises. goal set, nothing specific that it can be said that no benefit assume from the principle of that we carried out following biomedia is parasitic of sci- we could measure and quantify. is obtained in performing lab The indeterminate experimen- action and reflection that what the protocols provided by the ence’s previous discoveries. What were we doing that for? practices that will not lead to tation modes of Philosophy was at stake went beyond the agronomist Margarita Tadeo of There was no clear answer, it
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FES-Cuautitlán /UNAM. A type ing, documentation and other planting corn again and sprin- of transgenic corn developed unchangeable guidelines. kling it with glyphosate, could by companies is resistant to be initially regarded as not I planted seeds collected in the broad-spectrum glypho- artistic, but precisely experi- different parts of the country sate herbicide. Glyphosate is mental. In what sense is ‘Art’ and made them grow carefully sprinkled over crops to get rid something designed to detect at home. Then I transplanted of all kinds of grass and allow transgenic contamination? them and performed the the corn to grow without com- Beyond the tremendous discus- experiment. They were plants petition. Obviously, this also sion about the boundaries of destined to die under the ef- implies that the non-transgenic Art, it is worth to excite once fect of glyphosate, and it was corn dies along with the rest of more the distinction between even desirable that they died the other plants, which may be modes and means, as what we because if any survived it was those that conform the milpa, are facing again is extended ‘scientific’ experiment. Here we issue of transgenics does not where neither the rats, nor the probable it was transgenic. The beans and squash. experimentation. left an open and indeterminate take place in a distant enclosed corn, nor the experience, nor one that resisted to drying out space sought to remain as such. inaccessible lab. the language, nor the body Here we, the members of BIOS after the herbicide, which I sent The experiment mode was nor anything that was involved Ex machinA collective, did to analyze with a scientist who always determined by the The means involved were also This also has been a complex remained unaltered. The result, have a specific goal to fulfill performed the ELISA test, we protocol and by the attempt of multiple and not limited to corn experiment with no measur- however, escapes verification. because we were looking to later exhibited it under a glass demonstration and detection. and herbicide, as experience, ac- able results in which we witness Experimentation is said and detect transgenic contamina- dome in the museum as part of Above that mode the other tion and thought also came into the conjunction of modes and done in many ways. tion in forage maize, which we the piece Serán ceniza, mas ten- took place simultaneously, that play, since in addition to writing means in the crossing of disci- effectively achieved in the State drá sentido (ligeramente tóxico) / of openness and indetermi- theoretical texts from it, we held plines. of Guanajuato. The difficulties Ash they will become, nonetheless nacy, since if on one side the a performance every Sunday Experimentation in extra sci- we faced were also related to meaningful (slightly toxic) in the goal was concrete, on the other, in the museum to sprinkle the entific fields makes us see that life and death. But the death framework of the exhibition Sin i.e. the installation, it was never plants. It also involved sound, we have to extend the sense of plants has a very differ- origen / Sin semilla (No origin / sure where it was going, how word, image, body... and the limits, because what it ent ethical and experimental No Seed)3. would it involve the audience With this experiment-installation is goes beyond quantification significance. In addition, there response, how it would interact The installation we assembled we also try to show the possibili- and measurement; the other was the difficulty of executing a with the museum space and MORE INFORMATION: at MUAC, where we carried out ties of bringing DIY technologies ways of being are glimpsed from precise protocol, the monitor- how it would open an indis- the experiment in real-time, to a general public and that the an extended experimentation, https://www.artemasciencia.org/ cernible limit between Art and
3 http://www.artemasciencia.com/exposinorigen/
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Nomad Plants
Symbols of Globalization Era (excerpt)
REYNALDO THOMPSON TIRTHA MUKHOPADHYAY UNIVERSIDAD DE GUANAJUATO
An art-technology laboratory in called this type of artistic object introduced and put to the test. San Miguel de Allende has now ‘emergence’ or evolutionary art, Art and technology intersection become a nursery for strange- at a time when machines would was first visible in developed looking robots similar to insects have overtaken humans (Pro- countries, especially at Institute or, more specifically, arach- tevi: 2006). for Contemporary Art (ICA) in noids. It resembles a robotic London and MOMA in New York, Historically, ‘robotic art’ was installation including biologic as well as in Japan, along with born out of eccentric neo- processors and sonic sensors radical innovations in this kind dadaist experiments in the IMAGE: NANODRIZAS / ARCÁNGEL CONSTANTINI to create mechanical organ- of aesthetics in countries like intersections of technology and isms. In addition, these robots France (at Musée d’Art Contem- art in other parts of the world, purify water and add cations poraine de la Ville de Paris, or in Fluxus group’s work, and in to the oxygen cycle. Therefore, Georges Pompidou Contem- particular in Korean-American they are, as contemporary porary Art Center), Germany artist Nam Jun Paik who created techno-aesthetics calls them, and Italy (Venice Biennale). The robotic humanoid assemblages hybrid insects or only ‘hybrids’ process began with the influx of exhibited in New York in the that combine biological and European artwork and achieve- sixties. Around the same time, electronic components. Its ments taking place at nodes Chilean Enrique Castro-Cid, also dimensions are approximately with a somewhat commercial New York resident in 1960s, 30 centimeters high and sixty museum culture, part of an explored art and robotics inter- centimeters wide. These robots, essentially capitalist market- actions in his 1965 exhibition at designed by Gilberto Esparza, oriented culture in locations like Richard Feigen Gallery. Seminal apparently crawl over the bed New York and London. Here, influences of post-Fluxus avant- of a polluted river. They func- Fluxus and neo-avant-garde, garde, Manuel Felguérez’s and, tion as unconventional avant- including works by pioneering decades later, Rafael Lozano- garde exhibitions, resembling artists such as Nam June Paik’s Hemmer’s digital experiments to what postmodern French robots, Edward Ihnawitz, Nor- developed in the incipient intellectuals Deleuze and Guat- man White or the aforemen- electronic art within a new tari claimed, as early as the tioned Enrique Castro-Cid were generation of artists that influ- 1980s, as examples of machinic recognized and exhibited for enced the guidelines for Centro assemblage art (Deleuze & the first time (Armstrong et al: Multimedia, Mexico City. In fact, Guattari: 1987), or what Kath- 1995). New media technology CENART, founded in 1994 in erine Hayles in the late 20th revolution also inspired art- the same city, fostered a great century called predictable post- ists in Latin America, although impulse where experiments human entities (Hayles: 1993, that early history of creative similar to those taking place 2008). Protevi, after Guattari, interdiscipline has not been IMAGE: PARÁSITOS URBANOS / GILBERTO ESPARZA in a wider global context were
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tions of history and technology, message across borders in fa- Enrique Dussel, historian and diligently noted, definitely not cal trajectory in Latin America, Golden Nica, creator of the can become a decolonizing and vor of conservation and carbon critic, marks 1492 as the start- like part of industrially de- produced as a response to gigantic robotic insect, wanted environmentalist symbol that emission deceleration, which ing point of modern Europe veloped countries’ discourse historiographic consciousness it to work with MFC technol- seeks to expose and to fight are not local problems. Artists history. Dussel calls modernity (Thompson et al.). In Latin of a traumatized continent. ogy (Macrobial Fuel Cell, for its the continent’s uninterrupted perhaps represent the search a colonization byproduct and a America, the genesis of kinetic Decades later, Arcangel Con- English acronym), microbial fuel capitalist exploitation (Malina: for a utopian environment, process that led to the creation works, electronic installation or stantini’s robotic art (precursor cell, instead of fossil fuel; The 1990). The ecocritical decoloni- free from exploitation and oil of the Latin American other computer-generated photog- of the San Miguel de Allende MFC was a biofuel previously zation alternative of San Miguel war. Esparza’s Plantas Nóma- (Dussel: 2000). However, Dus- raphy and interactive art was group), with emblematic pieces developed at University of Stan- group’s robotic or technology das project (2008), as much as sel’s observation is disputable, evident in works by Julio Le Parc such as Nanodrizas (2005), and ford, and experimentally used oriented art aims to convey a his San Miguel colleagues’ art, since Latin America modernity (Argentina), Manuel Felguérez Gilberto Esparza’s hybrid robots by pioneering electronic artists message across the boundaries including Marcela Armas and is not equivalent to Eurocentric (Mexico) or Abraham Palatnik (2007) were created with an like Esparza in Mexico City, in and territories of race, habitat Iván Puig, are an example of modernity, it cannot be taken and Waldermar Cordeiro (both activist spirit, against environ- an attempt to find solutions to and identity, attempting to mobile interactive sculptures as such. Latin America needs from Brazil). They nourished ment exploitation and subvert- the city’s overwhelming envi- demonstrate that art belongs to capable of moving through the to produce its own version of the new language of art and ing destructive technologies. ronmental problems. Ecocritical each and every one of Mother problematic boundaries which modern mentality, its own de- technology interactions the His work was foremost defined art confers a new dimension to Nature’s children. the artists attempt to challenge. territorialization or decoloniza- same way Fluxus and kinetic by a biting ecocritical stance. artists’ efforts in Latin American A challenge that describes a de- tion, a powerful version evident artists anticipated the daring The techno-ecological facet context, especially in Mexico, as Alternative ecocritical ideology colonization process, especially in a whole generation of Latin experiments in the North. was a direct alternative for it begins to play an active role in art and media is a relevant is- in artists sensitive to decoloni- American scholars since the the unfortunate natural and in a globalization era. Contem- sue to art evolution in this part New media art, and robotic art zation and to the ecosystem’s 1950s. It is in this context that environmental exploitation in porary artists in Mexico have of the world. Latin American in particular, emerged from exploitation frenzy of the last we also need to locate and a colonized territory such as shown that the new simulation technology art is oriented to- idiosyncratic vanguard, had a five hundred years. read modern Latin America’s Latin America. Gilberto Esparza, or image, whether visual or ki- ward ‘deterritorialization’, since completely different ideologi- technology. It is a decoloniz- winner of 2015 Ars Electronica netic, produced at the intersec- it is often destined to carry a
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ing ecocritical modernism, an art, will use it in favor of a dif- this consciousness since only Boff (1999), Canclini (2001) in ogy of contemporary world. By alternative modernism, since it ferent version of globalization. through the dual experience of Mexico-Argentina and Carlos no means such art would be embraces and transcends Eu- This is an alternative globaliza- a global technologic advance Mariategui in Peru (1979). obsolete or dead in its cradle. ropean-Anglo-Saxon capitalist tion, an ideological movement and a specific local context it Contemporary art is not born Environmental activism is, polarization while, at the same that could help recall a pre- can make artists move forward dead. It would be an evolving therefore, what ultimately de- time, it absorbs its science and Columbian glory and empathize in time. The continuous ecologi- global event, as it is already fines this Latin American stance creates an ecocritical utopia. with a safe, connected utopian cal exploitation that depletes evident in the works of Arcangel in its most powerful instrumen- Carlos Mariátegui’s analysis of world. This meant a new con- the South’s natural resources Constantini, Gilberto Esparza or tal form. The arts are necessary this resurgence of modernism sciousness and a new hybridity. and megadiversity results in Rafael Lozano-Hemmer. to protect Latin America from a shows us that Latin American It emerged as a transnational anxiety and loss of habitat (Ly- second wave of abuse. Instead art and philosophy are direct phenomenon. The decoloniza- ons et al: 1998; Morrone: 2008; of capitalist technology, the byproducts of a resistance tion of representation is es- Monaghan: 2008; Horvath et al: environmentally sensitive artist against the exploitation history sential (Canclini: 2001). It also 2012). professes a new vision of the of his fatherland Peru’s, witness marks a transcendental turn This transnational ecocritical future, a new approach and of the devastating consequenc- for the Arts in Mexico, similar voice of consciousness is poi- commitment that preserves es of mining and of massive to the artistic revolution that gnantly captured in the writings the beautiful rivers and forests displacement of poor people inspired Siqueiros, Diego Rivera of some of the finest writers from an idealized and pristine from their natural habitat in the or Luis Barragán in times of the and artists of our generation. nature, under the substrate of Andes (Mariátegui: 1979; Mari- Revolution and later decades. Laura Barbas-Rhoden’s inci- nationalities and ethnic groups ategui & Garrels: 1979). The exponents of decolonized sive essay on this decoloniz- in a return to the continuous hybridity have already suc- Therefore, it is not surprising ing ecocriticism stems from a line of being which, as Enrique cessfully demonstrated that that artists in Latin America, discourse created by Antonio Dussel points out, will consti- technology should be home for when applying technology to Cándido (1987) and Leonardo tute the geopolitical epistemol-
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BIBLIOGRAPHY October 66 (1993): 69-91. ---. How poda): A Biogeographical Puzzle. we became posthuman: Virtual Acta Zoológica Mexicana (n.s.) 24(1): Armas, Marcela. ‘Gil’s World’. bodies in cybernetics, literature, and 15-41 (2008). Gilberto Esparza Cultivos. Ed. Armas informatics. University of Chicago Marcela,Tatiana Cuevas, Matthew Monaghan, Peter. Where High Press, 2008. Hall, Jens Hauser, Karla Jasso, Jose- Tech Meets High Concept. Chronicle Carlos Mariategui. Jessica Riskin. Horváth, Roland; Magura, Tibor; of Higher Education. 2/23/2007, Lima: Peru. Espacio Fundacion Tóthmérész, Béla. Ignoring ecologi- Vol. 53 Issue 25, pA27-A28. 2p. 2 Telefonica 2015. p. 41. cal demands masks the real effect of Color Photographs. Acta Zoológica urbanization: a case study of ground- Mexicana (n.s.) 24(1): 15-41 (2008) Armstrong, Elizabeth, et al. L’esprit dwelling spiders along a rural-urban pp15 -41. Fluxus. Musées de Marseille, 1995. gradient in a lowland forest in Hun- Protevi, John. “Deleuze, Guattari Barbas-Rhoden, Laura. Ecologi- gary. Ecological Research. Nov2012, and emergence.” Paragraph 29.2 cal imaginations in Latin American Vol. 27 Issue 6, p1069-1077. 9p. (2006): 19-39. fiction.University Press of Florida, DOI: 10.1007/s11284-012-0988-7. 2011. Schmitt., Christopher, Jo Ellen Lyons, John. Georgina González- Hincka, Vicki S. Blazerb, Nancy García Canclini, Néstor. “La global- Hernández, Eduardo Soto-Galera D. Denslowc, Gail M. Dethloffd, ización imaginada.” Archipiélago: & Manuel Guzmán-Arroyo. Decline 1, Timothy M. Bartishe, James Cuadernos de Crítica de la Cultura of Freshwater Fishes and Fisheries in J. Coylee, Donald E. Tillitta. En- 47 (2001): 140-140. Selected Drainages of West-Central vironmental contaminants and Mexico. Fisheries. Volume 23, Issue Candido, Antonio. “A nova narrati- biomarker responses in fish from 4, 1998. pages 10-18 va.” A educação pela noite e outros the Rio Grande and its U.S. tribu- ensaios 2 (1987): 199-215. MacCready, Paul. B. Art and Nature taries: Spatial and temporal trends. in the Technology of Flight. Leon- Science of The Total Environment. Castree, Noel. Bioprospecting: From ardo, Vol. 19, No. 4 (1986), pp. Volume 350, Issues 1–3, 1 Novem- Theory to Practice (And Back Again). 317-319 ber 2005, Pages 161–193 Transactions of the Institute of British Geographers, Vol. 28, No. 1 Malina, Roger. F. Digital Image: Shaffer, H.B., Parra-Olea, G. (Mar., 2003), pp. 35- 55. Digital Cinema: The Work of Art in the & Wake, D. 2008. Ambystoma Age of Post-Mechanical Reproduction. lermaense. The IUCN Red List Datteri, Edoardo and Guglielmo Leonardo. Supplemental Issue, Vol. of Threatened Species 2008: Tamburrini. Biorobotic Experiments 3, Digital Image, Digital Cinema: e.T1093A3228332.http://dx.doi. for the Discovery of Biological Mecha- SIGGRAPH ‘90 Art Show Catalog org/10.2305/IUCN.UK.2008.RLTS. nisms. Philosophy of Science, Vol. (1990), pp. 33-38. T1093A3228332.en . Downloaded 74, No. 3 (July 2007), pp. 409-430 on 17 October 2015. Mariátegui, José Carlos. Ideología y Deleuze, Gilles, and Félix Guattari. política. Vol. 13. Biblioteca Amauta, Villaroya, A. Pino-Del-Carpio, H. “A Tousand Plateaus.” Trans. BRIAN 1979. Ariño, J. Puig and R. Miranda. MASSUMI. Minneapolis: University Communication gaps in knowledge of Minnesota Press (1987). Mariátegui, J. C., & Garrels, E. of freshwater fish biodiversity: im- (1979). 7 ensayos de interpretación Dussel, E. D., Krauel, J., & Tuma, V. plications for the management and de la realidad peruana (Vol. 2). Fun- C. (2000). Europe, modernity, and conservation of Mexican biosphere dacion Biblioteca Ayacuch. eurocentrism. Nepantla: views from reserves. Journal of Fish Biology. Vol South, 1(3), 465-478. Morrone J, Juan. And Marquez Juan. 79 Issue 6. 26 AUG 2011. Biodiversity of Mexican Terrestrial Hayles, N. Katherine. “Virtual Arthropods (Arachnida and Hexa- bodies and flickering signifiers.” IMAGE: RETROSPECTIVE MEMORY<<< DESMODIUM-MÁQUINA
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From Star to Machine, by the Matter
LUIS ÁNGEL JIMÉNEZ BARRIOS UNIVERSIDAD DEL CLAUSTRO DE SOR JUANA Well, González Valerio and what are the particularities of points out unique events in the Christov-Bakargiev agree that Myriam Beutelspacher’s pro- cosmic map. Perhaps the best technique and technology are duction in the reflection of art example of this is Bethlehem Art deals with matter, with any matter, in complex terms. [...] combined mediations, juxta- and technology. star, which announced the Matter in art becomes patent, you can sense how it was before; posed or simultaneous to the event of Jesus’ birth and indi- you sense its path, the trace, the trajectory, and how, in this or senses that reveal different cated the place where it would that aesthetic expression, networks, lines, links to many other realities of matter, without the- happen. In the case of the things open up for the matter, and how the resulting experience I se being hierarchical in terms Pleiades we can mention Popol becomes that before and what alters that before, re-linking to To consider the stars as mat- of some being more real than Vuh, where, described as the what comes after. To an imagined after.1 ter forces us to conceive them others. Between a tactile sen- Motz, they remind the moment María Antonia González Valerio from their mediations, the sation through the hands and a Zipacná took the lives of 400 different modes in which they chemical composition analysis, warriors5. appear to us. Stars are entities the qualitative distinction is not that exceed human scale up Another mediation of the stars a priori related to the ability to Introduction into the heights, they are un- is companionship. The stars approach a reality in itself, in reachable and distant objects, assign features that mark In this ontological effort, María sophy of stones2, it thinks from any case it is a posteriori in the therefore, they participate in individuals’ births, and their Antonia González Valerio eluci- the matter; But thinking art is different paths opened when our life in various ways. different meanings can be seen dates the mode of being of art neither one nor the other, but thinking each mediation in its in different cultures’ astrolo- as opposed to that of philo- letting matter, through inten- particularity. Throughout history, the stars gical traditions. Thus, the star sophy; while the latter works se reflection, guide new ways have been grasped through Here, objects are not stones is that other, so fundamental with concepts, creating them to of understanding and using their sign qualities, they are nor the sea but stars. The to the individual in Sloterdijk’s mediate with the real, art deals concepts. It is not intended to signals; the clearest example is piece Código*Pléyade is an thinking: ‘All births are births with matter, directly intervening produce concepts or produce their time-passing indication, its installation-machine by Myriam of twins; nobody comes to the it. For González Valerio, the im- new agencies for the matter, calendrical sense. In particular, Beutelspacher, a vehicle, to put world without company and portant issue is not to discuss but in a retroactive exercise, to the Pleiades, the constellation it in Gaos’ terms, that houses without an annex. Everyone representation in art, but rather find new relationships between addressed in this work, has the star constellation of the who rises to the light of the how, as form of thought or as them. been referred to in cultures as Pleiades. This installation, as a world is followed by an anony- work, it allows us to know the distant from each other as the Carolyn Christov-Bakargiev’s complex system of mediations, mous, mute Eurydice, created real as mediation. Greek and the Maya. They ap- curatorial exercise for the 14th it is also a complex system of not to be seen’.6 pear in Works and Days guiding Prepositions now gain a fun- Istanbul Biennial is an exam- reality/ies. peasant work and they are We could state that all these damental precision. The ar- ple of this, in which, starting The following questions about the order foundation of Haab mediations are given through tist thinks with matter while from the sea and its physical stars, as matter and as system, calendar, respectively. Otherwi- the ‘naked’ senses, stressing out philosophy, as presented in and cultural modes of being, it machines and art, will attempt se, they are also signs that we the quotation marks becau- the aforementioned book by generated different reflections to trace a path with the goal could call historical-topological, se, except for recognizing the González Valerio or in Gustavo embodied in multiple pieces or to inquire if there are and a special record that prints or distance that separates us, the Bueno’s brilliant article Philo- in the sea itself3.
