Pau Waelder

espanolAunque se percibe como una representacion fiable, la representacion visual de datos se suele manipular; esto se encuentra, incluso, en proyectos cientificos como algunas visualizaciones de la Tierra y de la superficie de Venus elaboradas por la NASA. La manipulacion de datos tambien se observa en proyectos artisticos que usan tecnicas de visualizacion de la informacion, aunque sus objetivos son diferentes: mientras que el proposito de un grafico o de una imagen cientifica es hacer visibles e inteligibles a los datos recogidos, una obra de arte puede no estar refiriendose a los datos en si sino mas bien a algo que estos denotan. Este uso especifico de los datos cientificos y de la visualizacion de la informacion se aborda en el trabajo de Martin John Callanan, un artista que explora la interaccion entre el individuo y los sistemas que configuran nuestro entorno. EnglishAlthough perceived as an accurate representation, data rendered in visual form are usually subject to manipulation, which can even be found in scientific projects such as some of NASA’s visualisations of the Earth and the surface of Venus. The manipulation of data is also apparent in artistic projects that use information visualisation techniques, although their ob- jectives differ: while the purpose of a scientific graph or image is to make the collected data visible and understandable, an artwork may not refer to the data themselves, but rather to something denoted by them.This particular use of scientific data and the visualisation of in- formation is discussed in the work of Martin John Callanan, an artist who explores the interac- tion between the individual and the systems that shape our environment.

" Grégory Chatonsky numbers among the contemporary artists who emerged at the same time as the Web in the 1990s. Since then, he did not stop staging the flows generated by networks in order to built fictions he now refers to as “variables”. His online creations, installations or performances question the relations between private and public. This first monographic catalog gathers texts by Michael Joyce, Violaine Boutet de Monvel, Pau Waelder, Natalie Leleu and Jay Murphy... " -- Publisher's website

A popularização da World Wide Web em meados da década de 1990 ofereceu novos canais de divulgação de conteúdos, plataformas para comunidades virtuais e um crescente mercado de comércio eletrônico. No mundo da arte, a rede tem destinado a alguns artistas um espaço para experimentar e divulgar livremente seu trabalho, enquanto a maioria das instituições e dos agentes do mercado de arte contemporânea tem ignorado as suas possibilidades, demonstrando falta de interesse por sua presença em sites e redes sociais até o final da década de 2000. Atualmente, observa-se, por um lado, uma série de propostas desenvolvidas por artistas, colecionadores e algumas galerias para a venda de obras de arte digital, tentativas de integração da net art e da arte digital no mercado da arte contemporânea. Por outro lado, o uso generalizado de dispositivos como smartphones, tablets e smart TVs, bem como a consolidação do comércio eletrônico, tem despertado o interesse de vários marchands e de grandes investi...

Several artistic projects explore the possibilities of using the audio and visual content of a film (or even its script) as raw data that feeds a process partly or fully controlled by a computer. The outcomes of these projects speak of new forms of cinematic language, an unwilling interaction between viewer and moving picture, endlessly mutable narrations and finally a radical shift in the perception of the film, as the human viewer is replaced by the computer.

... A este concepto ordenativo se complemen-ta la idea de la ruptura como factor creativo, que introduce Jonah Brucker-Cohen, investigador del MIT Media ... La utópica visión de la «aldea global», un mundo en el que todos los individuos comparten un mismo espacio de ...

espanolDesde sus inicios, el net art ha adoptado una postura critica hacia las estructuras tradicionales del mundo del arte y se ha mantenido alejado del mercado y el contexto de las galerias. No obstante, a lo largo de la ultima decada, numerosos artistas han buscado modelos para vender sus obras u obtener una rentabilidad economica de estas, por medio de iniciativas propias o en colaboracion con galerias y coleccionistas. En este articulo se examinan diversas estrategias de venta de obras de net art desarrolladas por artistas, galeristas y colectivos que han afrontado las limitaciones de los metodos tradicionales del mercado del arte, basados en la escasez y la exclusividad, ante un tipo de obras libremente accesibles en internet, que existen tan solo en el intercambio de datos entre dos maquinas. Los ejemplos analizados permiten, en ultima instancia, examinar las dinamicas actuales del mercado del arte, asi como vislumbrar posibles alternativas, mas cercanas a las formas en que s...

Aquest article descriu diverses obres d'art digital que empren el dolor com una forma d'interacció en el context d'un joc per a dos jugadors: PainStation (2001-2003) i LegShocker (2002), de Tilman Reiff i Volker Morawe, Tekken Torture (2001), de C-Level, i Taser Tag (2005), de Randy Sarafan. Aquí, per mitjà de la presentació d'aquestes obres i l'anàlisi de la naturalesa

Our daily environment is surrounded by a paradoxically silent and invisible flow: the coming and going of data through our network cables, routers and wireless devices. This data is not just 1s and 0s, but bits of the conversations, images, sounds, thoughts and other forms of information that result from our interaction with the world around us. If we can speak of a global ambience, it is certainly derived from this constant flow of data. It is an endless murmur that speaks to our machines and gives us a sense of awareness of a certain form of surrounding that is independent from our actual, physical location. The constant “presence” of data around us is something that we have become largely aware of. Already in 1994, Phil Agre stated in an article in WIRED Magazine: “We're so accustomed to data that hardly anyone questions it” (1). Agre indicated that this data is in fact a representation of the world, the discrete bits of information that form the reality we are immersed in. H...

This book is a practical guide to collecting contemporary art using the tools available online and on any smartphone or tablet, with a special focus on digital art and the particular advantages and challenges it presents to collectors. The guide is intended for anyone who would like to collect art, regardless of their knowledge of the art market—or their budget.
The volume is divided into three parts: two separate (but related) manuals and a troubleshooting guide for collectors of digital art.

This excerpt includes the first chapter from each part of the book.

Published by Printer Fault Press in Frankfurt
Language: English
Size: 21,8 x 15 x 3,5 cm
Pages: 416
ISBN: 978-84-09-23382-3