2º Congreso Internacional ACC: Arte, Ciencia, Ciudad
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El 2º Congreso Internacional ACC: Arte, Ciencia, Ciudad trata de fomentar la investigación interdisciplinaria sobre la cultura tecno-científica de las sociedades contemporáneas y su incidencia en los modos de vida, prestando especial atención al impacto de las tecnologías de la imagen en los contextos urbanos. Es una iniciativa promovida desde el Máster Universitario en Artes Visuales y Multimedia de la Universitat Politècnica de València y la Facultad de Bellas Artes de la Universidad del País Vasco/Euskal Herriko Unibertsitatea con el objetivo de incrementar y desarrollar, desde el ámbito de la investigación artística universitaria, la reflexión y realización de proyectos de investigación que contribuyan a superar la brecha, por un lado, entre el mundo académico, la práctica profesional y la ciudadanía, y también, entre el conocimiento científico y las humanidades.
Esta segunda edición del congreso se plantea como foro de discusión que permita reunir y difundir las experiencias más relevantes en torno a la relación arte + ciencia + ciudad, situando como concepto transversal que vertebra el nexo, la luz. Luz entendida desde la complejidad de su doble naturaleza (dualidad onda-partícula) tanto en las aplicaciones como en los discursos teóricos. Las innovaciones de las tecnologías basadas en la luz están transformando las comunicaciones, los recursos energéticos, los nuevos modos de diagnosis y tratamiento en medicina; estos cambios nos permiten reconocer también la insuficiencia de los modos de visualidad en nuestra cultura. Es por ello que proponemos como lema general:
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- PublicationLA LUZ INTRUSA. LUGARES PARA UN MISTICISMO EN SUSPENSIÓN(Editorial Universitat Politècnica de València, 2015-11-11) Cantalozella Planas, Joaquim; Negre Busó, Marta[EN] All along the history of western knowledge, light has been the focus of all kind of metaphors which, starting from the Plato’s Cave, have been used to illustrate the transcendence of spiritual and scientific knowledge. But just as a shaft of sunlight crossing the dark appears to create new space, distances and associations until it becomes an object of study in itself, so in our collective consciousness the column or pillar of light has become such a pregnant cultural image that its presence in any representation invariably intimates the presence of some greater truth or force. And even if its source is entirely artificial, reliant upon the mechanical devices and light bulbs of our electrified existence, that light still plays its part in this symbolic game. Furthermore, it remains clear that the repeated use of the metaphor of light in current artistic practice has in no way exhausted its evocative potential, even if it has become more ambiguous and is no longer always used only to embellish weightier narratives. Instead, the post-metaphysics that inform our discipline have brought forth a new set of criteria, in both the production and the reception of images, which dispels the sense that there is any ‘given’ relationship between these processes and our notion of the universal. In its various guises, therefore, the metaphor of light may remain a constant in what would otherwise be quite dissimilar examples of art and this is what the present paper addresses: the readings that can emerge from art which takes such metaphors as parameters but also casts its light obtrusively, on the fault line of contradiction insofar as this light does not build on any greater transcendence, if only by merit of its simple approach, and yet lacks nothing in discipline or depth. Using the premise that this can constitute a pattern for artistic creation we examine different contemporary works of art and present a project of our own. The thread that runs through these apparently dissimilar works, which include video art, art installations and photography, is their use of relatively simple performative techniques to tease a lyrical beauty out of everyday objects, which may or may not reveal a degree of self-referential humour, and which the spectator feels regain a measure of some bygone luminous mysticism.