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senses always extend through culture and symbolic exercise. Following this story, we can say or to the projection, or to the that the mediation of the tech- II participants movements. The other important type of nical artifact does not represent mediation to this work is that Peter Sloterdijk, in his onto- a different degree, more or less given through scientific catego- In material terms, we can say logical reflection on space, real than the first examples, but ries and the different techno- that the first constitutive ele- comes to the conclusion that only a different way of acces- logical devices of perception. ment of the piece is the star in the human being achieves this sing the real. In this mediation the star is a its different modes of beingin condition through states of iso- producer of light, more specifi- Furthermore, it is worth noting and as mediations. The other lation, creating a distance from cally of infrared, ultraviolet and that the different modes of objects are fire lamps, infrared their surroundings that allows different color wave frequen- being of the same entity, which, sensors, computers to pro- them to become self-absorbed, cies. at phenomenon level, appear cess data, projectors, motion later to be called culture. This as events so different from sensors, candles and human isolation should not be unders- This type of mediation corres- each other, reveal the poten- bodies. tood as a separation or total ponds to an objective thought, tial of the matter, a difference exclusion as if the human has to put it in Morin’s perspective7, The piece consists of seven within the identity that is revea- developed independently from besides apprehending reality lamps arranged on the floor of led and expanded with each the world, but as an exercise of in measurable and quantifiable a room; on the ceiling different mediation. dialectical tension which at the terms, what is interesting is the motion and infrared sensors same time is a (re)incorporation atomization of that reality, the From here on, we will analyze are placed. At the room entran- of that inner environment the division of the star entity into its how the modes of being of the ce, candles are set for partici- philosopher calls ‘anthropoge- components. It is worth quoting star, enumerated above, beco- pants who, upon entering, take nic islands’, in such a way that Gustavo Bueno in full, and the me fundamental to understand one and light it with the fire of what defines Man is the proble- story he recovers from Santiago the piece. We will explore the one of the lamps in order to matic, tense relationship they Ramón y Cajal: function of the technical object go across the space holding establish with the alien. as a vehicle that introduces their light; this trajectory will matter into what we will call be captured by the sensors, I am now using José Gaos’ con- Because we could also say that the ‘scientific image’ of reality is more unreal or abstract than its pre-scientific anthropic islands, and the ma- the information is processed, cept, who calls the devices ve- image. Cajal, in one of his stories, tells us about a doctor who was desperate because his eyes lacked the reso- chine, the organized system (as and the trajectory projected in hicles, as ‘vehicles are all trans- lution capacity of an optical microscope, so he asked a genius to grant him that ability. But when the doctor is identified by Morin) that embo- the form of a line that simu- porting artifacts of anything in possession of it, he perceives strange cells, worms or disgusting bacteria in the sirloin in his dish; and also dies the work. lates drawing on the celestial human beings are interested perceives frightening cells along with bacteria and spirochaetes on his girlfriend’s lips when he is about to kiss vault. We can now add these in moving, bring close or push her. The doctor, concludes Cajal, asks the genius to deprive him of the microscopic capacity he gave to his eyes. strokes to the list of material away: their voice on the phone, Does this mean that Cajal’s doctor wanted to return to the world of appearances or illusions, turning his back components as an independent images in television, destruc- on the reality of bacteria or spirochaetes? No, because the sirloin or his bride’s lips are as real to his scale as element, because we can not tion and death due to arms [...] the cells that compose or invade them8. reduce them to the candlelight, vehicles are mobile mobilizers’.9
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Here we bring back what was or historical text is replaced or his book Art and technics, makes said in the introduction, the translated into computer bit two important statements installation Código*Pléyade language. regarding technique. The first as a vehicle; in the sense that is the distinction he makes The piece clearly allows to each device that composes it, between human art (craft) and peer the process described from the candles to the com- machine art (industrial) based by Sloterdijk, which is always puter system, transports a on his ‘creation canons’: ‘The ca- carried out through mediations. mode of being of the star, of nons of machine art are preci- Código*Pléyade it is not about that unattainable object, to sion, economy, slickness, seve- capturing the star as an object, the room in which the piece is rity, restriction to the essential, subdued under the artist’s will, presented; the lamps are trans- and whenever these canons are but to grasp the very distance ported as photoluminescent violated [...] the result is not the existing between it and us. It beings, the fire of each is uni- humanization of the machine features in terms of Art History that apparently is still present the artist’s work is confirmed by makes the stars fully exist on a que, simulating the differences but its debasement’.11 This must and reaffirms María Antonia in new media art, because what we already explained in human scale without reducing between the stars, perceived be meticulously questioned. González Valerio’s ideas, for both hardware and software the previous sections, the star anything in them. through the infrared, ultraviolet The first thing to note is that whom ‘if we think of art as me- material and symbolic load are modes of being in its artistic and colorimetric analysis; the when discussing new media art, diation [by the matter], it is not inseparable from its functionali- and non-artistic mediation are strokes, the light set in motion the machine is not only present a question saying whether or ty, but we will come back to the a consistent correlate; and it by the participants, introdu- III in the manufacturing process not it is representational, or in latter’s distinctive feature. is enough to know that infra- ce them as companions; the An undoubtedly interesting but it is also part of the piece, what terms, or if it is performa- red sensors usually work with Beutelspacher’s role is that of candle that needs to be held question is the relationship the hence why the idea of economy tive, etc. [...]. It is about focusing waves and not with fire, or to a humanist engineer, to put it at all times and the drawing artist establishes between the is not fulfilled as not only the on mediation and its mode of notice the unclassifiable, almost in Fernando Broncano’s terms, as the movement of a star piece and the machine concept machine’s capabilities matter being, as mode of being of what bio-artistic work that deals this is, as a legitimate inter- through the celestial vault are in Edgar Morin. He argues that but also its own symbolic and is’.12 with fire at a genetic level, to preter of material culture, able the representation of both ‘we can and should consider material sense; the second is recognize the artist’s ability to Mumford’s second statement is to point out the network of parts of the union; finally, the our artificial machines as manu- that the treatment of techno- interpret material culture from about change in artistic crea- relationships that the technical computer system brings in the factured instruments that fulfill logy presents a hybridization an engineering-artistic hybrid tion moments of freedom or device establishes between stars as the type of sign we call mechanical actions [...] a physi- between the three moments vision. choices: ‘What is peculiar to the its inner and outer functional historical-topological, in the cal praxic being, that is to say, it (artisanal, industrial and new machine is that choice, free- parts, between it and the sym- This restricts Mumford’s asser- sense that the input, proces- carries out its transformations, media art). dom, a esthetic evaluation, are bolic and material cultural uni- tion validity to a moment based sing and output of data link the productions or realizations as Although these clarifications transferred from the process verse (agents, uses and other on rigid disciplinary division, in Pleiades directly with the event consequence of an organizatio- might make Mumford’s enun- as a whole, where it might take devices),14 that is, she is capable which the artist is able to use of a group of people transiting nal competence’.10 ciation unsuitable to reflect place at every moment, to the of translating the machine from the device but not to interpret through a showroom, and that In order to move on, we should on Myriam’s piece, in fact they initial stage of design’.13 This object to system, in Morin’s its potentialities. For a field of the natural language of biblical follow Lewis Mumford who, in shed light on new media art’s is an element of industrial art terms. This statement about authentic interdiscipline, the
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artistic process appears again the natural machine described is the correlative evolution of objects and devices with a the unseen in those things this is to think matter intensely, as a whole in regards to its mo- by Morin, which is pure physis both. We base this on the fact human group. that seem exhausted. The to take an untimely step that ments of choice or aesthetic as- and ‘its poiesis identifies itself, that the artistic task, as a way machine Código*Pléyade takes breaches through objects cultu- Myriam Beutelspacher’s sessment, which it can occur at first of all, with the permanent of thinking (to pull the thread a ‘step back’ in the apparent rally and scientifically delimited work introduces, in the form any time when the devices are production of its own being. that Carolyn Christov-Bakagiev continuum of progress, opening toward what remains artistically of a subtext in her personal part of the piece and, therefore, Even the bare wild swirl is cons- offered us) that is very present the aesthetic possibilities of and engineeringly open. path, from the wiimote to the when making art, technology is tantly producing, constantly in human history, it should be something as rudimentary or fire (from Habitat-Draw to also being made. reorganizing its own being’.15 understood as a theoretical as basic as fire from the ato- Código*Pléyade), a gaze we practical exercise that trans- mization possibilities opened Morin’s machine concept beco- could link to Vilém Flusser and forms both empirical and ideal by different devices. Thus, the mes relevant when we identify his lucidity of thinking and wri- Conclusion matter. participants’ experience under- the piece first as a system of ting from Brazil. Technological goes new machine organiza- systems, that is to say that it Lewis Mumford’s thesis in For modern art history until the backwardness, expensive tech- tion forms and another way of holds an organizational compe- Technique and Human Develo- 1980s, to address the material nology and absence of certain thinking technology tence in the interrelations bet- pment points out that it is the meant addressing history, the apparatus are features related ween each element of the work; brain and not the hand the sociopolitical context that gave to countries or regions like Following Agamben, Myriam second, as something capable specialized organ, the decisive rise to ideas expressed in art, Latin America, which remain invites us to think that con- of transforming and producing element of human evolution16. but for contemporary art, parti- outside the scope of incessant temporary are not only artists matter, which, as we have said, When explaining the Quirotop, cularly the so-called new media device production. capable of glimpsing the sha- it takes place always and only Sloterdijk stands for exactly the art (and maybe from there to dows of their time through the Myriam’s true contribution as mediation. Therefore, the opposite17. I dare to say that every art, retrospectively) lights. Also viewers and other resides in the way of asking, in artistic machine distances itself none is wrong, but both have to address the material is to branches of knowledge can and the way she faces a concrete from the industrial, reproducti- only half of the truth, as we can turn to look at the coexisting should become truly contem- material universe, discovering ve machine, becoming closer to say that the determining factor porary. And one way to achieve
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CITAS 1. María Antonia González Valerio, Cabe los límites. Escritos sobre filosofía natural desde la ontología estética, México, Herder –
UNAM, 2016, p. 82.
2. Cfr. Gustavo Bueno, “Filosofía de las piedras” in El catoblepas, No. 58, dec. 2006, p. 2 (in http://nodulo.org/ec/2006/n058p02.htm
consulted Mar/18/2018)
3. Cfr. Carolyn Christov-Bakagiev, Tuzlu Su – Saltwater 14th Istanbul Bienal, Estanbul, Istambul Foundation for Culture and Arts –
Yapi Kredi Publications, 2014, 540pp.
4. “Upon the emergence of the Pleiades, descendants of Atlas, harvest begins; and farming, when they hide. Then, they hide forty
nights and forty days and again at the end of the year they begin to rise when the sickle is sharpened.” Hesiod, “Work and Days” in
Obras y fragmentos, Trad. Aurelio Pérez Jiménez y Alfonso Martínez Diez, Madrid, Gredos, 1978, p. 144.
5. All examples are different characterizations given to the Pleiades constellation. Source: Wikipedia (IN https://es.wikipedia.org/
wiki/Pl%C3%A9yades_(astronom%C3%ADa) #Menciones_literarias consulted Mar/30/2018).
6. Peter Sloterdijk, Esferas I Burbujas, Trad. Isidoro Reguera, Madrid, Siruela, 2da ed. 2003, p. 375.
7. Cfr. Edgar Morin, “La organización (Del objeto al sistema)” in El método I. La naturaleza de la naturaleza, Madrid, Cátedra, 6ta
edición, 2001, pp. 115-127.
8. Gustavo Bueno, Op. Cit.
9. José Gaos, “Sobre la técnica” in Acta Politécnica Mexicana, No. 1, Ciudad de México, Instituto Politécnico Nacional, 1959, p. 107.
10. Edgar Morin, El Método I, Naturaleza de la naturaleza, Madrid, Cátedra, 6ta edición, 2001, pp. 185-186.
11. Lewis Mumford, Art and technics, Nueva York, Columbia University Press, 1952, pp. 80-81.
12. María Antonia González Valerio, Op. Cit., p. 72.
13. Lewis Mumford, Op. Cit., p. 82
14. Cfr. Fernando Broncano, “El ingeniero como intérprete de aparatos” in La estrategia del simbionte. Cultura material para nue-
vas humanidades, Salamanca, Editorial Delirio, 2012, 171pp.
15. Edgar Morin, El método I. La naturaleza de la naturaleza, Madrid, Cátedra, 6ta edición, 2001, p. 210.
16. Cfr. Lewis Mumford, “Capítulo 1. Prólogo” in El mito de la máquina. Técnica y evolución humana, La Rioja, Pepitas de Calabaza,
2010, pp. 9-26.
17. Cfr. Peter Sloterdijk, “El quirotopo – El mundo a la mano” in Esferas III. Espumas, Trad. Isidoro Reguera, Madrid, Siruela, 2006,
pp. 280-290.
BIBLIOGRAFÍA Agamben, Giorgio, “¿Qué es ser contemporáneo?” in DDOOSS, Asociación de Amigos del Arte y la Cultura, 2012
(in http://www.ddooss.org/articulos/textos/Giorgio_Agamben.htm Consulted Feb/25/2018).
Broncano, Fernando, La estrategia del simbionte. Cultura material para nuevas humanidades, Salamanca, Ed. Delirio, 2012, 171pp.
Christov-Bakagiev, Carolyn, Tuzlu Su – Saltwater 14th Istanbul Bienal, Estanbul, Istambul Foundation for Culture and Arts – Yapi
Kredi Publications, 2014, 540pp.
Gaos, José, Historia de nuestra idea del mundo, México, Fondo de Cultura Económica, 1992, 748pp.
_____, “Sobre la técnica” in Acta Politécnica Mexicana, No. 1, Ciudad de México, Instituto Politécnico Nacional, 1959, pp. 105-112.
González Valerio, María Antonia, Cabe los límites. Escritos sobre filosofía natural desde la ontología estética, México, Herder –
UNAM, 2016, 310pp.
Morin, Edgar, El Método I, Naturaleza de la naturaleza, Madrid, Cátedra, 6ta edición, 2001, 448pp.
Mumford, Lewis, Art and technics, New York, Columbia University Press, 1952, 162pp.
______, El mito de la máquina. Técnica y evolución humana, La Rioja, Pepitas de Calabaza, 2010, 556pp.
Sloterdijk, Peter, Esferas III. Espumas, Trad. Isidoro Reguera, Madrid, Siruela, 2006, 711pp.
