Papers by José R N Alcalá
Fotocinema. Revista científica de cine y fotografía, 2012
La piel de la imagen. Ensayos sobre gráfica en la cultura digital
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Explorando El Laberinto Creacion E Investigacion En Torno a La Grafica Digital a Comienzos Del Siglo 21 2004 Isbn 84 8427 386 5 Pags 121 124, 2004
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ABSTRACT
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Media Art Taxonomy. is a proposal by José R. Alcalá ** for an effective classification of Media A... more Media Art Taxonomy. is a proposal by José R. Alcalá ** for an effective classification of Media Art works, pieces and documents from everyday practical experience developed at the International Museum of Electrography (MIDE) of Cuenca (Spain) * related to the classification of its permanent collection of Media Art since its inauguration in 1990, 25 years ago. * This taxonomy is currently used by employees of the International Museum of Electrography Art (MIDE) of Cuenca (Spain) to classify their permanent funds of Media Art works pieces, as a practical conclusion to the theoretical debate and practical everyday needs after 25 years of museum activity in this experimental field (1990 ? 2015). ** José Ramón Alcalá is the Director of MIDE from its creation, in 1989
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The Internet—and the cyberspace it contains—is beginning to be colonized. Making its geography vi... more The Internet—and the cyberspace it contains—is beginning to be colonized. Making its geography visible—poietically revealing it—plotting out the cartography of its topological (non-)spaces, is a task that is as pressing as it is necessary. It has established itself in a variety of paradoxes, like that of being a “non-spatial” place, or using “liquid architecture” that operates within a “hybrid reality” of its own construction, or modifying the concept of “spatial-temporal memory” (which must now be
traced and formalized, through geometrizing the process-in-real-time, and not through the traditional architecture of objects). These cartographies will sketch out not only the liquid morphology of architectural (non-)spaces, lending form to a phenomenological reality (which, in spite of being inhabited, still remains to be visually revealed), but most importantly, will plot the topographical map of the symbolic relationships between the cultural, economic and political organizations of contemporary society. In other words, class divisions, hierarchies, functional roles played by the global economy and also the political organization of the contemporary world.
So then, considering and developing the liquid architecture of electronic space in the context of the hybrid reality in which we each live in the 21st century, includes by definition the conceptualization and design of the cultural interface that will equip us with the devices, with the mechanisms and the
strategies, necessary for gaining the capacity to inhabit that reality.
This text is a development of several personal ideas and conclusions drawn from the many creative and research experiences resulting from twenty years of working with new technologies and digital processes. The theoretical body of the text is supported by a series of fundamental texts recently put
together by the most lucid contemporary minds. Here, they serve as a premise for the deeper understanding of this text and its necessary contextualization.
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New Media Art Taxonomy is a proposal by José R. Alcalá ** for an effective classification of Medi... more New Media Art Taxonomy is a proposal by José R. Alcalá ** for an effective classification of Media Art works, pieces and documents from everyday practical experience developed at the International Museum of Electrography (MIDE) of Cuenca (Spain) * related to the classification of its permanent collection of Media Art since its inauguration in 1990, 25 years ago.
* This taxonomy is currently used by employees of the International Museum of Electrography Art (MIDE) of Cuenca (Spain) to classify their permanent funds of Media Art works & pieces, as a practical conclusion to the theoretical debate and practical everyday needs after 25 years of museum activity in this experimental field (1990 – 2015).
** José Ramón Alcalá is the Director of MIDE from its creation, in 1989.
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The curator text of the exhibition organized by Telefonica Foundation in Madrid (Spain) in 2004, ... more The curator text of the exhibition organized by Telefonica Foundation in Madrid (Spain) in 2004, about the poetics of representation of pioneer digital art. Alcalá, analyze the specific characteristics and innovation of the digital art discourses.
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Now, probably, has the moment come when all this huge artistic heritage of Digital Art which this... more Now, probably, has the moment come when all this huge artistic heritage of Digital Art which this group of creators of avant-garde handed down to us -distinguished by the virtuality of their productions and because they did not feel comfortable inside their “artist’s suit” which they inherited from their predecessors-, when all this material currently dispersed and declassified - but precisely located-, has to become the subject for art historians, curators, museology scholars and directors of artistic and cultural centres and institutions.