- PublicationLA IMAGEN TOMA LA PALABRA: CONSTRUCCIÓN DE UN VOCABULARIO VISUAL(Editorial Universitat Politècnica de València, 2015-11-11) Rosado Rodrigo, Pilar; Figueras Ferrer, Eva; Planas Rosselló, Miguel; Reverter Comes, Ferran[EN] Conflict between writing and image is ancient. At present, there are many evidences that a return to the image is needed. To find analogies between language and visual information is important. If it has been possible to decompose language in elements and structures, why not with images? The opportunity offered by digital image to describe lines and shapes in mathematical terms provides us the ability to decipher the problem of meaning contained in image. The objective of our research is to develop a series of computer vision programs to search for analogies in large datasets—in this case, collections of images of abstract paintings— based solely on their visual content without textual annotation. We have programmed an algorithm based on a specific model of image description used in computer vision. This approach involves placing a regular grid over the image and selecting a pixel region around each node. Dense features computed over this regular grid with overlapping patches are used to represent the images. Analysing the distances between the whole set of image descriptors we are able to group them according to their similarity and each resulting group will determines what we call “visual words”. Considering the whole collection of images, the total collection of “visual words” will define his “visual vocabulary”. This model is called Bag-of-Words representation of an image because does not contain information concerning the spatial relationships among the visual words which make it up. Given the frequency with which each visual word occurs in each image, we apply the method pLSA (Probabilistic Latent Semantic Analysis), a statistical model that classifies fully automatically, without any textual annotation, images according to their formal patterns. In this way, the researchers hope to develop a tool both for producing and analysing works of art.
- PublicationUN ARTISTA HACE VISIBLE A UN CIENTÍFICO. ENCUENTRO ENTRE MÉTODOS: YOUR COLOUR MEMORY Y LA PELL DE LA PELL(Editorial Universitat Politècnica de València, 2015-11-11) Pastó, Cristina; Agustí, Eugènia[EN] “An artist makes visible to a scientist. Meeting between methods: Your colour memory and The skin of the skin”. This article explain two experiences of visualization framed within the Research and Development (I+D) project “Metamethod. Shared methodologies in artistic processes HAR2010-18453 (subprogram ARTE)” developed by the artists and researchers of IMARTE Group, University of Barcelona. The main objective of project “Metamethod” is to connect with structures of research that other disciplines apply to their projects in order to understand them and then, in a second stage, adapt or modify them from a creative perspective, where an original thought generating new concepts emerge. First, we shall make a brief introduction of “Metamethod” and after, the characteristics of each of the two experiences will be presented. The first experience titled Your colour memory was made with Neuromuscular Diseases Unit and Laboratory of the Research Institute Hospital de Sant Pau (UAB). Examines the power of scientific reasoning as an unquestionable truth and the laboratory as the stage where that argument germinates. Different scenarios converge in the analysis of the theories of color in relation to the contributions from different languages: the Newton’s science, Goethe’s humanistic and artistic mastery, Schopenhauer’s debate with Goethe, Chevreul’s applied chemistry or Wittgenstein’s philosophical logic. Their arguments will underpin the premise that “an artist makes visible a scientist.” The second study, entitled The skin of the skin, starts after contact by Department of Botany, Faculty of Biology (UB). The idea of how to build living façades through biological concrete suggests an analogy from a particular visualization of the chromatographies and photopolymer plates.The artist contacts two ways of working which are characteristic among the two disciplines: the observation of the world, the revision of natural phenomena, the invention of new concepts, posing a melting paradigm between the two. These experiences alongside those of other artists of the group were exposed under MetaMètode. Dialogues between art science, in Centre Cultural El Carme in Badalona (Barcelona) September to October 2014. All these projects with texts and images were collected in a publication Meta-Method. Shared methodologies in artistic processes.
- PublicationLA LUZ COMO INTERFAZ. DERIVAS ENTRE EL MAPA Y EL TERRITORIO(Editorial Universitat Politècnica de València, 2015-11-11) Yeregui, Mariela[EN] If the real territory and its topology create a layer of information that is easily traceable, there are also highways and paths that are less perceptible. How to make visible what the maps never show? Social links, organizational practices, community strategies, traces of an historical memory, formal reconfigurations in the urban structure, etc.-these are aspects that define a morphology that is not as neat as the representation of the space in cartographical terms. The lattice of relationships that takes place in the territories is not what the maps usually represent. This is a transversal axis that I call “meta-map”: relational tissues that shape and re-shape dynamic and mutable universes, an immaterial warp that emerges and articulates links that go beyond the map.From this starting point, I try to propose other strategies of mapping, by considering the territory as an open-source surface. The project “Scripts, Cartography of constant processes” –a project of urban countersignage- reinforces the potential of the processes of the territory through a kind of agency that is based on a performative nature. This project develops a critical point of view regarding the cartographical strategies and the definition of territories, that aims at focusing at individuals in their neighborhood context. Through techniques of psychogeographical drifts and tools of graphic and narrative representation, these vanishing points -that go through the social relations, collective imaginaries, communicational dynamics, etc.- could probably emerge. Light, for its part, from its condition of being an “enabler of visibility”, unfolds the invisible layers of the socio-urban landscape. This work aims at developing a point of view that may go beyond the concept of technological inter-mediation, usually linked to the notion of interface within the context of technocultures and, thus, focuses on light as an interface for action and as an enabler of dialogues between individuals and their context –being the light the canvas for collective textualities.