IMAGE: RETROSPECTIVE MEMORY<<< SOCIEDAD MIMÉTICA
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> Reflections byMexican artists on their own practice, trajectories and working concepts. They have been part of Bioscénica’s festivals, curatorships and transdisciplinary labs over the years, where experience was meant to be shared as first-hand knowledge.
Articles by Abigail Jara, Mexican choreographer, recent contributor at LABCET Epigenética and EMPATÍA 5 / DH in the framework of FestivalN (2018), and Ricardo Cortés, composer and programmer, has been a regular collaborator since experimental music concerts Kalispherion (1999 - 2004) and was part of curatorships Performa 2.0 (2010) and 1st Encuentro Internacional Liveness: Prótesis, Gesto IMAGE: RETROSPECTIVE MEMORY <<< EFUSIÓN y Metáfora (2012).
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BIOSCÉNICA FESTIVALS: FESTIVAL N
video, a 360º video, a soundtrack and an immersive experiential metaformance.
I will focus on this last format and share the journey that has led to a performative event involving multiple realities. But before this, I find it essential to geolocalize the urgency that moved me to open a reflection space with women, where the research subject was ourselves.
Mexico is the second most unsafe country in the world for women; every 4 hours a woman is murdered or disappeared. Femicide violence and disappearing of women and girls speaks of a non stopping trend. Facing this fact, in early 2016 I summoned several friends to begin a research process on the ancient wisdom female bodies hold. We wished to decolonize our bodies, recognize ourselves, recover the link with our nature, with ourselves, to Sorecer 360° create together, to become a herd. We wanted to contribute to the paradigm shift in the collective imaginary regarding being a Immersive Metaformance: woman in Mexico. We took on the task of recovering the dynamics of feminine circles, Experiencing Ubiquity such as intuition, intimacy, loyalties, agreements and democracies, to generate a safe space where it was more natural to find our own ABIGAIL JARA DURÁN poetics without impositions. We reflect on our feminine bodies as MUSSE DANZA CONTEMPORÁNEA knowledge containers which have been denied to us and censored, but belong to us. We explore our bodies from the strength, care An approach to the research-creation process of immersive and dignity in response to violence, violations and censorship. metaformance Sorecer 360, which reconfigures body-user- Due to our country’s context, we have adopted a political stance performer categories within an interactive environment where from our artistic field and have found in transdisciplinarity and traditional scene roles are displaced. Relationships are weaved virtual spaces some powerful tools of knowledge exchange, through present and virtual bodies and the body of sound, which necessary to produce our own reflections. engage into a real-time dialogue with the performing event. Multiple reality technology is a scarcely explored territory in Dance Sorecer 360 is part of a modular performing arts project, and we have been shaping it along the experience, tuning up conceptually focused on sisterhood and the power generated the potential that emerged when we set all the elements of the around women circles. This same conceptual ground has been metaformance into the practice . shaped into different formats, namely a stage piece, a dance
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The main components of this immersive device are trans- epidermic sensory expansion, sound spatialization and a dissociated presence that allows to experience ubiquity. They place During the excercise of reviewing, identifying and understanding Jaques Rancière quotes: the user-experiencer in a co-creating role of the performatic event. what we were producing, I came across the metaformance Boundaries need not remain concept proposed by Claudia Giannetti, italo-brazilian theorist fixed and immutable, leisure and and researcher specialized in Contemporary Art, Media Art and aesthetic reflection may appear in Claudia Gianneti quotes: Art- Science-Technology, who proposes to bundle art pieces that any individual, it is not exclusive In Metaformance, the artwork bind human and machine together, human-technology. However, prerogative of artists. Regarding sound design, sound also becomes a body experience existence relies on the fulfill- the element that drew me toward this format was the shift in the due to spacialization. In Metaformance Sorecer 360º sound is ment of the action, and both are viewer role in the piece. another body, engaging in real-time dialogue with performers subordinated to the user’s action. and users-experiencers. The approach here involved an acoustic- The spectator as external observer electronic-multichannel exploration aimed to substantially is not only shifted to ‘performer’, contribute to the immersive proposal, to be achieved through the but also becomes an internal use of hybrid space spreading techniques that combine traditional participant through its insertion in In Sorecer 360º, the viewer shifts their passive condition in relation plug-in methods with multiarray microphone techniques. the potential context of the work; to the piece and turns into a user or experiencer, and becomes, the work as such is revealed as a in Ranciere’s terms, an emancipated spectator. This shift breaks Therefore, the immersive sensation is achieved through two main result of the spectator’s perfor- with Platonic thought where each one must work within their components: one digital and one acoustic. The first resources to mance and intervention. trade according to their own abilities, without crossing boundaries textures composed by sinusoids with dynamic spectromorphology outside their own activity. in order to function as a 3D extension of binaural beats. This textural composition, created and transformed in real-time, can slide from the ergodic to the chaotic, and it is developed and spatialized with digital media. For the acoustic component, a
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multiarray microphonic system is used to allow spatializing the specific sound objects to be used as a natural reconstruction, which vary according to specific timbral features.
Sorecer enables inhabiting multitple realities through concurrently experiencing a digital 360° space and the physical space. The user-experiencer acquires a dissociated presence that enables to perceive ubiquity, sensory experience expands along the trans- epidermic performative device through which it becomes possible to share the universe of feminine empowerment that we created through this research-creation process.
Since the project beginning in 2016 the process has been displacing the members’ professional /personal boundaries, common interest kept shifting from a rabid resistance to sexist violence toward a place of well-being and joy for the simple fact of being together, gathering, laughing, sharing our stories, our bodies, looking for new alliances together. Now we are not the same and, just like the technologic performative device, we declare ourselves in constant movement and mutation, wishing to produce resonance in our findings.
More Information
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Kinetophon, thoughts on a process
RICARDO CORTÉS ESPINOSA CENTRO - ESCUELA DE DISEÑO, CINE Y TELEVISIÓN
Towards the beginning of the restricted, they did not elabo- projects, each one used a diffe- XXI century, those of us who rate topics in depth, frequently rent programming language: began to work in relation to art focused on technical matters, VVVV, Processing, MAX / MSP, and technology went through and many aspects related to Super Collider, Phyton and Java. a research and experimenta- interface design and sensing Two of them involved visual in- tion period, which on the one devices were still being deve- terfaces, one was an interactive hand opened many possibi- lopped, to mention only two performance project, another lities but also represented a aspects of a very complex field. was a series of sound devices risk. We lacked of information and the last one involved robo- To talk about art and techno- (especially in Mexico), doubts tics. It is impossible for a single logy covers an extremely wide and problems had to be solved person to cover all those topics. range since, on one side it through mere intuition, based involves each discipline dis- From my limited experience, I on trial and error, and even course; there are interactive would like to describe a project proposing projects that sadly pieces, non-interactive, sound, I started in 2003, which con- resulted in resounding failures: visual, audiovisual, narrative, sisted in developing a virtual devices that technically never performative, etc. On the other, instrument for dancers. worked, or did work but held these projects’ development no discursive performance. Music, understood in a tra- may include electronics, pro- ditional way, is considered a I am able to recall several pro- gramming (which covers many language whose symbols and jects of colleagues who bravely languages), interface design, relationships are transfor- exposed processes that failed industrial design and mecha- med according to the period, due to different circumstances. nics, to mention just a few culture and its relationship But in those years, the main edges of this intricated area. with other artistic fields. reason was always lack of ex- A few years ago I was advising perience. Although essays and The 20th century arrived with a series of projects and the texts that addressed technical, a revolution that modified not conclusion was often the same, formal and conceptual issues only artistic languages in their me confessing inability to cover within electronic art already form and essence, but also the so many areas. There were five IMAGE: RETROSPECTIVE MEMORY <<< KALISPHERION existed, access to them was relations between the different
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disciplines, resulting in a kind of zapateado is a primordial part video sensing, it freed the dan- exchange, abduction, contami- of the accompanying music. cer from cables, sensors and nation or transduction. A clear These disciplinary pairings have hard-to-handle interfaces, and I example of this are Hugo Ball’s affected them, transforming decided to explore this option. phonetic poems which lack of them sometimes formally, During the project development syntactic value (the texts hold sometimes syntactically. I counted with the collabora- no meaning) while they pro- These relationships between tion of a young choreography pose to emphasize the sound disciplines and their possi- student, Jodie Santo, who value of the human voice, stan- bilities motorized a series of immediately made me see that ding on the interstitial space processes within my personal the possibility of designing between music and poetry. work, leading to various pie- a musical instrument based Natural alliances between artis- ces and collaborations whose on movement posed several for an element’s duration in a in order to add or subtract chaos theory and, thanks to his tic disciplines, poetry and music development revealed a series problems: the first and most specific position or, on the con- sensitivity to the process. knowledge and support, I found result in a wide range of vocal of issues often solved through essential is the impossibility to trary, should durations be inde- a way to generate note groups genres: dance and music were trial and error, and intuition. identically repeat a movement There is a wide range of op- pendent from the movement? whose intervallic was desig- almost completely twinned in in 3 dimensions, in fact fluctua- tions for assigning values to In 2003 I started a research nated by a Verhulst function, the beginnings; theater and tions are enormous. This limita- Multiple questions emer- movement modulation, be that turned into a video sen- resulting in what can be descri- music which, among other gen- tion hampered the design of an ged throughout the pro- they height, timbre, duration sing computer system that bed as a swarm of notes that res, resulted in opera and kabu- interface that could grant the cess needed answers. or intensity of the resulting identified the coordinates of follow vertical displacements, ki theater (to mention only two). dancer with absolute control, sound. The first intuition led a dancer’s movement: it was The system had to respect free so the highest positions gene- not to mention the calibration to assign height modulation to In this intricate relationship named Kinetophon. This kind of movement and to be of fast rate high-pitched sounds and processes that would require vertical positions of elements game, different exchanges projects was not new (although calibration. This was solved the lowest, low-pitched sounds. imitating equal conditions of in the frame. The result I could have taken place, sometimes there were no commercial by adding two routines that light, distance, video camera predict before even writing Any system that requires assig- syntactic, sometimes formal, devices like kinect2 yet). The allowed me to modify the inclination and movement area. the computer routine was a ning value ranges at a certain sometimes conceptual. Take, most relevant precedent is reticle accuracy when measu- Leaving the activation mecha- series of chromatic scales3, scale is by nature arbitrary, as for example, Japanese taiko David Rockeby’s ‘Very Nervous ring movement. In this way, nism aside, how to map the with no utility or interest for a piano’s operating mechanism orchestras1, in which the execu- System’, capable of generating I was able to quickly adapt resulting values of the compu- this context. So how to relate has arbitrarily placed high no- tion gesture is as important as sound through movement. the system to a thin or thick ter image analysis? Is each note displacements to heights? tes on the right side of the key- the sound, or flamenco which One of this project’s important grid depending on what the one position? Should notes last board and the low on the left, is essentially dance but where features was that, through moment required, and ad- The project was being advised as the lower guitar string is set just brightness and contrast by Maestro José Luis García above and the highest, below. Nava, who introduced me to
1. Taiko are large diameter percussion instruments. 2. Kinect is a video sensing device developed by Microsot for its Xbox videogame consoles. 3. Chromatic scale is the note sequence by semitones, for example C - C sharp - D - D sharp - E - F - F sharp... and so on.
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Once the programming and point with musical notation, the piece for piano and ki- the interface were solved, the it is complex and difficult to netophon where, once the next phase in this project was learn. The proposal was based dancer is placed in the initial to develop a series of pieces on combining the traditional position, the system activates that would allow to apprecia- forms of each language. Jodie and the piano starts executing te the device’s applications. developed movement patterns its module A; when it ends, the What is a musical instrument in divided into themes and I wrote dancer starts his/her A theme essence? How to make cohe- a part for piano in modules. while the piano pauses. Each rent a discourse that integra- The result was a diagram that movement theme corresponds tes traditional instruments integrated the freedom of dan- to one piano module, until such as the piano with the cing to the music through the reaching the piano’s C modu- device? What kind of nota- flexibility of writing by modules. le, which must be repeated tion should be used for such until the dancer has executed In the original piece the se- The integration of both langua- important to know how 4. Each process and project is a project? Traditional musical themes C and D. Once this quence diagram had 2 lines, ges resulted in a system of free to segment and test them different; keeping an open notation? Graphic notation? ends, the piano pauses while one corresponds to the piano organization but nonetheless separately. Sometimes one mind and being recepti- Laban notation? This process’ the dancer executes theme E. and the other to the movement: based on musical organiza- part may work perfectly ve to change is required. result seemed to yield more The length of each theme or tion. The music is an outco- even if the others fail. Although engineering and questions than certainties. In order to play the piece it module’s square approxima- me of the dialogue between design have their strate- was required that both the tely represents its duration, 3. Collaborative work is Laban notation holds a disad- the piano and the device. gies to efficiently achieve a dancer and the pianist knew which is not fixed but we can fundamental, both for the vantage, which derives from result, it is often difficult to the themes and modules each anticipate that dancer’s theme In conclusion, several les- technical complexity that being a highly deterministic apply them directly to art. one executes. This diagram B is longer than theme A. sons were learned from certain projects present system of a complex phenome- represents the beginning of developing this project: (it is impossible to be at 5. In art nothing is written; non, it does not offer a contact the same time composer, to experiment, to try, to 1. At the beginning of a choreographer, program- propose and to fail are project it is important to mer, electronic engineer, fundamental parts of segment the different industrial designer, etc.) contemporary processes. phases and quickly start as well as for the help to set up prototypes that the other’s point of and put them to test. view represents. Often the Piano part fragment written by modules 2. In principle, all compu- ideas of fellow engineers ter systems present a or stage directors helped minimum of 3 parts: an me correct or rethink The result can be viewed here 4. Distance between two notes measured in semitones. input, a process and an projects and, likewise, my https://www.youtube.com/ 5. The Laban notation is a system of notation for dance developed by Rudolf von Laban in 1928. output. Although they own ideas helped several watch?v=zQbhUmSA9Rg&t=12s compound a whole, it is colleagues in their projects.
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COLLABORATION NETWORKS Bioscénica Mexico-Argentina
New transdisciplinary art practices have brought with them new forms of horizontal collaboration, where authorship is a constant collective work-in-progress. Myriam Beutels- pacher Alcántar and Ezequiel Steinman articu- late the link between Bioscénica Mexico and Buenos Aires, weaving knowledge exchange networks. Activities related to dissemination, learning processes and art creation connect us to civil associations, Mexican Embassy in Argentina, public universities, artists and rele- IMAGE: RETROSPECTIVE MEMORY <<< LOS ABUELOS ARTIFICIALES vant cultural agents of the Buenos Aires scene.
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Performing Arts and Technology Creating scenarios to experiment and produce in transdisciplinarity
DR. ALEJANDRA CERIANI FACULTAD DE BELLAS ARTES, UNLP
In December 2015 we were invited -as interdisciplinary team Speakinteractive- to the event 2do. Encuentro Internacional de Artes Performáticas, Ciencia y Tecnología - Efusión: Código y Producción de Sentido, held at Centro Nacional de las Artes, San Luis Potosí Centenario, Mexico*. This international gathering, open to all audiences, was attended by artists, theorists and scientists interested in transdisciplinarity applied to performance. Within the different theoretical and practical exchange proposals, our current experiences were shared in order to achieve new collective reflections. Part of this paper will describe how these dynamics of reciprocity have impacted on our ongoing creative strategies.