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Do we live today truly that iconoclastic culture that was proposed by the netartists in the ‘90s?... more Do we live today truly that iconoclastic culture that was proposed by the netartists in the ‘90s? Has finally prevailed a state of reality full of electronic visuality to that no-visual art and culture proposed by the net art movement? Will they still proposing iconic messages, filling the world with “hot” visual communication? Will professional artists be released by in order to remain responsible for producing new images, passing the baton to amateur Web users? So what is the new task of those?
What is the role we have to reassign to the image?
These questions, that are central to the current artistic debate, are the starting point of the author to propose an alternative model of historiographical analysis about these new artistic practices that have emerged with the development of imaging technologies since the start of the second half of twentieth century to be truly effective.
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The technological art emerging during the early part of the second half of the 20th century activ... more The technological art emerging during the early part of the second half of the 20th century actively worked to take apart the paradigms that had supported the utopias of the old culture
for over 5 centuries. This new art took over the construction and management of these utopias that had been developed for the industrial society by the artistic avant-garde during the first
half of last century and replaced them with those for the digital-cybernetic society. Now, in the 21st century, we can finally analyze the utopias of technological art in historiographical terms.
The article’s authors provide their experience in the theory and practice, and as curators, managers and professors of new media and art in order to produce this highly needed, though
to date non-existent, critical and self-critical analysis. The necessary distance and perspective that we now have allows us to finally undertake the necessary assessment of the level and
significance of these utopias of technological art, and their evolution, fall or current validity.
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Books by José R N Alcalá
In this article, written as curatorial text of the exhibition Electrical Pulses, by the Spanish a... more In this article, written as curatorial text of the exhibition Electrical Pulses, by the Spanish artist based in Ecuador José Manuel Ruiz, the author reviews the contemporary concept of digital graphics, starting from the question: is the current digital graphics a necessary analgesic for an art in transition towards its total intangibility, or rather a mature model to map the reality in transit towards its hybrid nature? For this purpose, Alcalá reviews and analyzes the current condition of the human being as digital being, being electric and being virtual.
En este artículo, escrito como texto curatorial de la exposición Electrical Pulses, del artista español afincado en Ecuador José Manuel Ruiz, el autor revisa el concepto actual de gráfica digital, partiendo de la pregunta: ¿es la gráfica digital actual un analgésico necesario para el arte en transición hacia su intangibilidad total, o más bien un modelo maduro para cartografiar la realidad en tránsito hacia su naturaleza híbrida? Para ello, Alcalá revisa y analiza diferenciadamente la condición actual del ser humano como ser digital, ser eléctrico y ser virtual.
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Papers by José R N Alcalá
traced and formalized, through geometrizing the process-in-real-time, and not through the traditional architecture of objects). These cartographies will sketch out not only the liquid morphology of architectural (non-)spaces, lending form to a phenomenological reality (which, in spite of being inhabited, still remains to be visually revealed), but most importantly, will plot the topographical map of the symbolic relationships between the cultural, economic and political organizations of contemporary society. In other words, class divisions, hierarchies, functional roles played by the global economy and also the political organization of the contemporary world.
So then, considering and developing the liquid architecture of electronic space in the context of the hybrid reality in which we each live in the 21st century, includes by definition the conceptualization and design of the cultural interface that will equip us with the devices, with the mechanisms and the
strategies, necessary for gaining the capacity to inhabit that reality.
This text is a development of several personal ideas and conclusions drawn from the many creative and research experiences resulting from twenty years of working with new technologies and digital processes. The theoretical body of the text is supported by a series of fundamental texts recently put
together by the most lucid contemporary minds. Here, they serve as a premise for the deeper understanding of this text and its necessary contextualization.
* This taxonomy is currently used by employees of the International Museum of Electrography Art (MIDE) of Cuenca (Spain) to classify their permanent funds of Media Art works & pieces, as a practical conclusion to the theoretical debate and practical everyday needs after 25 years of museum activity in this experimental field (1990 – 2015).
** José Ramón Alcalá is the Director of MIDE from its creation, in 1989.
What is the role we have to reassign to the image?