- PublicationWIND. MEDIATED REALITY VISUALIZATION(Editorial Universitat Politècnica de València, 2015-11-11) Laurenzo, Tomas; Baliosian, Javier[EN] In this paper we present Wind, an on-going research project that aims at constructing new modes of interaction with the city via poetic real-time data visualization. The project consists on a mapping device that measures and stores the intensity and direction of the signal coming from Wi-Fi routers and cellular antennae together with two Android-based augmented reality prototypes that modify what their users see or hear. The prototypes allow us to re-visit the city, intervening on our perception of it as well as allowing us to explore the geographical and perceptual disruption that arises when using one city’s data onto another.
- PublicationESCENIFICACIONES. REFLEXIÓN SOBRE LA PANTALLA COMO OBJETO PROTAGONISTA(Editorial Universitat Politècnica de València, 2015-11-17) Zarraga Llorens, Josefa María; Dpto. de Escultura; Facultad de Bellas Artes; Grupo de Laboratorio de Creaciones Intermedia. LCI[EN] In this project we have put together a series of photographs or digital collages, which are recreations of contemporary urban contexts. In these fictional spaces the representation is inspired by our daily reality, where elements so common today in our lives as the screens, play a starring role and assume a dependency. We could be talking about the screen that shows the present in real time and the relationship that develops between the space of the viewer and the representation (Manovich 2005,155). And this reflection through an artistic project, using the picture in its origin, with a digital treatment, tries to be a representation of our present society, of our movements, of the elements that surround us everywhere and brings us also to remember the ideas on the society of the spectacle that was already theorising Guy Debord (2005) and the concept of monitoring and control mechanisms of Foucault (1986). As well as the modernity imposed a paradigm shift in visual approach, in our present we believe that these devices, sending images, information, continuous light, are so persuasive that influence our way of looking at and create new temporalities, speeds, and experiences. The main objective of this project is to build a visible vehicle, an edited video, bringing together the collection of pictures and showing this thought about our present. The methodology used was based on searching and shooting real places with a subsequent digital processing and later creating some fictitious spaces to include in a videosequence.
- PublicationLO TRIDIMENSIONAL EN LA CAPTURA DE LA LUZ EN MOVIMIENTO. LA REALIDAD AUMENTADA DE DAIM COMO PROPUESTA(Editorial Universitat Politècnica de València, 2015-11-17) Marin Clavijo, Jesús[EN] Motion capture in photography, through long exposure and multiple exposure, is the system used from the first moments of its history as a tool for documentation and registration of three-dimensional phenomena that occur in a time sequence. The three-dimensional nature of these experiences has been a constant concern for different authors, from the first experiments to document the maximum number of types of movements of Eadweard Muybridge in the United States, to Etienne-Jules Marey in Europe, on his research of chronophotography and scientific documentation of the different phases and types of movement taking place in reality, in the last decades of the nineteenth century; through the work of Frank Bunker Gilbreth in terms of process performance and movements in workplace at the industry of the early twentieth century.Finally, we analyze the artistic proposal of Daim to capture and life perception into the development of lighting paths through space and virtual representation technologies such as augmented reality. Thanks to this commitment to display technologies of virtual and augmented reality we can wean and extract from the photographic medium the typology of artistic production that is based on the registration of light in motion and are included in the broader category of light art, or more specifically luminokinetic, and also in what is referred to as lightpainting art or lightgraffiti. These are eminently three-dimensional experiences in the process of creation, but the way his observation is made has been eminently through the photographic image to the emergence of these technologies
- PublicationSOMBRAS VIRTUALES. INSTALACIÓN INTERACTIVA(Editorial Universitat Politècnica de València, 2015-11-17) Bueno de Santiago, Alejandra[EN] In this article we will analyze the interactive art work presented here in its practical and theoretical context. It is a work created from the research carried out on current interactive video art and performance. Within the interactive concept, we stick to those interactions that are caused by humans through technology.. Under the theme of this conference, “Light, more light” it has caused this artwork, which works through shadows. This is an interactive installation that uses video as a medium. Here the user is captured with the camera and synthesized into a silhouette, to be embedded in a video that will be projected on the wall, maintaining a 1: 1 scale with the user. In this video there is a silhouette of a person who wanders through an area that has been previously recorded, performing different actions at different times. The viewer depending on their location in space and in relation to prerecorded character can change the position of the figure in the video, creating a game between people living in different places. The objective is that the viewer can follow the steps of the main silhouette creating a set of replicas, which sometimes are following each other, imitate or just look. The walking space is dark and only the space occupied by the silhouette is illuminated.