* Event organized and produced by Mexican company Bioscénica, Cuerpo digital y Transdisciplina. Curatorship: Minerva Hernández and Myriam Beutelspacher. IMAGE: RETROSPECTIVE MEMORY <<< EFUSIÓN
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INTRODUCTION programmers, performers, creators and audience’s process, modifying and musicians, researchers, different stances. reformulating organizational The body of work carried technologists with an interest competences, among other out by interdisciplinary team This framework of activities in art, and multimedia things. Again, this leads us to Speakinteractive1 has focused was expanded thanks to the art students. Imparted by overcome knowledge unity -alongside presentations and promoted informal meetings Speakinteractive team, it by considering it a means, workshops, seminars and where empathy among encouraged participants and to move toward self- conferences imparted domestic colleagues grew and new to survey, recognize and transformation through an and internationally- on the collaboration proposals took distinguish categories and heterogeneous interpretative development of free software off, something we will discuss in emerging features that imply synergy, not only between tools like Moldeo.org2 and the following section. a dynamic and active dialogue people but also between programs (App: application)3 between body, technologic computer systems loaded designed for interactive devices Efusión: Código y Producción of machines and bodies. In this means and design for the JOINT ARTISTIC-ACADEMIC with the software sensitive such as cell phones, optical de Sentido, held at Centro context, academic activities, composition of physical and EXPERIENCES structure. and contact sensors. We share de las Artes San Luis Potosi theoretical intersections, virtual performance. Whereas and disseminate our work, In regard to these experiences Regarding the aforementioned Centenario, Mexico -after reflection labs, conferences, the section Intersecciones + promoting the link between around corporality and path, let us summarize the Bioscénica’s invitation- was seminar-workshops and live Laboratorios 6 -discussion performative practices, applied technology, we will analyze specific links between artists, to experiment, reflect and events were programmed. The around the concept Código science and electronic-digital some contemporary production scientists and technologists conceptualize on technological seminar Incorporación del Gesto Encarnado 7 (Code Incarnate) technology for the scene. methods related to the that 2do. Encuentro Efusión mediation in interactive dance al Espacio Virtual Moldeable5 based on each specialist’s transdisciplinary phenomenon enabled, with whom we Our goal at 2do. Encuentro performance 4 based on the (Integration of Gesture into contents- hosted debates since it allows interdisciplinary have kept collaborating in Internacional de Artes connection between the Moldable Virtual Space) aimed to broaden academics, knowledge to expand in a different academic and artistic Performáticas y Tecnología - sensitive and technical world was aimed for visual artists, dynamic and continuous events: Oscar Yáñez Suárez
5. Within the proposed dynamic, Speakinteractive examined their recent interactive performances: Speak Universe which 1. Interactive Multimedia Research and Creation Lab by Alejandra Ceriani, Fabricio Costa Alisedo and Fabián Kesler. For more integrates the gesture’s expansion and projection potential to an observatory dome; Speak Fractal and Liquid which seek to information see URL < http://www.alejandraceriani.com.ar/speak.html >, < http://speakinteractive.blogspot.com/ > connect the physical live space with a remote audience as a multiplicity of the body; Speak Ecolecto which projects the gesture 2. For more information see URL < https://moldeo.org/> as a trigger for sound and visual elements for the deaf community; Speak AI Artificial Imagination which incorporates capture 3. For more information see URL < http://fabiankesler.blogspot.com/p/max-msp.html > and data processing from electroencephalography (EEG) and electromyography (EMG) sensors, accelerometers, gyroscopes, 4. For more on this concept of Interactive Performance see Chapter 2. The shifting from analog to digital, Part 2: Interactive heart and brain rhythms. For more information see URL http://efusion.bioscenica.mx/cuerpo-analogico-cuerpo-digital-hibrida- Dance Performance, p.127 to 195. URL < http://sedici.unlp.edu.ar/bitstream/handle/10915/66424/Documento_completo.pdf- ciones-y-alcances-en-el-ambito-de-las-mediaciones-tecnologicas/ >; For images of MX: Encuentro Internacional Efusión see URL PDFA.pdf?sequence=1 > < http://www.alejandraceriani.com.ar/fotos_speak.html >
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(Full Professor at Electrical gathering and achievement of movements and articulations. Engineering /Universidad three activities that involved the As a follow-up of this activity Autónoma Metropolitana following academic spaces and we based ourselves on certain UAM), Alicia Sánchez (Degree their specialists: premises and questions raised in Art Education, director, by human-robot interaction: 1. Posgrado en Diseño choreographer and dancer Can the robot imitate a dancer’s Industrial (Postgraduate INBA /UAM), Gloria Mendoza quality of movement? Where Industrial Design Program) Franco (Coordinator of the does the difference lay (beyond at Universidad Nacional Laboratory of Ergonomics, the obvious)? Could humanoid Autónoma de México (UNAM), Postgraduate Course at movements become more where we developed a research Industrial Design /UNAM) and empathetic than those of a line in Human-Robot Interaction with host and transdisciplinary trained body? These premises (HRI) in charge of Prof. Gloria company Bioscénica (Minerva lead to the project, not yet UNAM Ergonomics Laboratory. Danza, Visiones Contemporáneas Artes’ Dance specialized Mendoza Franco, with the Hernández Trejo, Myriam produced, of an interactive Related to this, we promoted desde la Escena (Latin magazine11. Also in 2018, purpose of experiencing the Beutelspacher, Alejandro performance dance piece the opening of the workshop American Colloquium of as part of the Scientific possibilities and potentials of Ortiz and Ezequiel Steinman). with robotics where the code Taller de Programación y Dance Research and Practice, Committee of 3er Coloquio social robotics in art. Related At this point, it is necessary implemented in the robot’s Robótica Orientado Al Arte 9 Contemporary Visions from Latinoamericano VISCESC activities were performed to mention ‘2016 Subsidio program allow to combine (Programming and Robotics for the Scene) VISCESC10, by INBA-México with the purpose around a seminar imparted on de Viajes y Estadías’ mobility its movements with the the Arts) in an Art Education Prof. Alicia Sánchez and Prof. of linking and strengthening social robotics and practical support granted by Secretaría performer’s. On this project school for children and the Alonso Alarcón; to moderate Latin American dance exercises with robots. We de Ciencia y Técnica at we have a series of rehearsals young, still ongoing. and present a lecture at a community. focused on both observation Universidad Nacional de La recorded and edited on video8 Magisterial Conference in 2016; and experimentation of Plata, which partly enabled the from the experience held at 2. Coloquio Latinoamericano de and publish in INTERDANZA, 3. Laboratorio de Investigación humanoid robot NAO’s Investigación y Prácticas de la Instituto Nacional de Bellas en Neuroimagenología (LINI
6. For more information on this concept see URL < http://efusion.bioscenica.mx/interseccion-laboratorio/> 7. For more information on this concept see URL < http://bioscenica.mx/wp-content/uploads/2017/06/Reporte_Efusion_Biosce- nica_web.pdf>, page 12 and 15 8. See YouTube channel “Observing the movements of the Humanoid Robot NAO 1”, URL< https://youtu.be/xYAuoY3IxpE>; and 10. More information at URL < https://coloquioviscesc.files.wordpress.com/2016/08/primer-coloquio-latinoamericano-de-inves- “Observing the movements of the Humanoid Robot NAO 2”, URL < https://youtu.be/alpcAlRa7og> tigacic3b3n-y-prc3a1cticas-de-la-danza-viscesc-2016-cdmx.pdf > 9. For more information on the workshop Programming and Robotics for the Arts, an extra-curricular activity open to the com- See lecture “El cuerpo en los tiempos de la digitalización: La corporalidad expuesta” (The body in times of digitalization: The munity at Escuela de Educación Estética N° 1 Dirección General de Cultura y Educación de la Provincia de Buenos Aires. La Plata, exposed corporality), Vimeo video channel URL < https://vimeo.com/182104487 > Argentina. See channel on Facebook URL < https://www.facebook.com/groups/683333871859206/ >; https://www.facebook. 11. More information at URL < https://issuu.com/interdanza/docs/interdanza37_issuu> com/escuela.estetica1/photos/pcb.1935018103284318/1935012936618168/?type=3&theater
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contacted us with Laboratorio which hosted Myriam Body, Performance and de Electrónica Industrial y Beutelspacher and Minerva Technology. Poetic Tensions) Control (LEICI 14 - Industrial Hernández (Bioscénica, articulating nodes Spain- Electronics and Control México) for the presentation Mexico-Argentina, around the Laboratory) at Engineering of their book ‘Encuentros. pairing performance arts and School, UNLP, CONICET. In Arte y nuevos medios en technology. association with them we las prácticas artísticas The earned value of these undertook -ongoing still- a joint contemporáneas’ (Art and new exchanges lays on exercising research process and artistic- media in contemporary artistic a critical look over technology scientific production. practices) on the occasion of in relation to bodies and vice II Jornada Cuerpo, Performance Likewise, we managed to versa, retrieving empirical y Tecnología Emergente16 (2nd formalize other collaborations knowledge generated through - Neuroimaging Research (electroencephalography EEG) and electromyography (EMG), Conference: Body, Performance from Universidad Nacional interdisciplinary artistic practice Laboratory), part of Digital connected and transferring which while they belong to and Emerging Technology). de La Plata, Argentina. In the towards the configuration of Signal Processing and data to open source software the medicine field its use has Also in 2017 we co-organized framework of Cátedra Libre De the transdisciplinary in order to Biomedical Imaging Area of Moldeo.org. In two consecutive expanded to artistic tests a videoconference entitled I Educación y Mediación Digital find the poetics of the body, of the Electrical Engineering days of work it was possible and productions through the Jornada Internacional Cuerpo, en Danza y Performance15 science and of technology. Department at Universidad to sense and control -through commercial proliferation of Performance y Tecnología. (Education and Digital Autónoma Metropolitana a peripheral device called devices that measure brain and Tensiones Poéticas17 (1st Mediation in Dance and (UAM), Iztapalapa Unit, Emotiv Epoc12- Moldeo.org13 muscles electrical activity. International Conference Performance Open Program) in charge of Prof. Oscar software visuals. Further down Then O. Yáñez visited Argentina Yáñez Suárez to experiment this line, we learned more in 2018 and, besides taking part with the processing and about these components: in another working session, he analysis of brain information electroencephalography (EEG)
14. More information at URL < http://leici.ing.unlp.edu.ar/> 15. A “Cátedra Libre”, an Open Program, is created to promote areas of culture and knowledge that don’t fit in any specific curricula of the degrees imparted by Universidad Nacional de La Plata, Argentina. Cátedra Libre: Educación y mediación digital en Danza Performance was created March 14 2014 by University Presidency through resolution No. 108 / 14y, designating Dr. Ale- jandra Ceriani as Director. More information at URL< https://unlp.edu.ar/catedras_libres/catedra_libre_educacion_y_mediacion_ 12. For more information on this device see URL< https://www.emotiv.com/epoc/> digital_en_danza-6500>;
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ART+SCIENCE JOINT RESEARCH strategies- achieve here their but where true progress and true AND CREATION full scope. In words pronounced discoveries take place– and with at the Master Conference ‘It is the need to end our soliloquy and Artistic production in dance time to think the anthropocene! allow the story to be told by the performance with interactive A manifesto’18 by Jean-Marc public, in a flow inversion that will technology holds as one of Chomaz (2015): then allow the ‘interaction’ and its interests to research new the public’s ENTRY-CONTRIBUTION ways of linking the body to (INPUT) to be injected into science the behavior of computer for its enrichment. systems. Basically, it means What could be the sense of a to focus on the strategic scientist becoming involved with direction of transdisciplinary art? I have thought about it for Following this chain of artistic production, studying a long time: Where does it come questionings by J-M Chomaz, interaction forms as a whole from, this acute sense of urgency we propose a reversal of inspiration and mediation in interpret it, there wouldn’t pattern is instituted and, in real conditions, considering and this intimate conviction that his approach in order to ask the technological development, be much difference because therefore, it establishes itself the relevance of processes scientific dissemination for a gen- ourselves: What kind of interest which in the last years has likewise art constructs an as a superior, indissoluble rather than results. This eral public is mostly difficult and can the work of a scientist raise transformed the way of interpretation of reality. mode of knowledge. In allows us to manage projects inadequate? in artists? conceiving, experiencing and Then, what would this this context, how could a from a mainly processual and producing art. Another contact supposed distinction, this transdisciplinary collaboration We understand that, broadly relational perspective, where This rising question is paired with point implies methodology. superiority of the sciences be conceived, when traditional speaking, science-art epistemological contents the intuition that we, the scien- If science presupposes the be? From the viewpoint of the scientific research holds a relationship is one of mutual -produced by hybrid joint tists, should reveal the other side, construction of both the positivist scheme of scientific methodological habit that influence, agreeing that practices such as computer dark and luminous, somber and object of knowledge and the knowledge dominated by its tends toward a ‘ghetto effect to applied science attempts to scientists, scientists and artists sublime –the side we do not con- most appropriate method to internal logic, the rationality which researchers are exposed solve specific problems or as much as policies and cultural trol and do not even understand, create products that mean an
18. For more information see URL http://efusion.bioscenica.mx/jm-chomaz/
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in the enclosure of their strict of suspicion and alertness of knowledge and praxis: art, and gyroscope) -of own his/her body information over the that communicate the binding specialties’ (Bourdieu, 2010: against possible asymmetries body, dance performance and manufacturing- plus the network? Are the sinusoidal waves processes of interactive 105). To consider the limits of at the risk of perpetuating technology, their practice and capture and data processing the graphics of our passions? Can dance performance with new our expectations regarding old hegemonic categories’ hybridizations, their operating from bioelectric sensors a large audience imprint a gestural technological poetics. We new ways of articulating art (Marcos B., Hernández M., dimensions, understanding the EMG, EEG, ECG, in order to thought on the performer? promote transdisciplinary and science leads us to the Beutelspacher, M. 2016: 126) development of disciplinary and integrate this information What would be the critical research and production following question: Could interdisciplinary fields. Along into a free hardware and mass required to induce these between science and art, We recognize that this the development of scientific this route, actions of conceptual software platform. In the live phenomena? Can imagination be as well as encouraging the transdisciplinary creation progress be conceived as a and emotional nature performance this discussion is artificial?21 cognitive and sensory exchange and research paradigm is path of poetic or metaphorical merge, according to each posed: of those who practice it. conformed by a complex improvisations? If a bolder production’s context, towards a combination of theory and We keep looking for answers approach could be achieved, we paradigmatic transdisciplinary practice; that it calls for Is it possible to transpose our to guide our practices toward would coin a new meaning for act. The means and sequences MORE INFORMATION transcending the disciplinary in emotions into zeros and ones? Can the design of other conceptual it: the consanguinity between of actions are observed, www.alejandraceriani.com.ar order to achieve cooperation an interactive performer convey and experimental scenarios sciences, technologies and analysed and determined, in a broad epistemological the arts as a way to modulate as well as the instruments framework and resorting to more accessible configurations and resources necessary to hybrid methodologies that of knowledge. Consequently, detect body procedures in BIBLIOGRAPHY seek to integrate the different the subversion strategies that each technological context. Bourdieu, Pierre (2010), La dominación masculina y otros ensayos, Buenos Aires, Anagrama. orientations of studies, basic J-M Chomaz exposes therefore In its latest version called Ceriani, Alejandra (2015), Génesis y desarrollo de la escena tecnológica de Buenos Aires: estudio de lo digital en la danza principles, configurations, represent a global rupture with Imaginación Artificial I.A19 a new performance (1996-2016) [online]. (Genesis and development of Buenos Aires technological scene: a study of digital dance approaches, techniques, the principles of traditional online adaptation of Moldeo. performance (1996-2016)). Available at:
WEB LINKS 19. For more information on this 2018 interactive performance see URL < http://speakinteractive.blogspot.com/ > http://www.alejandraceriani.com.ar/ 20. More information on this version of Moldeo in JavaScript: URL < https://www.moldeo.org/blog/developers-of-mold-7/tag/9 > http://www.speakinteractive.blogspot.com.ar/ 21. Watch the stage performance on YouTube channel “SPEAKINTERACTIVE Inteligencia Artificial I.A.”, URL
http://fabiankesler.blogspot.com
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Artificial Grandparents at Laboratorio de Interactividad Corporal
EZEQUIEL STEINMAN BIOSCÉNICA ARGENTINA
Biometrics vs Biography The OPT device, designed and assembled by a large team of re- Between stage piece and performance installation, Artificial Grand- searchers-artists, REMAP /University of California (UCLA), involves parents sets its ground in mechanisms of memory and identity a kinect camera network set up at the upper corners of a sensitive construction, in the tension of the subjective and the collective. stage to survey numerical variables of the positions, trajectories Through a present body first-person report, we build -dismantle, and durations of different bodies and objects, freeing the perform- overwrite- the house that Constanza Casamadrid (Mexico, 1990) ing-interactive action from a fixed viewpoint. Being able to send remembers with great detail although she was never there, where data from OpenPTtrack via OSC allowed the interaction with mul- her grandfather and mother were born, all forced to exile to Mex- tiple video projections processed in TouchDesigner, and to create ico in 1976. Exploring the house interiors -virtual, affectively real-, real-time quadraphonic sound compositions through Ableton Live she and the artificial grandparentsinquire why she refuses to ask and Pure Data. permission to enter the actual house, located in Zárate, Buenos The detailed blog3 Constanza carried out during the process de- Aires Province. scribes an initial concern: The artistic residency Laboratorio de Interactividad Corporal1 (LIC) The project began around the idea of a projective or hypothetical hosted the project March to September 2018 at Centro Hiper- narrative piece about postmemory (Hirsch: 1996), a powerful mediático Experimental Latinoamericano (cheLA), Buenos Aires. form of memory whose connection to its origin is not mediated Framed by the slogan exploring relationships between technologi- by evocation but by imagination and creation. It refers to the cal-biological body and memory, we tested OpenPTrack software2 experience of those who grew up with dominant narratives (OPT) for multitracking or real-time tracking of bodies and objects related to events earlier than their birth and therefore not fully in a sensitive stage. understood or recreated. They involve family memories shared through oral narration that, although not experienced by the 1. Residence “Laboratorio de Interactividad Corporal” CHELA-UCLA-REMAP 2018 interlocutor (they cannot be recalled), they internalize in order to http://chela.org.ar/modulos/laboratorio-de-interactividad-corporal give rise to new memories through the imagination. https://remap.ucla.edu/laboratorio-de-interactividad-corporal/ 2. http://openptrack.org/ 3. https://constanzacasamadrid.wordpress.com/2018/05/07/lic/
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To our purpose, postmemory frames an uncanny field of memory Constanza firmly refused to ring the buzzer, which we read as a rel- dissociated from experience, a kind of imaginary implant that travels evant narrative piece of information rather than an obstacle. Thus, through the emotional charge of family discourse and omissions, we consider this vector toward the actual house that dead-ends in and strongly influences present experience and decision making. An the idle buzzer as an empowerment of the interactive virtual line. example of this lays in Coni’s expressed impulse to buy that house The personal fragility that this process unfolds down the path of again, even if nobody in her family lives in Argentina anymore. The Constanza’s family biography is reinforced when its contact with Zárate house condenses this phenomenon and provides us with a History is recovered, enabling the collective’s support. task to be carried out, assembling it as an interactive virtual environ- The instrumentation meant in resourcing to the concept of post- ment. memory becomes operational through the OPT device, providing How is this device articulated narratively? In terms of language code, us with a task that is already more shearable than merely internal, the documentary line is strong in the project. Coni’s grandfather and it is mediated through the house, setting the body in relation to made films as a pioneer action journalist and one of those films was that mediation, in order to start demarking what really comes from the cause of his exile due to the military dictatorship. With such expe- her experience and what is inherited. It is on this mediation process ditionary spirit we drove to Zárate (100 km from Buenos Aires) to find that the staging is based, in a tension between the biographical the house and try to get in. We recorded her arrival to the house and documentary line and the virtual, biometric. re-enacted the picture of the facade Coni took in 2015, attempting to From another angle, the virtual path enables us to displace bio- synchronize ourselves with that fascination. graphical mediation and its complex family bonds toward another type of mediation in which we can participate as a collective, related to locating, for example, affective day-to-day ambient sounds in a 4. In “Tiempo Pasado: Cultura de la Memoria y Giro Subjetivo” (Past Tense: Memory Culture and subjective turn), house that now we can all -including spectators- inhabit and feel, no Beatriz Sarlo rebates Marianne Hirsch on the need to use the prefix “post” for redundant and states that it is only longer the biography bearer’s exclusivity. The most important thing one of the complex mechanisms of memory. However, it is useful for us to name the problematics of a tangible is that this virtual mediation becomes a way to externalize a sec- affective image while not the result of personal experience, therefore ‘inherited’. Precisely, Los Abuelos Artificiales ond-hand experience which, as an intruder or a parasite, it operates is thought as a way to restore an experience to that house-image in order to enable an operation in that memory. conditionings by nesting inside identity-conforming mechanisms.
