Intangíveis poéticas computacionais polissêmicas
Abstract
The proliferation of computers is allowing the emergence of multi sensory environments with multiple meanings. The pervasive distribution of micro chips, actuators and sensors in objects and around the physical space gave birth to a new field of artistic researches here entitled computer art. It has been the role of artists in our society to investigate poetic languages and contents able to inhabit the vast territories opened by the development of computer technologies. Thus, it is understandable the interest artists have to explore such potential to amplify the multitude of meanings and the multi sensory possibilities of artistic languages through their contamination with computer languages. This essay weave practical concerns emerged during the last 22 years of artistic practice and research with reflexions over the potential for computer art in its relationship with sciences and its immanent connection with the participation of peoples, the interactors.Downloads
References
Ascott, Roy (1997). Cultivando o Hipercortex. InDomingues, D. A Arte no Século XXI, São Paulo: UNESP, pp. 2.
Crary, Jonathan (1991). Techniques of the observer. Cambridge: MIT.
Flusser, Villem (2002). Writtings. USA: Minnesota
--------------------- (2002). A filosofia da caixa preta. Rio de Janeiro: Re-lume Dumará.
Fraga, Tania & Taunay, Maria Luiza (1992). The Phenomenon of Com-puter Art and the Possibilities of a New Aesthetic. In: Conference pro-ceedings of sixth national conference on liberal arts and the education of artists. New York: New York School of Visual Arts. v. 1, p. 278-291.
Fraga, Tania et Barja, Wagner (2004). Greater than or Equal to 4D. InMaior ou Igual a 4D: Arte Computacional Interativa (catalog). Brasília: Centro Cultural Banco do Brasil.
Fraga, Tania et alli (2009). Inhabitable Skins. In Dream. Issue 14, canada: Banff New Media Centre, http://www.horizonzero.ca/ March/April 2004. Acessado em 23 de junho de 2009, às 14h00h.
Fraga, Tania (1995). Wanderings into the Creative Process of the Com-puter Artist. In Leonardo Electronic Almanac. Boston: MITPRESS (site na internet).
------------------ (desde 1995). Simulações Estereoscópicas Interativas. InLaboratório Virtual de Pesquisa em Arte. www.unb.br/vis/lvpa/tese.html. Brasília: LVPA-IdA/UnB.
------------------(2003). Pensando Pensamentos Líquidos. In MACIEL, Ká-tia (org). Redes sensoriais. Rio de Janeiro: Contra-capa, p 301-308.
------------------(1999). Reality, virtuality and visuality in the Xamantic Web Art. In Ascott, Roy (ed) Reframing Consciousness (Roy Ascott, ed.). Bristol: Intellect.
------------------ (2000). Inquiry into Allegorical Knowledge Systems for Telematic Art. InAscott, Roy (ed). Art, Technology, Consciousness. Bris-tol: Intellect.
------------------ (2004). Thinking Liquid Thoughts. In Ascott, Roy (ed). Technoetic Arts. Bristol: Intellect, vol. 2, number 3, p. 169-180.
------------------ (2004). Hekuras, Kurupiras & Karuanas. Galáxia, São Paulo, v. 7, n. 0, p. 111-122.
------------------ (2005). Membrana: M_Brana. In Fragoso, M. Luiza (org). >=4D: Arte computacional no Brasil. Brasília: UnB, p 137-141.
------------------ (2005). [Maior igual a 4D]. In Fragoso, M. Luiza (org). >=4D: Arte computacional no Brasil. Brasília: UnB, p 142-146.
------------------(2007). Percursos poéticos: vislumbrando possibilidades para a arte, a arquitetura e o design. In Venturelli, S. (org). Arte e tec-nologia: interseções entre arte e pesquisas tecno-científicas. Brasília: #6.ART/UnB, p 305-312.
Machado, Arlindo (1988). A arte do vídeo. São Paulo: Brasiliense.
------------------------- (1993). Máquinas e imaginário: O desafio das poé-ticas tecnológicas. São Paulo: EDUSP. Machado, Arlindo (1993). Ensaios sobre a contemporaneidade. São Paulo: Books on Disk.
-------------------------(1993). Anamorfoses Cronotópicas ou a Quarta Di-mensão da Imagem. In Parente, ª (org) Imagem Máquina. Rio de Janei-ro: Editora 34, p 100-116.
Hawking, Stephen (2001). O universo numa casca de noz.: São Paulo, Mandarim.
Plaza, Julio et Tavares, Monica (1998). Processos criativos com meios eletrônicos: poéticas digitais. São Paulo: Hucitec.
Picard, Rosalind (2000). Affective computing. Cambridge: MIT.
Santaella, Lúcia (1992). A Cultura das Mídias. São Paulo: Razão Social.
---------------------- (1992). Assinatura das Coisas. Rio de Janeiro: Imago.
Works published in this journal are subject to the following terms:
- The Service of Publications from the University of Murcia (publishing house) keeps the published works’ copyrights, and favors and allows the reuse of these works under the license indicated in point 2.
- Works are published in the journal’s online edition under the license Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 España(texto legal). They can be copied, used, disseminated, transmitted and publicly exhibited, as long as: i) the author and original source of publication are cited (journal, publishing house and work’s URL); ii) they are not used for commercial purposes; iii) the existence and specifications of this license are mentioned.
3. Conditions for auto-file. It is allowed and encouraged that authors share electronically their pre-print version (the pre-reviewed version) and /or post-print version (the reviewed and accepted version) of their Works before the publication, since it promotes its circulation and dissemination. RoMEO color: green.