- PublicationABSTRACCIÓN EN MOVIMIENTO. PROYECTO FOLDING(Editorial Universitat Politècnica de València, 2015-11-17) Ghetti, Cristina; Mazza, Emanuele[EN] Folding is an audiovisual installation that generates geometric patterns using an algorithm that controls a system centered in the cadence and timing of a data flux, feeding structures of visual patterns and writing a dynamic sound score. The result is an immersive space where data perception becomes at the same time a shared and a subjective perception experience. The project is part of the new art practices linked to geometric abstraction; a context that is different by the generation of complex, dynamic and unstable systems from the geometric essentialism of avant-gardes. According to this idea, we develop a work joining light, geometry, abstraction and their relationship with software and information society, working with an abstract image that feeds itself of chosen data reflecting it in the social system. The images and sounds, then, results a dynamic form of unstable fluctuations. We orient our research departing from a vocabulary reduced to black and white stripes as a metaphor of Light/Darkness and simple repetitive forms generating fluctuations of noise, color, and frequencies. We try to establish relations of synesthesic character between form and sound. We use light and form to shape the space and volumes experience. Contemporary art is actually involved with scientific concepts and hybrid fields, the utilization of new media in our artworks allows us to afford topics as creating virtual collaborative spaces or online digital places where individuals and groups can socialize and interact in a virtual or real shared space.
- Publication8 SONIDOS(bā yīn 八音). PROYECTO CUADROS SONOROS(Editorial Universitat Politècnica de València, 2015-11-17) Aymerich Goyanes, Guillermo[EN] About a relationship between painting/music, building sonorous-paintings. Involving literature, performance, dance and robotics, also, in a pseudo-metropolitan environment. A mixed result by using different Chinese concepts, but presented alongside Western solutions in symbiosis. Based on the poem Bā yīn (八音) “Eight sounds”, from The Sanzijing, (三字经), ThreeCharacter Classic, by Wang Yinglin (Southern Song Dinasty). Literary gem of Chinese culture, created to embody the neo-Confucian ideal of uniting education and moral philosophy. Any aspect in Chinese culture isn´t an isolated phenomenon but rather a contextual part related to diverse aspects of life: emerging special kind of cosmogonist systems. While rhythm and melody were developed in Western, the timbre (tonal color) reached a high sophistication in China: an oeuvre becomes different if its instrumentation is altered. The project takes those approaches to face music and painting, each other, while both of them emerge, develop, demonstrate and perform in unison, in a parallel and mutually binding manner. Our project bā yīn2 is a system, as well, and is able to be showed as 4 audiovisual formats and 8 strictly visual formats, as well.
