File_Món.

To talk about the image is to talk about meaningful surfaces, interpretable maps that represent the world.

The technical reproduction of these images is presented to us today as simple pieces of the visible, shown by means of screens via television and internet in a continuous and unstoppable flow.

Our position as a spectator puts us in a sea of information and disinformation, that causes rejection on the one hand, on the other alienation and conformity.

This project works between this insensitivity to the representation and the predisposition to believe nothing we see.

*File_món* is a series of images generated on the computer desktop through the distribution of icons and files arranged over images, which are downloaded from the internet and set as wallpaper. The computer screen is used as a canvas for a critical collage. It appraises the potential of creating new images on the computer without using any image authoring software.

 EXHIBITIONS:
2015.* GalleriaPiu, Disconform, curated By Vincenzo Estremo. Bologna (Italy).

2014.* COESPAI Traspassar la línia Post-lectures, Girona (Spain)+INFO.
2014.* MEM FESTIVAL Experimental Arts International Festival, Experimento BIO 2014 “Spetial Mention”. (Spain).
2014.* R.A.M. New Media Art Festival- “Random Access Memory” , Arad Art Museum, (Romania).
2014.* WATER TOWER ART FEST FESTIVAL OF CONTEMPORARY ARTS IN SOFIA   Rubber Gallery, Sofia, (Bulgaria).
2014.* FACH & ASENDORF GALLERY ON-LINE Exhibition INFO:
2014.* Espace Verney-Carron, NOTRE ITINÉRAIRE,Curated by Alexis Jakubowicz, Artist: Aram Bartholl, Hassan Darsi, Manuel Fernandez, Bodys Isek Kigelez, Florent Lagrange, Simon Nicaise, Jean-Christophe Nourisson, Vann Punk, Evan Roth and Addie Wagenknecht. Lyon (France).
2014.* RE/MIXED MEDIA FESTIVAL IV, New York City (USA). +INFO:
2014.* LA VICTORIA ART CENTER/Muzeul National de Art Contemporana, Use at your own risk. Interface Culture, Bucharest (Romania).
2014.* COPIE COMPAINS CLUB, Online exhibition. URL.
2013.* THE WRONG, New Digital Art Biennale, Pluton, Valencia (Spain).+INFO.
2013.* INCUBARTE. 6th International Art Festival. MUVIM, Museo Valenciano de la Ilustración y la Modernidad (Spain).
2013.* THE WRONG, New Digital Art Biennale, Online Exhibition  Homeostasislab   The-Age-of-the World-Picture.
2013.* SHAKE YOUR MON3Y, Digital & Net.Art, Online Exhibition URL: http://www.mon3y.us/
2012.* MIMAA. III. International Exhibition of Advanced Music and Audiovisual. ShowroomAVM. Valencia (Spain).
2012.* CENTRE OF EXPERIMENTS. HOUSE OF SCIENCE. Interface Cuisine, Interface Culture. Marivor, (Slovenia).
2012.* ARS ELECTRONICA FESTIVAL. 2012, Interface Cuisine, Interface Culture. Brucknerhaus Linz, (Austria).

PRESS.

*MEDIAG.JP, Fach & Asendolf Gallery でCèsar Escudero Andaluz氏の《File_Món》が展示中 By Masanori Mizuno 20/08/2014. Link.
* EL PAÍS, blog Arte y Tecnología,Archivos sobre lienzo digital. Roberta Bosco y Stefano Caldana. 02/12/2013. Link.
*LA LATA MUDA. Revista digital de arte experimental,La tecnología no es un fin, es un medio, es la herramienta infinita para plasmar tús ideas, 09/11/2013 Link.
*EL PAÍS, blog Arte y Tecnología, La misteriosa exposición del francotirador digital, Roberta Bosco y Stefano Caldana, 31/10/2013. (SP) (ENG).
*EL PAÍS, blog Arte y Tecnología,Los investigadores digitales de la arqueología binaria, Roberta Bosco y Stefano Caldana, 05/09/2013 (SP) (ENG).
*EL JOLGORIO CULTURAL, Se venden se disparan Inconos. Artículo escrito por Eugenio Tisselli, publicado revista de difusión, crítica y creación cultural, social y ambiental desde Oaxaca. Impulsada por la Fundación Alfredo Harp Helú Oaxaca, distribuye gratuitamente diez mil ejemplares cada mes. Link
*EL PAÍS, blog Arte y Tecnología, La Nouvelle Cuisine del arte digital, Roberta Bosco y Stefano Caldana, 27/08/2012. Link

AWARDS:
MEM FESTIVAL Experimental Arts International Festival, Experimento BIO“Spetial Mention” (Spain 2014).
INCUBARTE. 6th International Art Festival. 1º Prize,  (Spain 2013).
Captura de pantalla 2014-04-21 a las 19.45.38

Captura de pantalla 2013-06-04 a las 14.22.23

“Art is the social  antithesis of the society”,

the image seems to be working at that time in a melee

with the problem of truth and not the rhetorical construction of plausible.[2]


[2] Adorno, Theodor W. Theorie Esthetique (1970), traducción al francés de Marc Jiménez, Klincksieck, Paris, 1989, p. 20.Traducción al español, Teoría estética, Ediciones Akal, Madrid, 2004, pp. 21-23.

