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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8 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.
ABSTRACCIÓN 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.
ACCIÓN COLECTIVA PROGRAMABLE. METODOLOGÍAS INTERACTIVAS PARA IMBRICAR AL ARTE EN LA CONSTRUCCIÓN SOCIAL
(Editorial Universitat Politècnica de València, 2015-11-17) Martínez, Cuautli Exal
[EN] The imminent “Big Bang Data” era foreshadows the guidelines for new forms of social, economic and political organization. New forms of cultural production and identity construction, based on scanning quantifying and abstracting the whole human activities and develop dynamic and interactive systems through which the consolidation of the collected data becomes meaningful to apprehend and build reality. This “dynamic” model of society makes the systems of art as an institution unsustainable and rises the need to search for new areas to re-establish artistic practices as nodal lines of communication and collective interaction. This study is a compendium of theories and practices around contemporary artistic practices and its value in the networking of citizens, communication and collective production, testing alternative political structures and power flows. And at the same time, creating through artistic practice new aesthetic, theoretical, communicative and informative bases to support form of art consistent with the new cultural forms.
UN 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.
COMMODIFY. ESCUCHA EN LÍNEA Y UNIFORMIZACIÓN IDEOLÓGICA
(Editorial Universitat Politècnica de València, 2015-11-17) Soria Martínez, Verónica
[EN] music in their everyday life. As of 2014, sales reports announce these as outselling CDs and coming close to do the same with the purchased downloads. These services do not sell music, but use the music, or rather the social aspects associated with it, as a lure to sell access to it. Because of their user-friendly interfaces and their economic use (they are cheap for the user and they do not need any room), they have become an effective solution for the everyday consumption of music, acting as a background to other activities as well. Companies offering these kind of services have proliferated, even though the leading one -- in terms of subscriptions -- is still to report any kind of monetary gains (Harper 2015). However, the use of these services generate a mediation in the user, in which publicity processes take place, that relate the music to the fabrication of appealing lifestyles and potentially affect the agency of the listener. (Fabrication of consent). Through the increasing use of playlists, which are generated by sophisticated AI systems as well as human specialists, users modify their moods and their perception of time. This produces a distraction, which, as a result, increasingly leads users to resort to music as a “technology of the self” (DeNora 2003) and not as a cognitive act. Simultaneously, users’ participation in different social networks allows for the tracking of their interests and likes, which facilitates the companies’ task of targeting their advertising to specific groups of users. Through an analysis of the relations between different music services and social networks in the frame of the application economy, I intend to reflect on the economic interests, which contribute to generate corporate behaviors, by which users’ big data are monitored and sold. Since these services offer access to music as a commodified good, the listening act itself becomes objectified, and acts as a merchandise. Thus, I intend to show the mechanisms, by which objectified listening becomes a device for social ordering and ideological standardization.
COPY 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.
CUIDADOS 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).
DIGITALIZACIÓN DE INUNDACIONES COSTERAS UN JARDÍN DE LUZ COMO LABORATORIO DE AGUA
(Editorial Universitat Politècnica de València, 2015-11-17) Jorge Camacho, Cristina
[EN] How could we design a garden as an open-air laboratory for controlling flooding landscape? Landscape versus landform. The garden design would need accuracy with irregularity of landscape and digital representation without water. Due to the relevance of regulating the preventative measures in times of flooding the idea is for the garden to serve just a observatory that reveals the water levels in oceans and rivers to anticipate control systems and, at the same time, would show how water is gradually stopped by dynamic defenses such as landform mounds (L); it would reveal how water is hidden from view running through our pipes in the urban context by flooding walls (F); and it would prove how water could be concentrated in different scales from sea level to marshlands and cisterns by water storages (W). Representation, parametric tools and digital construction are three steps of a full-scale data model for new landforms of garden shifting from planar understanding into more volumetric continuous surfaces. Specific rules are used to generate landform where form is understood as embedded information by using some three-dimensional programme modeling as Rhino, Revit or SketchUp that allow the understanding of landform as continuous geometry, rather than highly abstracted contour lines, and it is combined with the introduction of CNC routers and the fabrication, deformation and manipulation of full-scale patterns. This full-scale model of flooding laboratory is important because of the approaches for adapting coastal areas to sea level is a priority matter in some highly protected places such as a nuclear power station where the typology tends to walls versus landforms or an hybrid of fixed and dynamic protections.
DIGITOCAMERA. 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.
ESCENIFICACIONES. 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.