- PublicationINTRODUCCIÓN A UN ARTE CREADO A TRAVÉS DE LA LUZ: LA ELECTROFOTOGRAFÍA DE TÓNER SECO. LA TÉCNICA Y SU CONSERVACIÓN(Editorial Universitat Politècnica de València, 2015-11-17) Safont Cruz, Elvira; Ruiz De Diego, Sara[EN] This work presents the technical study and the conservation proposal of the art and documents created by electrophotographic printing impressions to have a general vision of the matter in our days. For this analysis, has been made a study of the technique, its constituent materials and factors or conditions must be taken into account to prevent damage in this type of documents and works. Thereby, it is intended to demonstrate the uniqueness of this type of this artistic and documentary production in combination with its material nature, generating a study that includes the preventive conservation of this works. To accomplish th is, both the intrinsic characteristics as the extrinsic are presented, analyzing from the conservation of materials point of view the relation generated between both. Therefore, this study faces the natural degradation of an art made through the energy form that makes visible the world arround us: light.
- PublicationCOPY OR DISCARD: PRIMEROS ACERCAMIENTOS EN TORNO A LA ORIGINALIDAD Y OBSOLESCENCIA PROGRAMADA EN EL NET.ART(Editorial Universitat Politècnica de València, 2015-11-17) Tobar, Karla[EN] To investigate net.art is to investigate obsolescence, so it could seem contradictory to discover in it a structure that would allow artists to design coherent positions on art and society. But after studying the creative processes in its artists and in my own work, I consider that is obsolete to continue generating artistic practices through the indefatigable repetition of a system of aesthetic production limited to creative originality. For this reason, I introduce this proposal since I consider necessary a revision of concepts labelled as obsolete or inaccurate in order to expand the possibilities to conceive contemporary art projects. This research presents two possibilities: copy and discard regarding technological obsolescence and also regarding net.art as an obsolete artistic figure. With these two approaches in mind, I propose other dynamics of aesthetic production by rearticulating obsolescence in a context that goes beyond Art and that is related to social and environmental problems in which hardware, software and obsolete networks could generate structures to rethink the qualities of a technological device that has ceased to be useful to pose it as a potential art object. I search for a net.art paradoxically coherent to its temporality, a net.art that thanks to its structure facilitates the partnership between thought and technology promoted by Juan Martín Prada making possible to discover how subjects and subjectivities are built today in the network or in the world of contemporary art.
- PublicationPROTESTA-$1(Editorial Universitat Politècnica de València, 2015-11-17) Gil Zapirain, Oier[EN] Protest-$1 is a multiuser interactive installation where, through interaction with a cell attached to a megaphone, the interactor participates in an event of social protest in front projection displayed on the sound judgment of the mass media. By pressing buttons on the touch screen phone, the participant chooses an action to do in the protest and fight with other users to get push through its decision shouting and waving speaker megaphone. There is the possibility of facing other participants to avoid their actions and fight for themselves while learning from the consequences of acts actions. The media illustrate the protest adjectivally it through two speakers depending on the course of the event in real time, allowing participants to articulate protest dissent being aware of the overall image they convey by their actions. Thus, the installation takes the form of simulator that allows learning to consciously articulate a protest through the experience with the cognitive process of trial and error. Protest-$1 can articulate a demonstration against Israel’s military intervention in Palestine, facilitating the passage of events that most want and avoiding actions of a minority that affects the outcome of the protest spreading. The aim of this interactive installation is to emphasize the peaceful protest as the only way of articulating sociopolitical protest showing that, despite its slow diffusion capacity, it is the only way that the message of sociopolitical complaint the demonstration wants to convey is disseminated in the media loyal to strategically planned without disturbances caused by external events.