These questions, that are central to the current artistic debate, are the starting point of the author to propose an alternative model of historiographical analysis about these new artistic practices that have emerged with the development of imaging technologies since the start of the second half of twentieth century to be truly effective.
for over 5 centuries. This new art took over the construction and management of these utopias that had been developed for the industrial society by the artistic avant-garde during the first
half of last century and replaced them with those for the digital-cybernetic society. Now, in the 21st century, we can finally analyze the utopias of technological art in historiographical terms.
The article’s authors provide their experience in the theory and practice, and as curators, managers and professors of new media and art in order to produce this highly needed, though
to date non-existent, critical and self-critical analysis. The necessary distance and perspective that we now have allows us to finally undertake the necessary assessment of the level and
significance of these utopias of technological art, and their evolution, fall or current validity.
Books by José R N Alcalá
En este artículo, escrito como texto curatorial de la exposición Electrical Pulses, del artista español afincado en Ecuador José Manuel Ruiz, el autor revisa el concepto actual de gráfica digital, partiendo de la pregunta: ¿es la gráfica digital actual un analgésico necesario para el arte en transición hacia su intangibilidad total, o más bien un modelo maduro para cartografiar la realidad en tránsito hacia su naturaleza híbrida? Para ello, Alcalá revisa y analiza diferenciadamente la condición actual del ser humano como ser digital, ser eléctrico y ser virtual.
traced and formalized, through geometrizing the process-in-real-time, and not through the traditional architecture of objects). These cartographies will sketch out not only the liquid morphology of architectural (non-)spaces, lending form to a phenomenological reality (which, in spite of being inhabited, still remains to be visually revealed), but most importantly, will plot the topographical map of the symbolic relationships between the cultural, economic and political organizations of contemporary society. In other words, class divisions, hierarchies, functional roles played by the global economy and also the political organization of the contemporary world.
So then, considering and developing the liquid architecture of electronic space in the context of the hybrid reality in which we each live in the 21st century, includes by definition the conceptualization and design of the cultural interface that will equip us with the devices, with the mechanisms and the
strategies, necessary for gaining the capacity to inhabit that reality.
This text is a development of several personal ideas and conclusions drawn from the many creative and research experiences resulting from twenty years of working with new technologies and digital processes. The theoretical body of the text is supported by a series of fundamental texts recently put
together by the most lucid contemporary minds. Here, they serve as a premise for the deeper understanding of this text and its necessary contextualization.
* This taxonomy is currently used by employees of the International Museum of Electrography Art (MIDE) of Cuenca (Spain) to classify their permanent funds of Media Art works & pieces, as a practical conclusion to the theoretical debate and practical everyday needs after 25 years of museum activity in this experimental field (1990 – 2015).
** José Ramón Alcalá is the Director of MIDE from its creation, in 1989.
What is the role we have to reassign to the image?
These questions, that are central to the current artistic debate, are the starting point of the author to propose an alternative model of historiographical analysis about these new artistic practices that have emerged with the development of imaging technologies since the start of the second half of twentieth century to be truly effective.
for over 5 centuries. This new art took over the construction and management of these utopias that had been developed for the industrial society by the artistic avant-garde during the first
half of last century and replaced them with those for the digital-cybernetic society. Now, in the 21st century, we can finally analyze the utopias of technological art in historiographical terms.
The article’s authors provide their experience in the theory and practice, and as curators, managers and professors of new media and art in order to produce this highly needed, though
to date non-existent, critical and self-critical analysis. The necessary distance and perspective that we now have allows us to finally undertake the necessary assessment of the level and
significance of these utopias of technological art, and their evolution, fall or current validity.
En este artículo, escrito como texto curatorial de la exposición Electrical Pulses, del artista español afincado en Ecuador José Manuel Ruiz, el autor revisa el concepto actual de gráfica digital, partiendo de la pregunta: ¿es la gráfica digital actual un analgésico necesario para el arte en transición hacia su intangibilidad total, o más bien un modelo maduro para cartografiar la realidad en tránsito hacia su naturaleza híbrida? Para ello, Alcalá revisa y analiza diferenciadamente la condición actual del ser humano como ser digital, ser eléctrico y ser virtual.