Captura de pantalla 2012-07-24 a las 15.43.04

“all photography is a fiction that presents itself as true” and “photography always lies,

lies instinctively, lies because its nature does not permit it to do anything else.” [1]

Captura de pantalla 2013-06-09 a las 16.09.13


[1] FONTCUBERTA, Joan. El Beso de Judas. Fotografía y Verdad. Barcelona: Editorial Gustavo Gili. 1997.p. 15.

Captura de pantalla 2013-03-04 a las 17.00.21

“The information offer us much,

through the proliferation of images

We are inclined to believe nothing of what we see “.[1]


[1] Didi-Huberman, Georges. La emoción no dice “yo”.Diez fragmentos sobrela libertad estética”. p. 42. Original text “La información nos ofrece demasiado,  a través de la proliferación de las imágenes estamos predispuestos a no creer nada de lo que vemosOn-Line. PDF [consulta11/09/2012], URL: http://es.scribd.com/doc/81054221/Diez-fragmentos-sobre-la-libertad-estetica-Didi-Huberman

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“An image is a sight which has been recreated or reproduced… which has been detached from the place and time in which it first made it’d appearance”. BERGER, J Ways os seeing: Base don the B

BC televisión series with John Berger, London, 1972.Captura de pantalla 2013-05-20 a las 23.12.36

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“Nowadays the circulation of imagesis more important for the construction of their meaning than their actual content.” (Fontcuberta 1997: 21) In “La Cámara de Pandora.”

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It is impossible to know how many images circulating on the network, also it is difficult to access the veracity of that information, to know the conditions around that picture, visualize what is usually hidden: who, how, when, where, why and for which, were taken.

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Captura de pantalla 2013-05-20 a las 23.12.36″An image is a sight which has been recreated or reproduced… which has been detached from the place and time in which it first made it’d appearance”. BERGER, J Ways os seeing: Base don the BBC televisión series with John Berger, London, 1972.

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To shake up the figurative world is to call into question the guarantees of our existence. The naive person believes that the appearance of the human figure is the most trustworthy experience that a human being can have of himself; he dares not doubt this certainty, although he suspects the presence of inner experiences. He imagines that in contrast to this abyss of inner experience the immediate experience of his own body constitutes the most reliable biological unit.[1]


[1] Carl Einstein, ‘Notes sur le cubisme’, Documents 1, no. 3 (1929), 146-155, 147. Translated and introduced by Charles W. Haxthausen as ‘Notes on Cubism’, October 107, Winter 2004, 158-168, 161 (translation modified).

An image is a sight which has been recreated or reproduced…

which has been detached from the place and time in which it first made

it’d appearance[1]


[1] BERGER, J Ways os seeing: Base don the BBC televisión series with John Berger, London, 1972.

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Links related:

FILE_MON-GIFS

FILE_MÓN-GAME

FILE_MÓN-PAINTING

FILE_VIDEO

References:

Alexei Shulgin[1], between October 1997 and April 1998, raised the opportunity to participate in the event by sending a screenshot of the desktop, as proclaimed dogmatic and clarification for the event was added:

desktop is the main element of a human – machine interface

desktop is your window to the digital world

desktop is your first step into virtual reality

desktop is a reflection of your individuality

desktop environment is your everyday visual

desktop is an extension of your organs

desktop is the face of your computer

desktop is your everyday torture and joy

desktop is your own little masterpiece

desktop is your castle

desktop is a seducer

desktop is a reliever

desktop is your enemy

desktop is your friend

desktop is a psychoanalyst

desktop is your little helper

desktop is your link to other people

desktop is a device for meditation

That desktop is the membrane mediates Between client and server transactions

desktop is a substitute for so many other things

desktop is a question

desktop is the answer

[1]Shulgin, Alexei. Document online, [accessed 14/02/2012] http://www.easylife.org/desktop/

Related Works:
JODI, Mydesktop LINK:
Julian Palacz:LINK

Emilio Gomaliz:Link:

Bibiography:

• BEGOÑA GONZÁLEZ CUESTA . MARGEN, IMAGEN Y PENSAMIENTO:NOTAS SOBRE UNA INVESTIGACIÓN TRASDISCIPLINAR

• CASTELLS, Manuel., La Era de la Información economía, Sociedad y Cultura. La Sociedad Red. Vol.1.1ª. Edición en Español. Madrid, España. SIGLO XXI. 1999.