- PublicationPOSIBLES MÉTODOS DE DETECCIÓN DE POLÍGONOS SLIVERS EN CARTOGRAFÍA(Editorial Universitat Politècnica de València, 2015-11-17) Sánchez Marco, Miguel; Irigoyen Gaztelumendi, Jesús; Dpto. de Ingeniería Cartográfica Geodesia y Fotogrametría; Escuela Técnica Superior de Ingeniería Agronómica y del Medio Natural[ES] Cada vez es más frecuente utilizar los sistemas de información geográficos en muchos de los ámbitos relacionados con la cartografía, ordenamiento o gestión del territorio; así como obtener cartografía oficial de los servicios e infraestructuras de datos espaciales. Un usuario avanzado puede necesitar de operaciones de geoprocesado de información para obtener datos relevantes para su proyecto a partir de capas de información procedente de cartografía oficial. Es aquí cuando se puede detectar la aparición de pequeños polígonos en los bordes de los polígonos originales llamados polígonos slivers. Los polígonos slivers son áreas que aparecen en los bordes de otros polígonos fruto de una digitalización defectuosa o de superposiciones geográficas de capas de información con contornos de polígonos no coincidentes. Esto es especialmente importante cuando se superponen cartografías procedentes de diversos organismos y a diversas escalas. Los polígonos slivers son un problema en las bases de datos geográficas no solo en la presentación grafica de los mapas sino en los resultados numéricos obtenidos. Las soluciones a los polígonos slivers están en, por una parte, procurar no crearlos con correctas digitalizaciones o bien, por otra parte, eliminarlos una vez estos polígonos se han creado. El problema principal de eliminar slivers una vez creados es poder detectarlos. Los polígonos slivers pueden adoptar formas muy variadas y aunque en la mayoría de ocasiones son polígonos pequeños también pueden ocupar una gran superficie. En este trabajo se plantean diversas soluciones para detectar polígonos slivers en bases de datos cartográficas vectoriales. Alguna de las soluciones son adimensionales, es decir independientes de la escala de representación mientras que otras dependen de las unidades y precisiones generales de las base de datos
- PublicationCUIDADOS INTENSIVOS. REDES NEURONALES Y COMPUTACIÓN CONEXIONISTA DIY(Editorial Universitat Politècnica de València, 2015-11-17) Zubiaga, Augusto; Cilleruelo, Lourdes[EN] Critical Care is an art installation in which is functionally represented a nervous system. Resources of analog electronics are used to design functional models of neurons that emulate biological operation patterns. This dimensions variable installation can be adapted to the space available, modifying the density per unit volume of the neural units. The neural network is sensitive to environment’s modifications, and also to endogenous modifications caused by changes in its internal state. Specialized neurons that have been interconnected to emulate a nervous system -sensitive, motor and Interneurons...-, can be found. Sensory neurons are sensitive to touch, proximity, and variations in luminosity. At the same time, motor neurons activate silent and subtle mechanisms based on shape memory elements (muscle wire).
- PublicationHEARTWOOD: INTEGRATING THE ORGANIC AND THE INORGANIC TO CREATE IMMERSIVE SENSORIAL EXPERIENCE(Editorial Universitat Politècnica de València, 2015-11-17) Sanchez, Tiffany; Hwaryoung, Jinsil Seo[EN] Heartwood integrates wood with light to create an augmented sensorial experience. Simple and intimate methods of interaction are utilized to communicate a narrative usually hidden within these alternative mediums. A careful blend of traditional woodworking techniques and basic physical computing methodologies were combined to complete fabrication. Heartwood is the product of a growing hybrid art practice which aims to graft organic with inorganic materials and interactive technologies to create immersive environments. Heartwood rewards the curious. In the simple act of holding and peering into Heartwood, one can feel the fragility of weathered bark, discern the solidity and weight of the cut, and smell the freshly oiled vascular tissue of its sapwood. Within, a gen tle pulse of warm light breathes life back into the dead Heartwood. The subtle rhythmic illumination is vital to this sensorial dialogue, creating a contemplative atmosphere of intimacy and reflection. Without this warm light, Heartwood cannot be seen.
- PublicationDIGITOCAMERA. HÍBRIDO DIGITAL Y ANALÓGICO(Editorial Universitat Politècnica de València, 2015-11-17) García Saurí, Alexandre[EN] Digitocamera is an haptic interface designed as a photographic device which mixes the analogue and the digital. Its distinctive feature is to leave an impression of texts over the photosensitive surface, by the values that a LED screen sends. This screen is form by 8 subdisplays of 7 segments of LED, each. Digitocamera is programmed in open-source using the microcontroller Arduino and controlled via Bluetooth with an application made with Android Studio. In the project approach are intertwined concepts linked to the “poor image” (Hito Steyerl) “picture turn” (WJT Mitchell) and other derivatives of Media Archaeology field, all of them are guiding the reference framework of the project . More than artistic piece, Digitocamera is contemplated as a new artistic tool at the service of anyone interested in the photographic visual languages linked to breaking the classic rules (framing, balance...) The glance of the camera tends to abstracts compositions caused by lack of focus, light leaks, superposition.