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While you explore a quote/unquote HOUSE we analyze what kind of truth is waiting for you there. Or if there is nothing. Or if it is something better not to remove. Because you are not doing anyone a favor fulfilling things you believe truncated for others, nobody is asking you to do it. Neither do we, the artificial grandparents. We ask nothing from you We are here for you, II. at your disposal. You make us and we make you this house. Body interactivity bases itself in biometric information. The Resi- dence initiated with this system already set up and functional by the REMAP team so, from our perception, upon entering the place This strategy of assimilating the default algorithmic variables of we already felt the presence of an expectation, a constantly ac- REMAP’s system can be traced in the grandparents’ expressive lan- tive receptivity. Tracing color lines in a large monitor, it did not tell guage, heard as voice over. When it detects a body entering space, performance from preparation, occasional transit from intentional the OPT assigns it with an ID and tags a name to it. Since ‘identity’ movements, each and every movement was indistinctly sensed is a most relevant variable in our story, reverberations become and real-time represented. A genie already out of the lamp with its unstoppable and algorithmic terms start to work both ways. ear in our throat, ready to read the mere thought of a word as a command to fulfill. The system’s different analysis levels of these data were meanin- gful to us, the kinetics -speed, acceleration, trajectory- and espe- Los Abuelos Artificiales’ premise of making biometrics engage biog- cially the more complex ones, names that began to sound almost raphy and back, sought to make that tension tangible and to allow poetically when said by a computer: ‘age’, determining permanen- the emergence not only of new forms of interaction between these ce in a sector, ‘confidence’ when one identity remained the same two instances, but -if lucky- of new meaningful solutions. So we versus the risk of getting confused with another ID present in the tried to make the OPT resources excite the dry (Roy Ascott) ma- sector, or if it left the area. chine affinity in our wet inquiries.
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III. When integrating technology to the stage, it is within dramatur- gy’s reach to nourish the behind-the-curtain dilemma: if opera- tion will be hidden or otherwise become stage material. Into this last direction, it helps identify roles and functions, that is to say, a system of relations and forces, hierarchies of spaces... In Los Abuelos Artificiales the collective effort to assimilate and juxtapose ourselves to the OpenPTrack activity provided us with the elements to put to the test this idea of some artificial ances- tors who, while collaborating and emotionally embracing her, they influence Coni’s actions. The piece’s way to express this is that, while conditioning her identity (building the house with our biased means), we configure ourselves from the broadest range of iden- We believe that it establishes an ethical stance, a stake, to choose tity options: indistinct in our gender division (male - female voice), building Constanza’s house based technologically on her ‘post- delocalised in our mixed accent (Mexican - Argentinean), time- memory’, charged with affection, with intense blurred limits, wise dissociated and mediated (amplified live and recorded voice), leaving the fascinated imprint at reach -the facade she will not go dry and wet (robotic / human voice - direct but interactive ambient through- as a mark of empowerment. It clarified the way for us, sounds - digitally animated freehand drawings). We were visible to to face such a digital modeling in contrast to the archaeological the audience but just off the sensed space. We sought to organize reconstruction of an abandoned house, a ruin, in order to pro- our presence and actions as a fold or virtual mirror of a concern vide continuity to a revelation of the same nature, affective. And about identity and its limited options in the face of an apparently to reconnect the experience into a memory that originally lacked open interactivity. from it. Here the virtual aims to emerge as a path to solutions that Present audience is by extension affected by this grandparents’ spread beyond the sphere of the individual or the familiar, more polyvalent operative feature because that is how the non-sensed like the adoption of an expanded family, a gang of artificial grand- space is configured. A nearby monitor sketches all onstage move- parents. ments, everything that the system /the grandparents ‘see’. Thus, we outline a spectator who feels and ‘senses’ at the same time. Identity is also a form of control. The sound of memory / the memory of space In this manner, our work sought to transcend the input body (the performer). We intervene the technological device when we The sound exploration through OpenPTrack led the main line of blend into it in order to compose an actant. OPT’s expectation is action of Artificial Grandparents. Considering the biodocumentary absorbed from a biographical intentionality, meaning that its data element in Constanza’s storyline, reinforced in her closeness to her can be read from a historical perspective, integrated to an exis- grandfather’s profession, the house construction was based on tential becoming, capable of solving the traps of a postmemory spatialized real-time distribution of tracks, different room ambient originated in the traumas of recent past. sounds and day-to-day situations activated on Coni’s exploration of the projected blueprint she drew free-hand. The recorded sounds
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provide the source’s verisimilitude while demonstrating their built character; the discourse is what holds its relative truth rather than the veracity of its source. The freedom to conduct the listening of the different ‘inhabited’ environments, strengthens our performer’s presence -who is designer and programmer, rather than a trained actress. The device renders a natural scene by merging interactive techniques with real-time decisions, avoiding any repetitive fixation of cho- reographed sequences. The goal is a constant updating of a living process, as described by Ezequiel Abregú, the piece’s composer and live sound performer:
The sound proposal of Artificial Grandparents aims to provide Creating process disassembling a process. an utopian solution in terms of space creation. That is to say, the space we are building, no one knows for sure how it looks like or Lecture-performance at Centro Cultural San Martín how it sounds. And since sound, as a perception, is dependent on the time it occurs, we decided to approach the sound experience as the revelation of a place being discovered in and through time. The act of sharing resulting reflections from the lab experience might contribute to knowledge production in the theoretical field. How does the singularity of memory take place? The sound It could lead to recognize performing arts’ interdisciplinary and experience in Los Abuelos Artificiales sets diffuse limits. An aural transdisciplinary methodological strategies along the creation jour- architecture (that is, space orientation by means of audible clues) ney of a poetic device. became an interesting idea that also impacts discourse-wise. To build a recollection, a house, its singularity presenting blurred In November 2018, although half the team -including our perform- uncertain boundaries, describes an experience that can only be er- was abroad, we accepted to take part of Noviembre Electrónico 5 completed through the artificial grandparents collective entity Festival mostly as an exercise to retrace an intense complex actions and the viewers’ active listening. process of technical, compositional, thematic experimentation, holding as a trigger-question Can the Artificial Grandparents replace What we call ‘the house of sound’ could not exist if there was no one Constanza for her avatar? there to inhabit and experience it. By having minimal visual clues, this part’s sound acquires perceptual relevance since the space Could this be performed with an avatar as a biography support, construction emerges not only from the sound material: space as first-person testimonial? We decided to discuss, in lecture- blends in with memory. performance format, the value of the singular support: would the absence /digital replacement of the performatic body modify the biographical substance of the work? What kind of representa- tion problems would arise? To what extent and in what sense our 5. Los Abuelos Artificiales in ‘Noviembre Electrónico’ festival at CCGSM: http://www.noviembreelectronico.org/pro- dramaturgical-technological device could be opened to a participa- gramacion/los-abuelos-artificiales-conferencia-performatica_a225 tory experience?
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Any displacement of the singularity on which the project was origi- nally based, the Zárate story, might work when integrating other affective singularities. Sharing its activation process invites similar affections when evoking their homely environments which could enable a new ‘session’ of Artificial Grandparents. The singularity would change but not its sensitive -rather than sensed- ethics that conforms this performing technological experiment.
MORE INFORMATION
So, could singularity be replaced, if not by a degrading generaliza- Video (trailer): https://www.youtube.com/watch?v=_txioiVPIx4 tion, with another singularity? The narrative path of desiring recon- struction and reterritorialization is not compatible with anything other than an affective commitment that appeals to those present and defines the exchange parameters between spectator and scene. Cast / Crew Laboratorio de Interactividad So we made a call to the collective body’s imaginary. In our lecture- Los Abuelos Artificiales Corporal 2018 performance we invite the present to recall and choose the object cheLA (Centro Hipermediático Performance: Constanza that best evoked their own grandparents’ house and then step in to Experimental Latinoamericano): Casamadrid UNTREF/Diáspora explore our ‘house of sound’ scene. Then we heard their stories in Santiago Núñez, Belén Tondo, which these houses’ space were evoked instead of Coni’s. Through Multimedia Design: Myriam Francisca Armando y Federico live drawing, the artificial grandparents sketched the spaces that Beutelspacher UNTREF/Bioscénica Roitberg. audience members remembered and, as a visual ‘inhabitable’ experi- ment, the blueprint was projected on the stage floor. Interactivity Design: Juan Camilo REMAP (Research Center León Sarmiento UNTREF/Diáspora in Engineering, Media and This mnemonic exercise was a fundamental part of our process, a Performance) at UCLA (University methodological resource we opened in this public instance in order Programming: Juan Camilo León of California, Los Angeles), Jeff to activate an empirical environment that allowed us to produce Sarmiento, Luciano Toledo, memory. Reconstruction-activation-living process, not to store or fix Constanza Casamadrid Burke (director), Jared J. Stein a structure. That would be easier to overwrite. (dramaturg), Zoe Sandoval, Sam Sound Design and Original Music: Amin, Peter Gusev, Matthew With ‘empirical conditions’ we mean to measure the value of gen- Ezequiel Abregú UNQ Ragan, Georgi Atanassov and Petko erating a very unrealistic environment such as ours. We believe it is Dramaturgy, Stage Direction and Tanchev (Remap team). possible to create and set in motion an affective reality unrelated to the degree of realism, nor with the illusion of a virtual or augmented Video: Ezequiel Steinman UBA/ space, but with a degree of affective actualization applied to the UNA/Bioscénica technological context.
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Dialog Loom
MARCELA RAPALLO UNIVERSIDAD NACIONAL DE LAS ARTES DE ARGENTINA
On September 7 2011 20:11, Myri Beutelspacher
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2016-06-11 12:24 GMT-03:00 M R On Wed., May 15. 2013 at 20:17, wrote: M R wrote: Hi Myri! This Saturday I’m giving the lecture I’m sharing Trazos Club info for “Drawing on stage” in the framework Minerva. I attach a text with project of ‘I Jornada de Comunicación, Artes data and hyperlinks, two images of Escénicas y Artes Audiovisuales’ at the cover design progress, and an Universidad de Buenos Aires. updated info page. (...) Hug! Marce
On May 18, 2013 at 03:36, El 12 de junio de 2016, 21:28, M B M B wrote: wrote: Hello Marcela! Awesome!!!!! Wow! I’m already in Buenos Aires! Info looks great, thank you, very I’d love to go to your presentation!! complete: D! Thanks for the invitation. (...) Let’s think of a title... Trazos.club Launching. Online Colla- borative Drawing (AR-EU)? same time it meant a step back platform, both platforms were generated an intimate homely to finally close the session Trazos.club Mexico Launching. Online in order to engage in a dialogue introduced in Mexico by Myri space framing that table. In drawing live, Myriam, Andrés Drawing Open Platform (AR-EU)? with the past, because live through Bioscénica. the second performance, we and me. ...It’s on! drawing enables it to manifest resumed that theme but left passed by, Myri Trazos Club is a web platform itself as other time arts, such During 2015 and 2016 I cre- our previous work behind and Time had moved to Ar- Drawn for collective drawing. It is a as oral narration. That is what ated a program called instead we imagined potential, gentina and we were neighbors. Dialogues project that seeks, through we explored in the first piece where I invited artists interrelated open houses. We We met in person at that UBA collaborative work, applying 2016-06-14 16:39 GMT-03:00 M R we did with Moldeo, Cuentos to make performances based both drew with Andiamo while event, and friendship began. simultaneous animated digital animados. on live dialogue. They were very we moved, we traced over a wrote: First exchanges were related to nourishing experiences, each wide space and over our own strokes, to promote innova- I think that’s perfect! About this process, Juan with its own different features, tive artistic and educational research, to sharing references, bodies in motion. At the end, Conference-like, and we can discuss Garff wrote: ‘(...) Images hold concepts, going to exhibitions. it meant working with artists experiences, understanding we pulled out mirrors so the back and forth between the three of a unique artistic quality but, Later, in 2015, Myri took part of with their very own paths within sketched open houses now pro- artistic education in a broad us :) at the same time, a dreamlike Drawing on Stage Lab which I im- live digital drawing. jected farther and farther, until sense, including the commu- theatricality that binds the nar- parted at Club Cultural Matien- going out of sight. nity’s appropriation and use of I like that title: rative features, or even better, With Myriam we did two perfor- expressive languages. Trazos zo, where she started working Remix de casas dibu- Trazos.club Mexico Launching. Online the personal reading, with the mances, projects itself as a meeting with Andiamo, promoting the jadas Drawing Open Platform (AR-EU) dynamics of stage representa- at Festival Fuga Industrial place, a drawing Club. tool from her own projects. Should I write you cc:Andrés as an tion. (...) Thus, the technological (Fundación Lebensohn, 2015) and Casas abiertas at Fase 8 Trazos is the result of ten introduction, so we discuss it by mail resource is transformed into an Andiamo is a free software tool in September Festival (Centro Cultural Re- years of work with Andrés that artistic tool. And the journey, for live animated drawing devel- 2016, invited by a little bit? coleta, 2016). In the first we Thus, included the development of animated by narrative stations, oped on Processing. platform. It Bioscenica to Festival Transpik- mixed the common subjects of Free Software tools, performa- becomes an unprecedented began with explorations shared sel, we presented Trazos Club,, our works Hábitat Draw and La tive works and educational and at the same time a familiar with Andrés Colubri, who de- the platform we developed with Mudadora, in a live drawing dia- projects based on live and experience because it refers to veloped the first Andiamo code Andrés based on Andiamo. It logue using Andiamo and Isa- collective drawing. the imaginary of stories in their in his Master’s Degree project. the form of a videoconference, dora. We were sitting together generation process’. The precedent for Andiamo is we reconstructed the work joint at a table as projected images our work together on Moldeo with Andrés that led to Trazos,
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JULY 23 2018 17:14 / M R wrote: Hi, love! How are you? I’m checking Bioscénica’s site. I got very interested in what I read on the community collaborative lab, where can I see more about that?
JULY 23 2018 18:59 / M B wrote: Hello! How are you! ! So cool you checked out the commu- nity Lab. You might want to interview Minerva Hernández and Alejandro Ortiz. Besides Bioscénica, we founded PLACCA, which is the community cul- tural platform focused on the town of Tepepan, Xochimilco.
the sensible use of technologies primary use of language, has according to each one’s own to do with a concept I recently identity. read on Cerámicas Claridad ’s webpage, as an observation again, in 2018 Different contexts with experi- Once the crossing on a resulting piece: between ences in common. I believe study and intuition a sacred roads with Bioscénica were re- that, in a wide view, art is lated to research. I am prepar- place opens. I think this is something that underlies as a the search I feel as common ing a seminar that will be part continuum: the construction of of a Clacso Diploma involving ground in regard to our mutual an open collective work, where work and interests with Myriam research, technology, develop- anyone can take part and ment and social feedback. The and Bioscénica’s projects. The share. And in each individual seminar will specifically focus coincidence is related to Latin work, the same thing happens American identity, and with on art in relation to these top- on a smaller scale because no ics. While I was selecting exam- finding -or recovering- together work is really individual, our that sacred place in our every- ples to discuss from different uniqueness is always expressed places in Latin America, once day creative practices. Thanks to this generous exchange with Marcela Rapallo we through dialogue with our have disseminated Trazos.Club online drawing tool in Mexico, again matching points popped peers. This idea corresponds to in the frame of Laboratorio Colaborativo Comunitario LABCO up when I learned about Re- the Free Software philosophy, vivamos Tepepan. project . in relation to which I am inves- Anima Mundi, led by Plataforma Bioscénica at ‘Casa Hogar Talking from my experiences in tigating the concept of open Sumando por ti’, in Xochimilco. research and production with drawing, tracing an analogy LABCO 2018 Aproximaciones a la poesía, Coro de Frutas and Latin American colleagues over with the open source. Anima Mundi received the support of Proyecto Bi - BBVA the years, in my particular case, The essence of these meeting Fundación Bancomer. from Colombia and Mexico, points and collaborations, going I feel close to their ways in back to what I described at the MORE INFORMATION regards to community and beginning when addressing a collective art, free culture, and http://marcelarapallo.com.ar
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Projects produced in collaboration Arts, Science and Technology Transdisciplinary methodologies
Bioscénica Mexico-Argentina with electronic artists, cultural Knowledge Exchange Networks. for educational contexts.
institutions and universities. (2014-2018)
JAMTEC UNQ RESEARCH AND TEACHING MALAPRAXIS UNTREF TENSIONES POÉTICAS UNLP CHICOS NET / CENTRO CULTURAL DE LA CIENCIA MÚSICA Y TECNOLOGÍA SEMINAR https://www.youtube.com/watch?time_continue=89&v=mX12jV2LSlI MEXICO / ARGENTINA / SPAIN STEAM METHODOLOGIES
II CONVERSATORIO TECNOESTÉTICA Y SENSORIUM ARTICLE IN E-PERFORMANCE 4 CONTEMPORÁNEO UNLP UNC, CÓRDOBA CUBREOBJETOS FESTIVAL NUEVA ÓPERA BUENOS AIRES
15VO. ENCUENTRO DE COOPE- RACIÓN E INTERCAMBIO (ECI) CENTRO DE EXPERIMENTACIÓN E INVESTIGACIÓN EN ARTES ELEC- TRÓNICAS (CEIARTE) UNTREF/UTN
PERFORMING ARTS FRUIT CHOIR LOS ABUELOS ARTIFICIALES AND LABCO TELEMÁTICO EMPATÏA 4 // LA EMOCIÖN XOCHIMILCO - BUENOS AIRES RED ANTROPOLOGÌA DEL CUERPO PERFORMANCE INVESTIGACIÓN UBA
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METHODOLOGIES LabCet Epigenética Performance Creation Transdisciplinary Lab, 2018 In the frame of Festival N, International Arts Science and Technology Festival, Centro de Cultura Digital, Mexico City
LABCET Epigenética invited 10 transdisciplinary creators with unique backgrounds. Within this shared environment, we declared an unstable zone of crossing trajectories. The concept of epigenetics calls for the exercise of recognizing an arsenal of available mnemonic tools residing in individual and collective bodies (to excercise memory, activate touch, retrieve hidden, ancestral, anecdotal, autobiographical, intangible, oneiric information, etc.). Each guest artist guides one vector, then alternating, allowing to be guided, simultaneously mutating to the new contact, to the exchange of forces and speeds, taking a leap.