ESPACIOS PARA LA GUBERNABILIDAD
(Editorial Universitat Politècnica de València, 2015-11-17) Piqueras Marín, Mª Dolores
[EN] The focus of this research is the study of the human creations from the device concept point of view. To that effect issues related to technic, machine, communication and technical devices, art and the game are broached; all of them inherent or part of the culture. Technic, game and art, all of them are basically capable to produce spaces, aisles and separated from the natural world and surrounding to the human; also an endless number of devices, and we can include factories, internet or the language among them. All of them are capable to provide spheres or spaces created mental and/or technically, belonging to the human and its current society. Not for nothing, the hominization process and development implied an increased capacity to create them. Howbeit, it’s in a society riddled with devices devoted to the creation of worlds, specific storytelling and space-time, immersion, constant interactivity and communication or the aesthetization and gamification of any kind of creations, the critical point is to study its influence or contribution in establish behaviour models over the subjects, to drive the focus or, directly, to grab the subjects and their lives as a production; not only the subject as productor. And even ask, is our postcapitalist society a dystopian society? And investigate that kind of production, because in the relationship or interaction human-machine we must to observe to the human as a being holder of a technical share, and the machine as a holder of a human share. It’s subversive and disturbing to think the human has created devices that ruled him and incapacitate to manage his life, capable to absorb and bond itself (hereby the paradox) the humankind of the technical, artistic, recreational and communicative ways.
FOTOGRAMETRÍA DE OBJETO CERCANO PARA LA REHABILITACIÓN ORNAMENTAL DE EDIFICIOS
(Editorial Universitat Politècnica de València, 2015-11-17) Padin Devesa, Jorge; Buchón Moragues, Fernando Francisco; Sánchez Giménez, David; Dpto. de Ingeniería Cartográfica Geodesia y Fotogrametría; Escuela Técnica Superior de Ingeniería Geodésica, Cartográfica y Topográfica; Grupo de Cartografía, Geodesia y GPS; Centro de Investigación de Tecnología de la Edificación
[EN] Today the use of 3D information is booming. We must only see the interest that are waking up the latest 3D printing technologies to realize the huge market that is being created. In this way becomes a necessity for all those professionals involved in the heritage, conservation and restoration, the sculpture and modeling, in design, in the creation of virtual spaces in 3D applied to video games, film or advertising animation. The proliferation of the use of this type of information is more than evident, for this reason, they are required to have a firm foundation of knowledge about the different techniques of acquisition and processing of this type of threedimensional data that allow us to transform real objects to its digital Variant while maintaining its metric accuracy. In this paper these different methodologies have been applied to obtaining light ornaments replicas on facades of buildings.
GRASS: INTERACTIVE TANGIBLE ART TO EVOKE OLDER ADULTS’ NOSTALGIA
(Editorial Universitat Politècnica de València, 2015-11-17) Seo, Jinsil Hwaryoung; Sungkajun, Annie; Sanchez, Tiffany; Suh, Jinkyo
[EN] Grass is an interactive plant project that explores serenity and emotional attachment through meditative touch of plants with interactive audio-visualizations. Prior research showed that interactive systems using light and sound invited human touch to help seniors in various ways. Many artists/researchers interested in meditative touch have focused on health related potentials. Grass investigates how touch-sensitive interactive plants can evoke nostalgia and how that affects seniors quality of life through reminiscing. From our preliminary study using Grass with seniors, we observed that some of the seniors started sharing their experience with others and talked about their memories related to light, gardening, nature, etc. From this study, we learned that Grass evoked positive responses from the participants and helped them to recall their happy memories. The studies showed that our interactive plants had potential to create healthy interactions, encouraging older adults in an assisted living facility through tactile exploration. The desired reaction of calmness and feeling at ease was mostly seen in the elderly
HEARTWOOD: 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.
LA 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.
IMPLEMENTACIÓN DE HERRAMIENTAS DE VINCULACIÓN ARTÍSTICO-MEDIOAMBIENTAL
(Editorial Universitat Politècnica de València, 2015-11-17) Aroca Córdova, Álvaro; Rodríguez Arcaute, Natxo
[EN] This research project served to elaborate an environmental-artistic analysis tool, through the exhibition “Sense and sustainability”, which consisted of “site-specific” artistic interventions by 10 artists in the biosphere reserve of Urdaibai. Although it was not a positive evaluation of the project, delivery guidelines will be used for the optimization of and environmental-artistic assessment form, or “FEAM”. Some works lasted past the exhibition period, which facilitated the development of the following objectives: Establish environmental–artistic and technicalenvironmental indicators that measure sustainability and environmental impact. Identify and assess the environmental-artistic elements of artworks where interaction between the constituent elements of the work and a natural environment can be known through the application of the indicators. Obtain a sensitive environmental-artistic document as an evaluation tool. Our research to establish environmental-artistic indicators, environmental-technical indicators, and the sustainability and environmental impact of the artworks, allowing through its application the determination and evaluation of environmental-artistic elements of the intervention in which an interaction the constituent elements of the work and a natural environment is given. In addition, a sensitive environmental-artistic document was developed as an assessment tool, called FEAM, the “environmental-artistic evaluation form”. This means that to the extent that a project of intervention in the natural environment gestates, a follow-up should be at different levels of the artistic process: creation, assembly, and conservation in the environment. There are prior actions, from conceptual gestation of the work to its mounting and conservation, that will contribute to a true evaluation and management of indicators, ensuring that an artwork that can sustain itself and be linked and interact harmoniously with what surrounds it. However, sustainability is a process that relates to economic, social and environmental elements, and if we understand that the artistic interventions in nature are also complex processes from its conceptual framework to its realization, this research gives the foundation for future study.
