ANIAV - Revista de Investigación en Artes Visuales

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https://riunet7pre.upv.es/handle/10251/85007
Investigación en y desde las artes visuales. Recoge contenidos de práctica, teoría, crítica y gestión del arte en los diferentes medios y áreas, que aborden los principales puntos de interés del arte contemporáneo.

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    Laptops, sonidos y datos masivos. Una perspectiva medial y aplicación en la prácticas artísticas sonoras algorítmicas post-digitales
    (Universitat Politècnica de València, 2021-03-31) Lecuona Fornes, Sergio; Mañas Carbonell, Moisés; Dpto. de Escultura; Facultad de Bellas Artes; Grupo de Laboratorio de Luz; Agencia Estatal de Investigación
    [EN] It’s been almost two decades from the 10th Digital Show in New York and the article that Benjamin Weill (2002) wrote about this same one for the Leonardo magazine of the MIT as an attendee. In his article he wrote in a captivating way about the panorama that he detected. he pointed how digital technologies had completely filtered into culture in just a single decade, and how digital art was exponentially expanding, like a generative system, by spreading itself to all artistic disciplines and thus highlighting that the influence of technology, in all areas of artistic creation and production, it’s being only increasing since then (Cádiz 2012). Specifically, this text aims to address, in a synthetic way and with a medial perspective, the evolution of post‐digital algorithmic sound artistic practices. It proposes that the electrical phenomenon that Marshall McLuhan pointed out was not only an appearance, but instead, that the digital devices, their shape, the way we manipulate them, the moment in which we do it and their ability to build new creative objects –in particular sound, based on computational and algorithmic use– reveal the importance of the concepts of time, data, post‐production and direct and indirect interaction applied to the sound realm. This writing proposes to value and put in perspective these conceptual events, an in this way, contribute to generate a picture of the sound that becomes musical and is mediated by the technological, the computational and the incidence of data as a virtuous element of it’s formulation.