IMAGE: RETROSPECTIVE MEMORY <<< FESTIVAL N
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:: DNA ::
Written in my DNA
In my skin cells
#14Skyline in the Context of Research and Creation Like a hashtag Laboratory ‘LabCet/Epigenética’ Like a tattoo
ROSA SÁNCHEZ Y ALAIN BAUMANN (KÒ NIC THTR.)
CONTEXT
Kònic Thtr is invited by transdisciplinary company Bioscénica to be part of LabCet, a creation- research process based on the performance piece #14Skyline. The lab is inspired by the theory of epigenetics to foster an open transdisciplinary creative process programed to be presented before an audience at Centro de Cultural Digital de Mexico (CCD)*.
GOAL
To design a methodology starts a process of creation- to understand the body PROCESS aimed to research and produce adaptation-transformation and allows to glimpse new We, as Kònic duo (Rosa Sánchez and Alain Baumann) base our performative intervention on the within art-science-technology, of the piece and of the specific treatments for each concept that CCD is a dynamic building, a container of living ecosystems, a coded DNA with its combination, exploring the participants. individual in the Health field, architecture supported on markers that interrelate to a genetic code provided by the present theory of epigenetics as a The artistic research carried to quote the most pragmatic audience, by the staff that works there, by the pieces in the exhibition and events programed theme reference. out during the laboratory takes example of what epigenetics there, by interventions from the social networks, the internet... they perform an influence, its inspiration from epigenetics, can contribute to science determining it, rewriting its functions, its history and its memory, providing it with changing Kònic’s participation in the a theory that holds that: non- and human beings. forms and dynamics, even though the internal structure remains unchanged, immovable. lab is based in its far reaching scientific interpretation-> the How to bring scientific and background in research- DNA molecule that configures artistic research to converge creation in art, science and any living organism CANNOT around the concept of Inspired by these concepts and poetics we intervened the ‘terrace’, a space we define as the technology, contributing with be considered a closed form epigenetics? What research– layer-skin that links the building exterior with the interior of a living system - CCD architecture. its own research methodology in this organism throughout creation methodology could for site-specific projects, here its existence, but external fit a process of collective setting off from an existing factors determine how DNA exploration? How and what project: #14Skyline. activates or deactivates part to formalize to open the The multidirectional exchange of its sequences (markers). end of the process to an with fifteen international artists The study of this mechanism audience...? invited by Bioscénica, kick- opens up new possibilities *Process Location: Bioescénica Headquarters. Tepepan, Xochimilco 1-14 Dec 2018. Open presentations at Centro de Cultura Digital Estela de Luz (CCD) 15-16-17 Dec. 2018
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PARTICIPATION #14SKYLINE / KÒNIC THTR
As a starting point (DNA sequence) Kònic Thtr shared their performance project #14Skyline. A piece that has been shown throughout 2018 in different formats and countries.
#14SKYLINE IN THE CONTEXT OF LABCET # 14SKYLINE AND MOTIVATIONS OF THE PROJECT With Skyline, Kònic Thtr directs a The curatorial text of the exhibition Espacios de Especies, to critical glance towards the new tech- which the presentation would integrate to, helps us bring close niques of power that give access to #14Skyline’s theme in and the conceptual framework proposed by the sphere of the psyche and manag- LabCet. es to make men and women submit themselves to control. The Skyline se- The causal reciprocity between ries takes as a starting and reflection organism(s) and environment(s) point the concept of psychopolitics and the idea that structural / enunciated by South Korean author functional details of an organ- The inter-relation between the genome and the environment #14Skyline_extended Mercat de les flors Barcelona Byung-Chul Han. Psychopolitics is, ism are not completely encoded in which we develop ourselves is set as our starting point. We according to Han, the domination in the genome is explored from chose the virtual space, the network environment in which we are system that, instead of using oppres- a viewpoint that considers space immersed -although not physiologically- as a metaphor to reflect sive power, uses seductive, smart -in broad sense- as a fundamental on the impact that this space has on us as individuals. power managing to make human factor of continuous interaction If the interaction with the space around us has the ability to modify beings submit themselves to the and formation. certain features of our physiology: Can we consider virtual domination network. In this system, María Antonia González Valerio space, the networks space, as a space that modifies us? a kind of digital Big Brother, like an inverted panopticon, each individual It is evident that, at a symbolic level, this space of interconnections allows themselves to be observed, and access to information affects us and shapes our behaviors and ultimately confined within their own representation (our projected phenotype). In networks we always conception of themselves. appear under our best aspect, our best profile. We often use different online profiles to attract /seduce others as we see fit.
Skyline explores this concept with the strength and fragility of poetry, through music, visuals, performance and Another motivation to work with the Network concept is the sculpture. During the show music, poetry and dance evolve around the architectural element, creating an intimate role it plays in the fields of scientific and cultural research. The and interactive dialogue between exterior and interior. Network is also a scientific space: research centers located in Inside the performance space we built an architectural sculpture for video and light projection, creating two action universities around the world are interconnected through a very spaces that define the binomials natural /artificial, individual /society, psychological /physiological which give mean- high performance network used to share knowledge, allowing ing to performance, poetry, dance and music: remote research with large amounts of data (Big Data) thanks to CORE SPACE: The sculpture defines an interior, the emotional or psychological space. Its walls are the access to supercomputing centers connected to these high- projection surfaces and separate interior from exterior, at the same time it is interaction space speed networks. In short, they enable collaboration in scientific through video cameras and sensors. and cultural research. TACTILE SPACE: Performance space that contains the architectural sculpture. The video cameras and projectors configure a space for installation and connection of outside and inner worlds.
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In Kònic, we are interested in this field and this space as a place of transformation and collaboration. For a decade, we have collaborated with researchers and artists in order to expand the possibilities of live artistic creation through the communication between musicians and dancers in real-time from real-time intercommunicated points (nodes) in order to hold live performances (see for example ‘Near in the Distance’ between Vienna, Barcelona, Prague, Rome http://netart.cc)
Notes on Kònic’s Performance at CCD. México Unfolded faces of Rosa Sánchez and Alain Baumann. Project #14Skyline
OPEN PROCESS - PUBLIC PRESENTATION We connected several mobile devices’ cameras to generate a visual and sound score in the performance space based on the performers bodies’ images and vocal sounds. Addressing the selfie The final Kònic /CCD presentation holds a visual and sound performance format which addresses this culture but also the creation of new control forms that we are willingly feeding, our desire to show space to which we dedicate more and more attention and lifetime. A metaphorical approach to this ourselves in a certain way in the network, and being both subject and observed object, alienated by network digital environment from a biological viewpoint. self-control. Understanding that space as skin, we propose two poetic actions ...the network - skin draws the cell- What in the piece #14Skyline we described as inverted panopticon, in which control is no longer articulating weft, the rhizomatic weave in which we are in, Alain programs the code through which executed from a hypothetical Big Brother who sees everything, but from the control each one of us Rosa performatively transits. Her interactive action moves along the inside and outside of a thin performs over our environment through the network. elastic skin, generating sound and graphics visualized on the panoramic LED screen of the CCD terrace space. Visuals that refer us to the cellular mesh, a network in which Rosa’s virtual double seems to be The camera as an eye inseparable from our mobile devices, as an access element into this space, and trapped. of communication with the other bodies that share and occupy this same space.
Then, ‘unicellular units’ exist in nodal and relational form, producing content, spoken text and NETWORK of unicellular nodes to create an alliance, a joint, a multicellular collective that guides the ongoing movement through that net-skin that provides them with unity and relationship support experience to the next threshold. (a collective movement composition for cell phones based on the exploration of how identity and biological codes are represented or rewritten on the Web). MORE INFORMATION ON #14Skyline: https://koniclab.info/es/?project=14skyline_extended-2018-poesia-danza
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METHODOLOGIES LabCet Empatía Performance Creation Transdisciplinary Labs (2012-2019)
Live Art / Transdiscipline / Transnational Collabora- tions / Poetry / Audiovisual Landscape / Participa- tive Performance / Organic Soundscape / Biointer- activity / Body-Sound-Image interaction / IMD + GeM (Musical Digital Instrument + Hand Gesture) / Live Sculpture
Empatía is an open co-creative methodology, initiated in 2012. An original idea by Mexican artists Minerva Hernández and Myriam Beutelspacher, so far counting five versions that evolved from research project Piel Tecnológica (cardiac pulse sensing in order to produce collective beats using haptic interfaces).
Collaborations in multinational version 4.0 included local artists from Portugal, France, Belgium and Argentina cross-discipline labs where we explore the concept of empathy through gesture, image, sound and sensing of living microorganisms.
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IMD + GeM live: Actors “Empatïa 4.0” Performative Co-creation Members of the Argentina node belonged to the following artistic collectives:
NICOLÁS ORTEGA UNIVERSIDAD NACIONAL DE QUILMES
The present work describes the use of Musical Glove IMD + GeM (developed as the author’s Graduation Thesis) in the framework of three artistic events between August and December 2017, part of transdisciplinary performance entitled Empatía 4.0.
Hand gestuality is of great importance at artistic, musical and anthropological levels (Cassel, Bioscénica MX / AR Red Isadora Latina ElectropUNQ 1998). In this regard, artists like Michael Waivisz1, Laetitia Sonami2 and Imogen Heap3 have developed ‘musical gloves’, aimed at facilitating the creation of real-time electronic music in a Transdisciplinary company Red Isadora Latina is conformed Nicolás Ortega is part of research gestural manner, resourcing to hand movements. Bioscénica initiates its node in by artists, performers, teachers project ‘Desarrollos Tecnológicos Buenos Aires. This collaboration and researchers specialized in Digitales Aplicados al Arte’ (Digital In the framework of my Music and Technology Thesis Degree for Escuela Universitaria de Arte, has also set the ground for the art and multimedia technology. Technology Developments Applied I proposed a project with the purpose of designing and developing a digital musical instrument creation of Red Isadora Latina It counts with the support to Art) at Universidad Nacional de based on Marcelo Wanderley & Eduardo Miranda’s concept: an instrument containing a control and its link with Mexico, of Mark Coniglio (Isadora Quilmes. surface and a sound generating unit. Both units are independent modules but interrelated through Myriam Beutelspacher software developer), founded by through mapping strategies (Wanderley & Miranda: 2006). This Digital Musical Instrument Alcántar and Ezequiel Steinman Maximiliano Wille (INTAD, UNA). consists on a glove that enables electronic music creation or real-time audio signal processing in a gestural manner.
After proving IMD + GeM’s (such is the name given to the musical glove) adaptive capacity and considering it suitable for the artistic proposal of Empatïa 4.0, Myriam Beutelspacher -artist and Bioscénica MX-AR liaison coordinator- invited me to join a transnational collaboration that brought together 33 artists and scientists from different disciplines and nations, to do performative acts divided in five nodes: Portugal, Argentina, Belgium, France and Mexico.
1. Waisvisz, Michael. The Hands. Available at http://www.crackle.org/TheHands.htm 2. Sonami, Laetitia. A brief history. Available at http://sonami.net/ladys-glove/ 3. Heap, Imogen. Gestural musical ware by Imogen Heap. Available at http://www.imogenheap.co.uk/thegloves/
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Empatïa 4 // La emociön
Empatía series is a multimedia performative work initiated in 2012 as part of a transdisciplinary lab original v.1 by Bioscénica Mexico, where ‘empathy’ concept is explored through gesture, image, sound The image and video part was Third and most important sections were in constant and living microorganisms. It based on Isadora software, section was the performance communication with each was presented in simultaneos processing clips related to each act. She navigated between other and with/through the in the frame of art residence scene concept in real-time, scenes aided by IMD + GeM, performer who, at the same Cultivamos Cultura projected on modified mirrors articulating the communication time, interacted with the Contemporary Artspace with water in such a way that between softwares, since the audience in different instances. directed by Dr. Marta de when the performer interacted glove’s signal was being sent The system supported this Menezes.1 with the water, distortions not just to Pure Data but also dynamics, allowing a three-level would affect the projections, replicated in Isadora via OSC interaction, Performer-System- The Buenos Aires performance rendering the result on the Communication (Open Sound Audience, which rendered was based on three coexisting walls behind her. Control), serving as control very effective when shifting v.2 sections (image, sound and device to both environments the audience’s passive role performance) orbiting the The sound and audio process and modifying their processes’ into active, creating situations project’s aesthetic proposal. To section was carried out in parameters. To make use of where both, performer and this purpose, a technical script Pure Data programming OSC communication protocol audience, influenced each was assembled establishing environment. For each scene a an ad-hoc network was created, other, as if a non-verbal different ‘scenes’ to move specific concept-related sound thus avoiding latency problems conversation was taking place through, each identified with model was designed. These due to signal drop, noise in the (Bongers: 2000). a color, a concept, an image, a sounds sought to emphasize network or interference from type of sound and a gesture. each scene’s message, and they ------other network users. were generated or processed in Photo documentation available on real time. In this way an organic Bioscénica webpage - Videos available 4. Synopsis extracted from http://empa- performance was achieved at https://vimeo.com/233549906 and v.3 tia4.bioscenica.mx/ (September 2017) since the sound and visual https://vimeo.com/232300794
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The Events
third presentations. Being Festival Internacional able to try IMD + GeM in an actual performative instance de Danza was very useful to find Independiente possible improvements and to optimize processes since it CoCoADatei (FIDIC) had only been used in lab and experimentation contexts so far. FIDIC is a biennial international and independent festival that Throughout the project set- brings together local, regional up, tests and rehearsals, and international artists around inconvenients and suggestions a dance event that seeks to from the performer led the way Interactive digital technology promote production and artistic to introduce the improvements Launching of was handled with Isadora visual creation, research, exchange required for a real presentation programming environment. and gathering of colleagues, as Red Isadora scenario. These improvements Ultimately, this Residence’s well as favoring audience gen- 3rd were: Latina / goal was to enable members eration through reflection and Residencia Artística develop performance projects • Calibration changes: Sensor discussion panels open to the en Tecnología (as work-in-progress) and sensibility and response to community. showcase them at the end performer gestures were The Festival was held at Har- Interactiva of five intense working days, modified. oldo Conti Centro Cultural de taking up CNB’s building third • Feedback changes: RGB Led Derechos Humanos; Empatía floor on Riobamba street The MediaLab at Centro de Module was very helpful to 4.0 was presented Saturday (Buenos Aires, Argentina) Arte Sonoro (C.A.So), CNB facilitate shifting between night on September 9 at the with interactive performative Contemporánea and Equipo scenes. building entrance hall. installations, using the de Investigación en Tecnología aforementioned programming • Aesthetic and fitting For this performance we Aplicada a la Danza (InTAD, environment. changes: To avoid a employed the same Pure Data UNA) offered a one-week possible disconnection patch introducing few modifica- Residence space as a research, For this showcase, a first caused by performer’s tions in order to achieve richer experimentation and creation version of the Isadora / Pure movement, straps were sound contents that would bet- zone aimed to performing Data patches was set up, designed and sewn to her ter fit the performance action. arts mediated by interactive and small adjustments were wardrobe. multimedia technologies. introduced for second and
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FASE 9 FASE is the largest Art, Science and Technology event in Argentina. Every year it gathers artists, institutions and universities related to the field of art and technology in a program that extends through several weeks and offers exhibitions and performances, workshops and art residencies. In the framework of FASE’s 9th edition, Empatía 4.0 was BIBLIOGRAFÍA presented in its main venue, Bongers, B (2000). “Physical interfaces in the Electronic Arts Interaction Theory and Interfa- Centro Cultural Recoleta. cing Techniques for Real-Time Performance” in: M. Wanderley and M. Battier (Eds.), Trends in Gestural Control of Music. Paris: IRCAM Center Pompidou. A second performer was Cassell, J. (1998). “A Framework for Gesture Generation and Interpretation”. Computer introduced for this version, EMPATÏA 4 // LA EMOCIÖN vision in human-machine interaction. Cambridge University Press (pp. 191-215). Cambridge for whom an extra glove was University. manufactured. This glove at Cultivamos Cultura* Kogan, R. (2008a). “Brief History of Electronic and Computer Musical Instruments”. Texas A did not have sensors since & M University. Texas. AC. it was not meant to affect Miranda, ER, & Wanderley, MM (2006). “New digital musical instruments: control and inte- image processing or sound raction beyond the keyboard” (Vol. 21). AR Editions, Inc. generation. Instead it included Mexico + Portugal + France + Belgium (2017 Tour) Ortega, N. (2016). “Una propuesta de controlador musical para la generación y procesa- a 16 neopixel LED ring that miento de audio digital mediante la gestualidad de las manos”. VI Jornada de Becarios y triggered different light Tesistas. Universidad Nacional de Quilmes. Buenos Aires, Argentina. sequences designed for each Bioscenica site http://bioscenica.mx/ ARTISTS: Minerva Hernández Trejo / Myriam Beutelspacher Alcántar / Alejandro Ortiz / Ezequiel particular scene. A hidden ElectropUNQ site http://electropunq.net/ Steinman / Gloria Mendoza / Martin Bakero / Silvia Ábalos / Maximiliano Wille / Isabel Burr Raty / button was added to the Empatia site http://empatia4.bioscenica.mx/ Nicolás Ortega / Lourdes Roth / Mauro Herrera / Cristian Delgado / Elisa Matilde / Guillaume Dumas / palm of the hand in order to Casa Nacional Bicentenario site http://www.casadelbicentenario.gob.ar/ Stéphanie Boubli / Sebastián Pasquel / Xalik Ortiz / XX019 Motto / Thamara Cruz / Luis Leiva / Cándido allow the performer to jump RIL site http://www.redisadoralatina.com/ Capilla / Maël Capilla / Maja Smrekar / Izzy Tweedie / Adam Zaretysky / Kira DeCoudres / Jon Garf / sequences at cues, preserving Centro Cultural de los Derechos Humanos Haroldo Conti site Will Blair / Estela Violeta / Ernesto Romero consistency with the rest of the http://conti.derhuman.jus.gov.ar/ performance. FIDIC site https://festhome.com/f/480/2
INTAD site https://intad1.wordpress.com/ *Project with support of Fondo Nacional para la Cultura y las Artes.