INFOVIS: A COLLABORATIVE SYSTEM FOR VISUALIZING REPOSITORIES
(Editorial Universitat Politècnica de València, 2015-11-17) Azevedo, Bruno; Tortosa Cuesta, Rubén; Dpto. de Dibujo; Facultad de Bellas Artes
[EN] This article aims to conceptualize a new communicative paradigm applied to academic scientific repositories. The publication and the querying of articles, papers, journals, books and other documents, are an integral part of the research process. However, the querying and information visualization process in a scientific academic repository, often proves to be inefficient, and a hard task, because the wide range of results hardly fits in the user’s specific subject. In this sense, this paper highlights a problem that emerges from the user’s relationship with an academic repository of scientific information. In particular, a problem that is related to the “object content” (results) that best suits the interests/user’s specific subject. However, if we equate that this information is accessed by a significant number of users with a specific interest in a topic, and in the course of their research they handle a significant amount of information, it is then possible to consider the existence of a hierarchical and relational structure of evidences, that emerges from the relationship established between the various users and their specific interests and the querying performed. Therefore, it is fundamental to consider the user’s experience and the leading role that it could represent in filtering information. The Information Visualization (InfoVis) techniques directed to knowledge networks also constitutes a fundamental approach. In this sense, this paper presents a brief analysis around major reference projects, which although based in the metric of article citations (impact factor), the primary goal lies in the visualization of an extensive citation structure and the relations established between the different scientific fields. However, based on the modus operandi of these visualization interfaces, the main objective of this paper is to propose a new approach, where the filtering and the visualization of information is based in the user’s experience instead of the usual citation “object” centered approach.
INTOUCH: EXPLORING AMBIENT REMOTE TOUCH
(Editorial Universitat Politècnica de València, 2015-11-17) Seo, Jinsil Hwaryoung
[EN] inTouch is a set of dresses that consists of a mother’s dress and a child dress sharing touch information through garments in an ambient way. This was developed to explore how remote touches can convey emotion and help people maintain being connected between remote locations. It is known that touch is immediate in that it carries emotional meaning in ways that words cannot express. Touch is so critical to human existence that one can conceive of a child growing up. So it is unimaginable for a child’s development devoid of touch experience. This project was created based on the artist’s personal experience with her child. In inTouch, a parent can increase the vividness of her conversation with a child through contextualized touch, and the loved ones may enhance the affective tone of their communication using a remote touch technology. inTouch garments have been created using soft circuit techniques. All the electronic components for sensing human touches and actuating color-changing garment were integrated on the main fabrics.
INTRODUCCIÓN 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.
INVISIBILIDAD ÓPTICA CON LENTES EN PARAXIAL SOBRE IMAGEN PROYECTADA
(Editorial Universitat Politècnica de València, 2015-11-17) Torres De Huertas, Germán
[EN] This is a proposal for the Creative Room option, included in the Panel 1: Techniques for scientific visualization. It is a installation that practice optical invisibility multidirectional (which allows you to move the angle of vision in several degrees), using lenses and paraxiales acromatics of 50,8 mm, alienated with focal lengths of 200 mm and of 75 mm. The installation investigates the concept of invisibility, in reference to the tradition antiocularcentrism started in the s.XX, still relevant today. Investigates the possibility of reducing, physical objects, but on all projections of virtual images, video, and stills. The alignment of lenses combined with projections, assumes a symbolic materialization of the effect that can exert the image and its possible invisibility on our imaginaries and the way of forming experiences and knowledge. This question is connected to the epistemological concerns about the supremacy of vision on the scientific tradition and methods of access to knowledge, crossing several streams of thought. The installation combines different images, forcing its invisibility by physical means. To leave “out of sight” those images, represent the omission of a part of the reality. This reflects a kind of vision, In which everything absent from media seems to be erased from reality. In allusion to the warning of Gianetti (1996, 4) on this new form of power emerged from the invisibility of the virtual, which in addition, it serves treating certain realities. If the cinema to Barthes and Metz duplicated the reality in motion, the device of paraxials lenses allows the projection of that duplication of the virtual reality, to see through her another one, as if when you submit the projected image at the invisibility effect of the lenses, sticking to the intention of Barthes to respond to the experience of the image being circumvented his possible “hypnosis”, looking below it. As if when you submit the projected image at the invisibility effect of the lenses, chasing the intention of Barthes to respond to the experience of the image evading its possible “hypnosis”, looking below it. Always thinking about Barthes: “The sight, on having revealed a world of opaque objects, he cannot lead to the reflection” (Barthes 2007, 332).

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