• DIDI-HUBERMAN, Georges. La emoción no dice “yo”.Diez fragmentos sobre la libertad estética. en AAVV, Alfredo Jaar. La política de las imágenes, Santiago de Chile, editorial Metales pesados, 2008.

• Hugo Münsterberg, The Photoplay: A Fsychological Study (New York: D. Appleton and Company,1916),41

• Sergei Eisenstein, “Notes for a Film of Capital”, trasn. Maciej Sliwowski, Jav Leuda, and Annette Michelson, October 2 (1976):10.

• BAUDRILLARD, Jean. La pantalla total, Editorial Anagrama, Barcelona 2000. P, 204.

• FLUSSER, Vilém, Writings, The Uneiversity of Minnesota Press, Minneapolis 2002.

• FLUSSER; Vilém, Hacia una filosofía de la imagen. Editorial Sigma. Mexico 1990.

• Fontcuberta, joan, Entrevista facultad internacional de andalucia. Sevilla, 2008https://www.youtube.com/watch?v=pnuRo3ceCVk

• MANOVICH , Lev. El lenguaje de los Nuevos Medios de comunicación: la imagen en la era digital, Ed Paidós comunicación. 2006.

• MCLUHAM, Marshal. Comprender los medios. Extensiones del ser humano. Editorial Paidós 1996.

• ADORNO, Theodor., Theorie Esthetique. Ediciones Akal. Madrid, 2004.

• AGAMBEN, Giorgio. La comunidad que viene., Traducción de José L , Villacañas y Claudio La Rocca. Editorial Pretextos, 1996.

• BARTHES, Roland. Semiótica del Objeto. En La Aventura Semiológica, Ed. Paidos, 1993, P.245-256.

• BENJAMIN, Walter., El autor como productor. Taurus – Santillana, Madrid, 1975.

• BENJAMIN, Walter., “La obra de arte en la época de su reproductibilidad técnica.” Ítaca, 2003.

• BREA, José Luis., Cultua_RAM, Mutaciones de la cultura en la era de su distribución electrónica. Ed, Gedisa, Barcelona. 2007.

• CARRILLO, Jesús., Arte en la red. Madrid, Cátedra, 2004.

• COSTA, José Manuel., Arte EX Machina.Tecnologías estrategias para la creación artística. Ed Alfagrafic. Altea. 2006-2007.

• DEBORD, Guy. La sociedad del espectáculo. Champ Libre, 1967.

• DELEUZE, Gilles. Cinema 1, L’Image-mouvement, Minuit, Paris, 1983, p. 283. Traducción al español, La imagen movimiento: Estudios sobre Cine, Paidós Ibérica, Barcelona, 1994.

• DELEUZE, Gilles, GUATTARI, Felix. Rizoma, Introducción. Ed Pretextos, 1977. Séptima reimpresión: abril 2010.

• ECO Umberto. Obra abierta. PLANETA-AGOSTINI. Traducción: Roser Berdagué Traducción cedida por Editorial Ariel, S.A. 1979-1984.

• ELIOT, T. S., Función de la poesía y función de la crítica, 1933. Prólogo y trad. de Jaime Gil de Biedma, Barcelona, Seix Barral, 1968.

• FOUCAULT, Michael, Las tecnologías del yo, y otros texto afines, Ed. Paidos/I.C.E.-U.A.B.,España 1999.

• FOUCAULT, Michel. L ‘Archeologie du savoir, Gallimard, Paris, 1969, pp. 13- 15. Traducción al español: La Arqueología del Saber, Siglo XXI, Mexico, 1970.

• GADAMER, Hans Georg La actualidad de lo bello, Editorial Paidós. Barcelona 1991.

• GIANNETTI, Claudia. “Estética Digital, Sintopía del arte, la ciencia y la tecnología”, Ed , L´angelot. Barcelona, 2002.

• KRAUSS, Rosalind “El inconsciente óptico” Tecnos, 1997.

• WEIBEL, Peter, Foreword, in: The Art and Science of Interface and Interaction Design, Studies in Computational Intelligence, Volume 141, ed. Christa Sommerer, Lakhmi K. Jain and Laurent Mignonneau. Heidelberg: Springer Verlag, 2008.

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