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AUGUST 2, 2017 Paris, FRANCE Venue: La Société de Curiosités, in the frame of Contemporary Poetry and Tecnology «FESTINA LENTE» organized by Association Thérapoètes, Martín Bakero, artistic director.
AUGUST 6, 2017 Brussels, BELGIUM Venue: Galerie d´Art Contempo- rain Cándido Capilla, performan- ce show.
AUGUST 12, 2017 Sao Luis Alentejo, PORTUGAL Venue: Cultivamos Cultura In the frame of MONSTRAS´17
IMAGE: RETROSPECTIVE MEMORY <<< FESTIVAL N
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Empatía 5.0 // DH is conformed by four devices:
Empatía 5.0 // DH Devices to remember what we do not know
MINERVA HERNÁNDEZ TREJO BIOSCÉNICA
A transdisciplinary performance creation lab around of the concept of empathy, where haptic devices play a fundamental role. Haptic defines everything related to the sense of touch. This lab gathers Mexican artists and engineers who collaborate to produce both exhibition and performance pieces. Empatía 5.0 / DH gives continuity to Empatía project initiated in 2012, activating collaborative dynamics that integrated artists from different disciplines around concepts like internal energy, emotion and epigenetics. For this lab, memory is set to play, proposing the idea of remembering what we do not know from sound and tactile interfaces, and biophysical data. The lab concept aims to activate a playground for experimentation and research, for testing ideas and hypothesis. This lab is part of the project supported by Proyecto Bi / BBVA Empatía unfolds from a collaborative audiovisual score, Fundación Bancomer. seeking to generate new performative readings under a playful premise, and to demonstrate, involving the machine, a dialogue of intimate character. PARTICIPANTS: Abigail Jara The result is an interactive piece for the collective exhibition ‘Especies de Espacios’ open from November 10 to February Alberto Cerro 15, 2019 as part of International Festival N, at Centro de Alejandro Ortiz González Cultura Digital. Eurídice Navarro Héctor Ugalde Irasema Serrano MORE INFORMATION Minerva Hernández Trejo https://bioscenica.mx/empatia-5-dh/
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IMAGE: RETROSPECTIVE MEMORY <<< SAGA EL ROBOT ACTUANTE
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Bioscénica Retrospective 20 years in Transdiscipline
Selected work 1999 2000 2001
Two decades of uninterrupted production confirm a pro- Tres Kalispherion El laberinto de Babel o cess that has naturally led Bioscénica to transdisciplinarity, a leap into the abyss of empathy, playing with Ernst Saemisch‘s Dance piece Experimental contemporary los paraísos perdidos image when he proposes a leap into the abyss of the senses. music Tres, Dance piece inspired by Physical Theater From the conviction of collaboration as a horizontal process Samuel Beckett’s En Attendant Performance concerts around the act of sharing and producing knowledge, the com- Stage piece directed by Godot. Dir. ASYC/El teatro del presented between 1999 and pany presented work in diverse formats: festival, meeting, co- Bernardo Rubinstein with large- movimiento, Minerva Hernán- 2004 under Marcelo Gaete’s lloquium, workshop, laboratory, staging, seminar, exhibition, scale videoprojections and real- dezTrejo, assistant. It was artistic direction and Minerva publication, residence, experience, educational television, etc. time video. presented at Teatro de las Hernández’s production. Along such a path, we aim to encourage exchange without profit Artes in May 1999. Piece Proyect produced at Centro among equals and peers as the best way to evolve into new terri- awarded by San Luis Potosí Multimedia, electronic art tories and practices. In other words, to keep on making the World. audience for Best research space at Centro Choreography at XVIII Festival Nacional de las Artes, México. MORE DETAILS https://bioscenica.mx/ Internacional de Danza Con- . temporánea de San Luis Potosí.
1998
Minerva Hernández Trejo returns to México after taking courses in cinematography and photography in Belgium, and initiates nourishing collaborations in the field of performing arts with new media. Joins the Digital Graphics workshop at Centro Multimedia / Centro Nacional de las Artes.
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2003. Collaborations with Myriam Beutelspacher Alcántar initiate at Espacio de Experimentación e Investigación de Arte Electrónico, Centro Multimedia / Centro Nacional de las Artes, until 2014.
2000. Foundation of Company Bacaanda Multimedia (Minerva Hernández Trejo, Geraldine Eguiluz and Alejandro Ortiz González)
Los monólogos de A
Contemporary dance and video-scenography
ASYC/Teatro del Movimiento. Black Box stage at Escuela de Danza Clásica y Contemporánea, Centro Nacional de las Artes. 2002 2003 2004 2005
In situ o la reacción El sueño Kalispherion Avatar humana Video-scenography. Multimedia Aerial performance concert Educational TV series stage, aerial dance and Tactile interactive installation Gathered more than 100 artists Educational TV Series Data.Lab experimental music on stage in a complex fusion 2.0 Arte y tecnología. Episode Minerva Hernández Trejo, Artistic Direction: Bacaanda of aerial dance, electronic AVATAR, performing arts and new Jóvenes Creadores grant, Multimedia. Based on Géraldine costumes, augmented reality, media for Educación a Distancia FONCA. The piece consists of a Eguiluz’s jazz repertoir real-time generative video, Canal 23, Canal de las Artes device pla-ced in a half-sphere (Tritonia), Alejandro Ortiz’s chamber orchestra and (2003-2005). A critic review and equipped with a cardiovascular poetry and videoart by Minerva algorithmic composition. analysis of practices and uses of sensor. User inserts a finger Hernández Trejo, a stage piece Artistic director, Marcelo Gaete. 2006 technology on stage. into a cavity in the sphere and involving performance, dance, Producer, Minerva Hernández pulse is captured and sent to poetry, acrobatics, circus, Trejo. Creative staff includes the com-puter, transforming Acis y Galatea fashion, lighting and video- Ricardo Cortés, Raúl Parrao, the signal into rhythm, sound scenography with the purpose José Luis García Nava, Tania Multimedia Chamber Opera and colors. The relationship of integrating the spectator in a Aedo, Hugo Luis Barroso, Juan between heart-beat, color and Directors: María Morett and Sergei multidisciplinary artform. Galindo, Circo de Mente and sound is based on the study of Tararin. Orquesta Stravaganza, Participants: Andrea Peláez, Myriam Beutelspacher, among the Chakras under the direction of Carlos Rosas Leonardo Costantini, Karen many others. An integral (energy points of the human and Coro de Cámara de México, Bernal, Gabriel Figueroa project of Centro Multimedia, body). Centro Nacional de las Artes. Pacheco, among others. Centro Nacional de las Artes Horacio Franco with Cappella at Escuela Nacional de Arte Barroca de México. Oaxaca (2014) Teatral INBA. 2007 Puebla (2013).
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Forman2008. Minerva parte deland MEDIALAB Myriam become Programa part de of Investigaciòn MEDIALAB Program y Experimentación at CMM. de Arte electrónico, del CMM 2010. After founding Translab at Centro Multimedia, they organize 1er. Encuentro de Artes Performáticas Festival.
Habitat-Draw
Interactive Drawing Performance
Myriam Beutelspacher, Jóvenes Creadores grant FONCA. Site-specific narration that seeks to reconcile the body and the intimate day-to-day space through real-time drawing. Participants: Galia Eibenschutz, 2008 2008 Eduardo Meléndez, Luis Romero 2010 2011 2012 (Wiimote/ Openframeworks/vvvv).
U= Energía Interna Intersecciones Performa 0.2 Liveness U= Energía Interna Instalación orgánico-sonora On-line curatorship On-line Curatorship Primer Encuentro Internacional Organic-sound installation de Artes performáticas y Investigación para generar Semantic intersections body-ima- Performa 0.2 Artes performáticas Research aimed at tecnología instalaciones orgánico- ge-technology. Convergencia de y tecnología en México is a re- generating organic-sound sonoras realizada por Minerva creadores escénicos en el Centro search study conducted in colla- From basic concept line: installations carried on by Hernández y Alicia Esponda Multimedia is a small-scaled boration with Rebeca Sánchez prosthesis, gesture and me- Minerva Hernández and Cascajares U= energía collection of most relevant (FONCA). Curatorial concept taphore, shared experiences Alicia Esponda Cásares U= interna formó parte del work by mexican creators and 0.2 is based on the piece’s core were mapped by pioneer artists energía interna was part of Programa de Investigación researchers who explore body proposition in regard to the from diverse latitudes, produ- Programa de Investigación y y Experimentación Media 2009 2009 and technology from diverse technologic bond with the per- cing as result the design of a Experimentación Media Lab Lab del Centro Multimedia creation fields: code, augmen- former on stage. Research lines transdisciplinary methodology. at Centro Multimedia, Centro del Centro Nacional de las ted reality, interactive drawing are: linear action, action-reaction (PADID 2012 Award). Partici- Nacional de las Artes co- Historia de mi piel La madeja Artes coordinado por Liliana and real-time video/audio ma- and action construction. Some of pants Ivani Santana (Brazil), ordinated by Liliana Quintero, Quintero, bajo la tutoría de Iván Audiovisual Performance Interactive Performance nipulation. Presented in colla- the artists involved were Esthel Marco Donnarumma (Italy), under Iván Abreu and José Luis Abreu y José Luis García Nava. boration with Grupo de Pesqui- Vogrig, Alfredo Salomón, Vivián Martin Bakero (France), Esthel García Nava’s supervision. Collaboration with performer Collaboration with Rebeca Sánchez sas Poéticas Tecnológicas from Cruz, Ricardo Cortés, Alicia Vogrig (Mexico), Mark Coniglio Niña Yahred 1984. Real-time (FONCA) Ulises Martínez, Ezequiel Universidad de San Salvador Sánchez, Jorge Vargas, Moisés (United States), Vivian Cruz video processing with Isadora Netri and Ernesto Romero. Real- Bahía, Brazil. Regla, Paula Sabina, Cristina (Mexico), Ricardo Cortés (Mexi- software. time audio and video processing Maldonado. co), Kònic Thtr. (Spain) y Daito with wireless devices on stage + INFO Manabe (Japan). (Wiimote/ Isadora/SuperCollider). + INFO + INFO
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2010 Cartographies: Theory, 2012 creation and experience
Transdisciplinary Methodology Piel Tecnológica Branching out from Translab theoretic structure, three theme Research on haptic interfaces lines guided the cartography Technological Skin involves the research and production of design for Liveness: prótesis, gesto different interactive costumes based in biophysical interfaces in y metáfora. The creation of this order to give continuity to contents addressed at the workshop methodology for performing seminar Cuerpo sonoro + BodyHacking and Xth Sense Byophisical arts was awarded with the prize Music imparted by Daito Manabe and Marco Donnarumma at Programa de Apoyo a la Docencia, 1er. Encuentro Internacional Liveness: prótesis, gesto y metáfora. Investigación y Difusión de las The relevance of studying this concept related to performing Artes 2011 and was developped arts emerges from the interest of students, artists and in the frame of Programa de audience on the development of portable flexible devices Experimentación e Investigación that manipulate audio and video from sensing human body de Arte Electrónico MEDIALAB, vital signs. Supported by Programa de Apoyo a la Docencia, Centro Multimedia under the Investigación y Difusión de las Artes 2012. advice of Liliana Quintero and Andrea Di Castro.
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2012. Last collaborations with Centro Multimedia supported by PADID Program. 2014. They co-found independent company Bioscénica, Cuerpo Digital y Transdisciplina with Alejandro Ortiz González.
Empatía v.1 Desconfiguraciones
Interactive Costumes Performance Lab
Performance duet addressing the ASYC/El Teatro de Movimiento in concept of human empathy using Residence at CASLP. Composer interactive outfits connected to and choreographer: Alicia Sánchez; multiple cardiac pulses. In essence, Movement Technique: Luis Villanue- it attempts to create a collective va and Aladino Cruz; Multimedia subject that becomes evident Landscapes and biosensors: Antonio 2012 through the addition and variation 2014 Isaac Gómez, Minerva Hernández of chromatic pulses. Trejo and Héctor Cruz.
Desmodium- Sociedad mimética máquina Digital Performance Robotic Installation A 1971 installation by artist Copper engraving by a robot arm Hersúa, conceived to be from plants breathing. Paper Print. inhabited. Neural halo and (Medialab Collective 2012, CMM technological costumes. Minerva Cenart) in the frame of Sin Origen / Hernández Trejo, Rebeca Sánchez, Sin semilla, 1st. bio-art international Óscar Yañez, Beatriz Marcos and 2012 exhibition in Mexico. 2014 Eduardo Meléndez.
Embodied in varios Poses para seguir Darmstadt ’58 caminando Telematic Dance Piece MX-BR-ES Dance and expanded cinema In collaboration with Rebeca Sánchez, Alicia Sánchez, Ivaní ASYC/El teatro del movimiento. Luis Santana Minerva Hernández Trejo Villanueva, Minerva Hernández and Kónic Thtr. Sound-body as the Trejo, and Sebastián Solórzano, Luz core of the dancer-musician y Fuerza, Cine expandido. Karen de 2013 relationship, located remotely from 2014 Luna and Diego Martínez-Lanz. each other. They operate in real- . time through internet. 132 133 ART & TRANSDISCIPLINE IN MEXICO ART & TRANSDISCIPLINE IN MEXICO >>>>>>>>>>>>><<<<<<<<<<<<<
2014
Zea Mayz y los otros sentidos
Collaborative Bio-art
Audiovisual transduction from receiver of environmental elec- tromagnetic signals produced by 6 indian corn plants ampli- fied by copper spirals. In 2007, research U = internal energy resumes 19th century research related to electricity, the acqui- 2015 sition of energy as system pro- perty from natural organisms and the ecological knowledge Minerva Hernández joins collective ARTE + CIENCIA co- residing in its transversality and ordinated by Dr. María Antonia González Valerio at organic interdependence of all Universidad Nacional Autónoma de México. the elements, overcoming the purely analytical, atomized and unrelated thought, typical of modernity. Minerva Hernán- Myriam Beutelspacher graduates at Maestría de Artes dez Trejo and Héctor Cruz at Electrónicas UNTREF in Buenos Aires and initiates node MACO, Oaxaca. Bioscénica México-Argentina with dramaturg Ezequiel Steinman.
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2015 2015 2015 2016 2016 2016
SAGA El robot actuante Empatía 2.0 Efusión: código y Empatía 3.0 Transpiksel MX Arquemáquinas Dance with NAO humanoid Digital Performance producción de sentido Collective performance Art, Science and Free Technology Master Degree in Technology and International Festival Electronic Arts Aesthetics Dramaturgy and staging that in- Empatía becomes a collective 2do. Encuentro Internacional de Presented in the frame of vestigates human relationships creation methodology that Artes performáticas, ciencia y Encuentro de Arte Interdisciplinar Arquemáquinas. Indagaciones Curatorship Mexico-Norway- during adolescence, resourcing gives path to Laboratorio de tecnología Simbiosis, Parque científico y estéticas en torno al devenir Colombia-Peru to the Human-Robot interac- Creación Escénica Transdiscipli- Tecnológico de Pachuca. electróncio del fuego, a thesis by Participants are pioneering tion as metaphore. Dir. Alicia nario LABCET. Collaborators in Curated by Colectivo Fronda. Collective Exhibition, Myriam Beutelspacher, digital artists in software development, Sánchez. Performer: Sergio this version are mexican artists 19 workshops, 14 live performance research project. neuroscientists, physicists and With participants of our work- Vazquez. HRI program-ming: Lourdes Roth (choreographer), performances and 12 Directed by Mg. Claudia Valente, philosophers, among them Klaus shops U=Energía interna (co-im- Gloria Mendoza Bioscéni-ca – Mauro Herrera (musician and conferences under free license adviced by Ezequiel Steinman Obermaier (Austria), Giorgio parted with Cristian Delgado), ASYC/El Teatro del Movi-miento programmer) Cristian Delgado and collaborative comunitary and Liliana Quintero. Showcased Sancristóforo (Italy), Jean-Marc and Paisaje Ánima Mundi at La – Primero Sueño A.C. in (cientist) and Minerva Hernán- processes, with participation at Transpiksel_MX; Juguetes Chomaz (France), Beatriz Marcos Quiñonera. collaboration with Tecnológio dez Trejo (visual artist). of 44 artists and/or collectives, filosóficosFASE 7; Máquinas (Spain), Fabricio Costa and Ale- de Monterrey CCM – Nao Team 35 Mexican and 9 foreign. de Pensamiento, UNTREF, and jandra Ceriani (Argentina), Aniara and Laboratorio de Diseño Curatorship in Mexico: María in congresses Tecnoestética y Rodado (Colombia), and Jaime + INFO Industrial, Posgrado UNAM. Antonia González Valerio, and Sensorium /UNC and Antropología Lobato, Lourdes Roth, Alicia Sán- Minerva Hernández Trejo. del Cuerpo Performance- chez, José Luis García Nava and Investigación /UBA. Supported Gabriel Pareyón from Mexico. + INFO by Programa de Becas para + INFO Estudios en el Extranjero FONCA- CONACYT + INFO + INFO
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2018. Plataforma Bioscénica obtains the support of Proyecto BI / BBVA Bancomer with its annual program including LABCO, International LABCET ‘Epigenética’ and LABCET ‘Empatía 5.0 / Dispositivos Hápticos’, as part of Festival N and the present digital bilingual publication.