- PublicationTERRITORIO, GRÁFICA Y SONIDO. IDENTIDADES ESPACIO-TEMPORALES(Editorial Universitat Politècnica de València, 2015-11-17) Cornelio Yacaman, Jaime[EN] The confluence between sound, identity, space and visual arts is the area of my Ph. D. research. The translation of this confluence, which expresses the relation between the identity of the subject and his/her environment, constitutes a graphical - sonorous territorial identity that is being the focus of research in art and music across history. Nevertheless, this confluence not always is free of difficulties, both technical and conceptual. These difficulties are the origin of my double research question: how to reveal the identity of a place across the sound? And which are the fundamental elements of this ecosystem identity that enable this translation? In order to explore these questions it is necessary to understand which elements compose the sonorous identity in a certain ecosystem and how this identity emerges across sound and visual arts as a form of graphical - sonorous identity. The hypothesis is that there exist some elements of sonorous identity that could be found in certain ecosystems that reflect the complexity of the different phenomena that surround them (geological, territorial, meteorological, temporary, spatial, social, psychological, etc.). These identities constitute a cognitive experience that is possible to analyze and to identify across technological and experimental means and from a theoretical framework based on the notion of complexity (Dewey; Morin). The objectives of this proposal are to define: (1) the concept of sonorous ecosystem in relation to the concept of ecosystem, identity and territory and (2) the concept of identity and territory from a sonorous point of view. The analysis will be done from the theories of the complexity and some case studies in addition to my own artwork ( Lomax Geoarchives; London Survey; Wilkins, 2012; Stratou, 2014; Stanfors , 2014) to identify the existing relations between sound and graphic expression and to propose an initial typology or map of elements that constitute the sonorous identity of a place.
- PublicationPULSAR.MAKING VISIBLE THE SOUND OF STARS(Editorial Universitat Politècnica de València, 2015-11-17) Lega, Ferran[EN] Pulsar, making visible the sound of stars is a comunication based on a sound Installation raised as a site-specific project to show the hidden abilities of sound to generate images and patterns on the matter, using the acoustic science of cymatics. The objective of this communication will show people how through abstract and intangible sounds from celestial orbs of cosmos (radio waves generated by electromagnetic pulses from the rotation of neutrón stars), we can create artworks combining sound, light and matter. The conceptual framework of this conference aims to induce viewers in a direct relationship with the space of the installation, transforming the field of acoustics to the field of primitive sensations, addressing the interaction from a sensitive perspective. The viewer, travels to inside of pulsars through the sound of them.
- PublicationUN MÉTODO DE VISUALIZACIÓN DE SONIDO BASADO EN LAS MUESTRAS OBTENIDAS DE SU DIGITALIZACIÓN EN TIEMPO REAL(Editorial Universitat Politècnica de València, 2015-11-17) García Miragall, Carlos Manuel; Sanmartin Piquer, Francisco Javier; Dpto. de Sistemas Informáticos y Computación; Dpto. de Escultura; Dpto. de Pintura; Facultad de Bellas Artes; Grupo de Laboratorio de Luz[EN] Abstract In the tradition of Visual Music, we propose a method of sound visualization based on digital samples of sound obtained as a result of digitization for an environment in which music and image generation unfold in real time, being ideal for audiovisual live events. If we consider that: a digitized sound is just a set of numbers arranged in time representing the intensity of the signal at each instant of time, and an image at a given moment it is no more than a set of pixels, whose value is a number representing the l ight intensity at a point, in the case of monochrome image a unique number and if chromatic number for each color channel. The proposed method takes the numerical values of the sound samples and spatially located generating a moving image. Depending on the method used for spatial positioning of the samples, the number of samples used sound (present and even past) and the number of sound sources to integrate, we get different display algorithms families with own aesthetic characteristics. This work establishes the necessary measures to address the sound visualization based on samples and presents a case study, performed with an application in the Java programming language bases.