Regina Célia Pinto's Museum of the Essential and beyond That

Journal of Science and Technology of the Arts, 2024

This article explores Giselle Beiguelman’s and Vitória Cribb’s works at the ARTEMIDIAMUSEU collection from the National Museum of the Republic, Brasília, Brazil, based on ideas about art and feminism as discussed by Griselda Pollock, Andrea Giunta, and Jennifer Way, as they offer insights into the omission of female artists within the art system and explore the interplay between technology and feminism in digital art. We propose a dialogue between these authors by examining their perspectives, while exploring the works of these two Brazilian digital women artists from different generations.

Proceedings of the 9th International Conference on Digital and Interactive Arts, (ARTECH 2019), October 23-25, 2019, Braga, 2019

In this short paper I offer a richly illustrated ecocritical review of a prize-winning art exhibition called Arte Eletrônica Indígena [Indigenous Electronic Art] that took place in Salvador da Bahia in August 2018. The exhibition was the fruit of a project run by the NGO Thydêwá to host artistic residencies in a number of different indigenous communities in the North East of Brazil, bringing together an international line-up of artists with interested community members to collaborate in the creation of works of electronic art. My review of the exhibition concentrates on the degree to which the works exhibited engage with the indigenous communities' relationship to the natural environment, and the different ways in which they do this, ranging from more didactic approaches to more poetic ones. Overall, I argue for the important role performed by this project and the resultant collection of artworks in 'earthing' electronic art and enhancing its social function for a wider cross-section of society.

AI & SOCIETY, 2023

In this essay, we explore the philosophical and theoretical resonances of the artwork Qatipana from the perspective of some key insights of Gilbert Simondon’s information processing system approach. Qatipana (Quechua word that means flow, sequence, transmission) is a hybrid ecosystem of information flow which, even though not the kind of dispositive systems theory was designed to read, offers some valuable empirical insights to test some key aspects of Simondon’s information processing systems. In particular, we are interested in observing how Simondon’s becoming and individuation play out in an algorithmic cycle performed by the cognitive system of an Artificial Intelligence agent: how does mono-technology and computerization of cultural techniques influence the nature of knowing the affection of being with others (people, things, animals)? We contrast Simondon’s contributions with the work of Norbert Wiener and Stafford Beer on information in cybernetics and the cosmotechnics and Technodiversity of Chinese philosopher Yuk Hui. Furthermore, we offer a provisional assessment of the reach, limits, and possibilities this kind of symbiotic crossing of technologies and arts: it is a field filled with challenges and unresolved complexities that should encourage us to recognize the urgency that is implied in the disruptive (and creative) we can see unfolding in social and political life. The already pervasive (and growing) presence of computational systems has become both a tremendous risk and a vertiginous deployment of liberating opportunities. Latin America and elsewhere are desperately calling for an insightful and imaginative engagement.

2021

Barranha, H. and Henriques, J. S. (eds.) (2021). Art, Museums and Digital Cultures – Rethinking Change. Lisbon: IHA/NOVA FCSH and maat. DOI: 10.34619/hwfg-s9yy [EN] Following the International Conference on Art, Museums and Digital Cultures (April 2021), this e-book seeks to extend the discussion on the concept of change that is usually associated with the relationship between culture and technology. Through the contributions of 32 authors from 12 countries, the book not only questions how digital media have inspired new artistic and curatorial practices, but also how, conversely, critical and creative proposals in the fields of art and museums have opened up alternative paths to technological development. Acknowledging the different approaches to the topic, ranging from retrospective readings to the analysis of recent issues and projects, the book is divided into seven sections and a visual essay, highlighting collaborative territories and the crossovers between different areas of scientific knowledge. Available in open access, this publication is the result of a collaborative project promoted by the Institute of Art History of the School of Social Sciences and Humanities, NOVA University of Lisbon and maat – Museum of Art, Architecture and Technology. Partner institution: Instituto Superior Técnico. Sponsor: Millennium bcp Foundation. Media partner: Umbigo magazine. [PT] No seguimento da Conferência Internacional sobre Arte, Museus e Culturas Digitais (Abril 2021), este e-book pretende aprofundar a discussão sobre o conceito de mudança, geralmente associado à relação entre cultura e tecnologia. Através dos contributos de 32 autores, de 12 países, questiona-se não só a forma como o digital tem motivado novas práticas artísticas e curatoriais, mas também o inverso, observando como propostas críticas e criativas no campo da arte e dos museus têm aberto vias alternativas para o desenvolvimento tecnológico. Assumindo a diversidade de perspectivas sobre o tema, de leituras retrospectivas à análise de questões e projectos recentes, o livro estrutura-se em torno de sete capítulos e um ensaio visual, evidenciando os territórios de colaboração e cruzamento entre diferentes áreas de conhecimento científico. Disponível em acesso aberto, esta publicação resulta de um projecto colaborativo promovido pelo Instituto de História da Arte, Faculdade de Ciências Sociais e Humanas, Universidade NOVA de Lisboa e pelo maat - Museu de Arte, Arquitectura e Tecnologia. Instituição parceira: Instituto Superior Técnico. Mecenas: Fundação Millennium bcp. Media partner: revista Umbigo.

AI & SOCIETY, 2022

In this article, I explore a short history of exchange between cybernetics and aesthetics in Brazil, beginning with the reception of Max Bense's "new aesthetic" by concrete and neo-concrete poets and artists. I focus on his intellectual exchange with the poet and literary critic Haroldo de Campos, who promoted Bense's information aesthetics in Brazil throughout the 1960s to tell a little-known history of cybernetic theory wedded to aesthetic practice, demonstrating the role that Brazilian critics, writers and artists played in mediating and deviating from some of the major tenants of first-order cybernetics. Rather than embracing the total "entropy" of meaning that characterized Bense's "generative aesthetics", Brazilian poets and artists drew upon cybernetics and information theory to produce artistic works that engaged figuration, bodies, politics, spectatorship and participation.

Do participatory art forms and relational aesthetics constitute a background for the growingly interactive culture of today? Do they express the same ideals or are they different ideologies? Why is modern and contemporary culture so concerned with the spectator, be it the art lover, TV audiences, or internet users? Why, in spite of their different scopes, are media (art included) so interested in the activation and mobilization of the receiver? Mass media culture secretly dreamed of the full presence and commitment of the spectator, boldly proclaimed as partner by modern and contemporary art and finally given effective participatory tools by digital culture. Are we truly becoming a society of producers and creators? Or rather a different type of consumers? What is the role of art in the era of the new culture economy, where creativity equals capital?

Revista Umbigo, nº 72, 2020

This paper examines 'Laberinto Invisible' by Luis Fernando Benedit, (1971). It posits that the work was both constructed using cybernetic theory, that it functions over time in such a manner, and that cybernetics offers the most accurate way of modelling the processes of the artwork. Furthermore, it establishes the political symbolism of the work contextualized in Buenos Aires in 1971 - asking how cybernetics as a model may offer a manner of addressing interactive systems of communication and control for political systems.

To invent something is to invent an accident. To invent the ship is to invent the shipwreck; the space shuttle, the explosion. And to invent the electronic superhighway or the Internet is to invent a major risk which is not easily spotted because it does not produce fatalities like a shipwreck or a mid-air explosion.* The aim of this text is to describe different experiences which explore the connections or boundaries between arts, technology and society in a Brazilian context. These works are not just performances which can immediately be recognized as such, but I have chosen to bring a variety of examples of works that may dialogue with each other, composing a quite a heterogeneous reality. Seguir Faça parte do Tumblr