20152017 2017 2017 2018 2018 2018
Festival N Empatía 5.0 / DH LABCET Epigenética ‘Arte, Ciencia y Empatïa 4 / Núcleo del solsticio Filosofía’ Diploma La Emociön Art, Science and Technology Performance - Instalation Laboratorio de Creación Escénica Festival N Transdisciplinario, Festival N Astronomical Experience An Arte+Ciencia project in col- Postgraduate Program UNAM Portugal / France / Belgium / laboration with Bioscénica, Cul- Empatía 5.0/DH Dispositivos Experimental methodology by Argentina Collective Improvisation based tivamos Cultura, FACTT (Lisbon- hápticos para recordar lo que Bioscénica. The opening of an A Diploma with multi and on an open score to achieve New York, CDMX, Toronto), no sabemos is composed unstable zone of intercrossed transdisciplinary edge: Focused Transdisciplinary performance a deep experience of winter Arte Institute, Coloquio Interna- by four devices: Immersive trajectories in order to recog- on technologies (from program- / Transnational Collaborations / solstice through the body cional TTT (Taboo -Transgres- Sound Chromatic Capsule nize the arsenal of mnemonic ming to 3D printing), sciences Poetry / Visual Landscape / Per- and light. Participants: Claire sion – Trascendence), Ionian for mixed realities, Sound tools the body keeps (self-allu- (from DNA sequencing and re- formatic Participation / Organic Filmon, Dulce Trejo, Minerva University, Greece with Audio Transporter, Sound Mover, and sive meditations, eyelid cinema, combination to contemporary Sound Landscape / Bio-inte- Hernández, Ezequiel Steinman, and Visual Arts Departament, a Containment Station with telluric therapoetry, microper- science theory), philosophy and ractivity / Body-Sound-Image Myriam Beutelspacher and Fundación Bancomer through cilantro seeds. Collaborators: formagic, etc.) Collaborators: art history (from aesthetics to Interaction IMD + GEM (Digital Salvador Cuevas. its Proyecto Bi, ACT, Red CUDI Abigail Jara, Alberto Cerro, Aniara Rodado, Alejandro Ortiz, art critique), and communica- Music Instrument + Hand Ges- and Fundación Telefónica. Col- Alejandro Ortiz González, Ezequiel Steinman, Jean-Marc tion and science dissemination. tuality) / Live Sculpture. lective Exhibition ‘Espacios de Eurídice Navarro, Minerva Chomaz, Kònic Thtr., Martín Directed by Dr. María Antonia Especies’ from November 10 to Hernández, Irasema Serrano Bakero, Minerva Hernández, González Valerio. Bioscénica February 15, 2019 at Centro de and Héctor Ugalde. Myriam Beutelspacher, Abigail imparts contents related to + INFO Cultura Digital. Jara, Alberto Cerro, Carmen Performing Arts. Maya, Eurídice Navarro, Jorge Iván Suárez, Paulina Hernán- + INFO dez, Tadeo Valencia, Emilio + INFO Sánchez and Héctor Ugalde.
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In 2018, Bioscénica, in collaboration with Asociación Civil PLACCA (Plataforma Cultural Comunitaria) obtains the support from Arte, Ciencia y Tecnología (ACT) for Science Dissemination awarded by Secretaría de Cultura and UNAM to develop project ‘Mosaico Genético en México: una mirada desde las artes’ (Genetic Mosaic in Mexico: A gaze from the Arts’) in collaboration with a multidisciplinary team of artists and scientists.
Alejandro Ortiz González Writer, (PLACCA).
Sandra Romero Researcher Instituto Nacional de Medicina Genómica.
Minerva Hernández Trejo Multimedia Artist, (PLACCA) 2018 Víctor Acuña 2018-2019 Physical Antropologist, Escue- la Nacional de Antropología e Historia (ENAH). Mosaico genético en Gabriel Pareyón México. Una mirada Composer and Musicologist, desde las Artes Centro Nacional de Investiga- ción. Our proposal is to open a spa- Silvia Piña ce of information and reflec- Mathematician, Datametrix. tion as a contribution to creati- vely enrich genomic disclosure Miguel Ángel Contreras for society’s knowledge, as Physical Antropologist, Escue- well as making visible the la Nacional de Antropología e scope, limitations and impli- Historia (ENAH). cations of genomic studies. In Martha Lucía Granados order to achieve this, a geno- Physical Antropologist, Escue- mic study of ancestral compo- la Nacional de Antropología e sition will be performed on a Historia (ENAH). population actively engaged in art and culture, from different Myriam Beutelspacher disciplines. Multimedia Artist, (PLACCA).
Juan Carlos Guevara Physical Antropologist Intern, + INFO Escuela Nacional de Antropolo- gía e Historia (ENAH).
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ABIGAIL JARA DURÁN ALEJANDRO ORTIZ GONZÁLEZ ALEJANDRA CERIANI
Choreographer, dancer and fashion (Mexico City, 1969). He published Doctor in Arts; Master Degree in designer. Member of Fonca’s Sistema ‘Verbolario’ (Mexico, UAM, 1994), ‘Sal Aesthetics and Art Theory, Facultad We are Nacional de Creadores 2018. First Picadura’ (México, Libros del Dragón, de Bellas Artes. Grade III Research- Mexican choreographer to work 1997), ‘Gimnotos’ (México, Edicio- er, with UNLP grant for the study of Art & Transdiscipline in Mexico with robots (2014) and with multiple nes El Camaleón, 1998), ‘Elogio de la body disciplines and new technol- realities. Develops Empatía 5.0 / DH Transparencia” (Nueva York-México, ogy mediations. Her work involves vol. 1 (Bioscenica 2018) with support of Chichicastle Art Press, 2006), ‘La Músi- interactive installations with optical Fundación Bancomer. With LAIDETEC ca de las Piedras’ (Taller Raíz, Nueva capture of movement: Speakinterac- Laboratory of Technological Develop- York-México, 2007), ‘Desde las ceni- tive Project; and also other live arts Those who write here are vastly experienced in their ment and Innovation, Mexican robot zas’ (Taller Raíz, México, 2008) and ‘El collaborations. She has published own geographies and fields of knowledge. Their makers, she carried out TRANSKIN- acopio’ (O Pocket Books, 2010). He work and articles on Dance Perfor- efforts in promoting live and performing arts with use ESTESIA CYBORG, with the support of has been collaborating with artists’ mance and Technology. Imparts of technology, as well as their research in Science, Programa de Apoyo a la Producción e books since 1997, and in media from seminars (UNLP, UNA, UNTREF, Philosophy and Aesthetics prove themselves invaluable Investigación en Arte y Medios (2014- México, Spain, United States, Brazil, UNQ virtual); Has taken part of sem- to describe a context for current Art and Culture. Their 2015). Selected for international cre- Ecuador and Bolivia. Founder of Li- inars and publications in different uniqueness and the quality of their contributions make ation lab of choreographer Ali-Sami bros del Dragón and Múltiple, part- national and international media. Bioscénica count with them for multiple instances. Here (France-Algeria) DIES DE DANSA In- ner in Bioscénica (bioscenica.mx) and Co-ordinates and directs Cátedra they refer to the evolution of their precedent, present ternational Festival, Barcelona (2003). in Plataforma Cultural Comunitaria A Libre, Educación y Mediación Digi- and future work. Together we create memory and Directs MUSSE DC (2001-current). (placca.org). He is part of Unión Co- tal en Danza y Performance, UNLP. resonate collectively. Professor at Diplomado Transdisci- munitaria por el Pueblo de Tepepan, plinario en Experimentación y Pro- Coordinación de Pueblos Originarios, ducción Artística TRÁNSITOS CENART Barrios y Colonias de Xochimilco and 2015. Professor at Centro de Investig- Ojos de Perro vs. la Impunidad. ación Coreográfica INBA.
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EZEQUIEL STEINMAN KÒNIC THTR. LUIS ÁNGEL JIMÉNEZ BARRIOS MARCELA RAPALLO MARÍA ANTONIA GONZÁLEZ MINERVA HERNÁNDEZ TREJO VALERIO
Dramaturg and Performing Arts Kónic thtr is a Barcelona-based art Studied the Degree in Art History Visual artist, performer and educa- (México City, 1977). Doctor in Phi- Transdisciplinary artist, curator, di- maker. Completed Master Degree platform devoted to contemporary and Studies at Universidad del tional project developer. Her line losophy at UNAM with Postdocto- rector, producer and activist. Mem- course in Dramaturgy (UNA). Gra- creation in the confluence of Art Claustro de Sor Juana. Curatorship of work involves live drawing and ral studies in the field of Aesthetics. ber of Sistema Nacional de Creadores duated in Artes Combinadas (UBA, and New Technologies. Their acti- is his main interest, taking part of interdisciplinary experiences of co- Full-time professor at Facultad de de Arte in 2010 and 2018. Studied 2002). Guest Professor at Masters vity focalizes in interactive techno- several exhibitions between 2017 llective creation. Degree in Visual Filosofía y Letras / UNAM and at Photography and Cinematography Degree in Theater and Live Arts logy applied to art projects. Kònic and 2018 such as Made in Tepito, Arts at Universidad Nacional de las Postgraduate studies in Philosophy, in Brussels with Thierry Zéno, 1989. (UNA). Professor of Audiovisual thtr is internationally recognized as La política del espacio, (Trans)forma- Artes, Argentina (UNA, 2014) and Science Philosophy, Art History and Currently directs companies Bioscé- Media at Instituto Vocacional de pioneers in the use and integration ciones Residuales y Devoción. Una graduated from ENBA Prilidiano Arts & Design. Works in the frame nica S.C. and PLACCA A.C. Part of Arte Labardén. Grants and Scolar- of interactive technology to creative mirada al sublime telúrico. In this Pueyrredón (2002). Postgraduate of Ontology-Aesthetics research line research and creation group Arte + ships: Fundación Williams – Nue- projects. Their work was presented same timeframe, he attended the professor at Unidad Académica de and interdisciplinary Arts, Sciences Ciencia / UNAM with whom she cre- va Ópera (AR, 2017). Iberescena in Cataluña, Spain, Europe, Ameri- Diploma Medios y Mediaciones with Artes Multimediales (UNA). Involved and Humanities, specifically in the ated the first Art and Science Diploma Creación Dramatúrgica (2014). Re- can Continent, Asia and Africa. Kó- Arte+Ciencia collective. His current in tool creation, collaborating with field of biomedia art. Director of at MUAC and Facultad de Filosofía sidencia Creadores de Iberoamé- nic thtr’s over two decade-long re- research line involves matter as Free Software developers. She has Arte+Ciencia (Partir del pensamien- y Letras. Published in Artediseño 3 rica (MX, Fonca, 2011). Secretaría searches have enabled a personal a node that joins Physics, Biolo- presented exhibitions, stage pieces, to inmanente) research and creation magazine of Facultad de Artes y Dis- de Cultura de la Nación (AR, 2006). and unique language in this field of gy, History and Philosophy studies performances, and imparted work- group which gathers artists, huma- eño / UNAM as well as in the book Project Múltiplo (UY, 2009-11), ar- contemporary creation. Rosa Sán- from an artistic perspective. shops and tutorships in Festivals, nists and scientists around interdis- Encuentros, arte y nuevos medios en las tistic applications of technology chez and Alain Baumann are the galleries, foundations and universi- ciplinary work, producing postgra- prácticas artísticas contemporáneas, available in public schools (Fon- promoters of Kònic (Thtr&Lab) con- ties in Argentina and abroad. duate level professorship, specialized by Universidad Autónoma Metropoli- dos Concursables MEC 2009) and ceptual, creative and technologic theoretical research, dissemination, tana. Her work has been publishing published by Unesco. With node line with a vast career linked to new art creation and exhibitions. in magazines, newspapers and ex- Bioscénica AR he created Los technologies applied to installation, hibiting in Mexico, Netherlands, Bel- Abuelos Artificiales at Laboratorio performance, dance and theatre. gium, United States and France for de Interactividad Corporal Resi- over 20 years. dence (UCLA + cheLA Bs As, 2018).
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MYRIAM BEUTELSPACHER ALCÁNTAR NICOLÁS ORTEGA REYNALDO THOMPSON RICARDO CORTÉS ESPINOSA TIRTHA MUKHOPADHYAY
Artist. Co-founder of Bioscénica Musician, composer, sound and au- Reynaldo Thompson studied Ar- Interdisciplinary Artist, electroacoustic Tirtha Prasad Mukhopadhyay studied and PLACCA. Researcher-Profes- diovisual artist, focused in techno- chitecture at Universidad de Gua- musician and incidental music compo- literature, language and aesthetics at sor at UNTREF. Master Degree in logy and interactivity development. najuato and postgraduate studies ser for dance, theater and audiovisual the University of Calcutta, India, before Tecnología y Estética de las Artes Degree in Music and Technology, at Universidad Politécnica de Ca- media. Member of Sistema Nacional de obtaining his Doctorate in Interdisci- Electrónicas (Abroad Scholarship professor and member of research taluña, Barcelona and at the Uni- Creadores de Arte (2014-2016). Com- plinary Humanities at University of Tex- FONCA-CONACYT). Graduated from project ‘Desarrollos Tecnológicos versity of Texas, Dallas, where he missioned to compose the opening for as in Dallas. Fulbright scholar at Uni- Facultad de Artes y Diseño UNAM Digitales Aplicados al Arte’ at Uni- achieved a Doctor Degree in the Centro de Cultura Digital’s Memorial versity of California Santa Cruz. He also and EDINBA. As member of Centro versidad Nacional de Quilmes. field ofaesthetic studies focused on (2012). Resident at Experimental Media worked as a professor of higher educa- Multimedia - Centro Nacional de Creator of musical glove IMD+GeM Contemporary Art. He participated and Performing Arts Center, New York tion in India, United States and Mexico. las Artes (2002-2013) co-founded which participated in performances in various individual and collecti- (2012), at Creadores de Iberoamérica Mukhopadhyay has written extensively research project Translab, cuerpo y such as Empatïa 4.0 (with Bioscéni- ve exhibitions and curatorships in en México (2011) and BANFF Centre on aesthetics, archeology of conscious- tecnología three times awarded with ca, México), collaborative concerts Mexico and abroad. He served as for the Arts (2007). Invited to Festivals ness and Indian philosophy. His arti- PADID prize. Curator and designer via internet with New York Univer- director of Art and Business De- Visiones Sonoras XI (2015), Transitio cles were published in Viswabharati of of transdisciplinary methodologies sity, Instituto Superior de las Artes partment at Universidad de Guana- MX (2009, 2005) and Liveness (2012). University of Tagore, India, MIT Press’ for Encuentros Internacionales de de La Habana, Cuba and Universi- juato and he is currently focused on Guest professor at Universidad Cató- Leonardo magazine on digital art and Artes Performáticas, Ciencia y Tec- dad de Chile. This device received Latin America art, science and tech- lica de Chile (2012, 2010) Professor at technology, as well as in UISSP-CISENP nología: LIVENESS (2012), EFUSIÓN a 3rd place award at Premio Inno- nology research. He has also contri- Taller Multimedia para artes escéni- foundation for the arts of non-literate (2015) y LABCET (2018). Resident at vación en Arte y Tecnología (UNQ) buted in national and foreign publi- cas CENART (2000-2008). Digital Audio cultures, Italy. He is founder and editor- Laboratorio Interactividad Corpo- and a special mention at Concurso cations, most recently in Leonardo Professor at Centro Escuela de Diseño, in-chief of interdisciplinary magazine ral CHELA-UCLA (2018). Academic ArCiTec de Arte Ciencia y Tecnolo- magazine, The International Society Cine y Televisión (2008-current). Head Rupkatha Online (SCOPUS) and also a Expert (mobility) of ‘Divulgación Sig- gía organized by UTN - FunDesCO for the Arts, Science and Technology of Laboratorio de Informática Musical practicing poet in Bengali language. nificativa de Bienes Culturales: Red and Mecenazgo Ciudad de Buenos at Massachusetts Institute of Tech- at Conservatorio Nacional de Música Digital Musicat’ at Instituto de Inves- Aires. nology, and a book chapter, part (2009-2011). tigaciones Estéticas UNAM-PAPIIT- of Experiencing the Unconventional: CONACYT. Science in Art.
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PHOTO ARCHIVE
Minerva Hernández Trejo Marco Antonio Manrranéz Mónica Dafne Alcántar Rubio Giussepina Vignola Jaime Rodríguez Eurídice Navarro Tadeo Valencia Andrea Narro Myriam Beutelspacher Alcántar Héctor Cruz Guadalupe Chávez Pardo Mauro Herrera Arcángel Constantini Gilberto Esparza Gabriela Munguía Kònic Thtr. Eric Kinkopf cc placca
Spanish and English (translated) Edition. Free to download https://bioscenica.mx/publicaciones
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placca c150 c