2025, Investigating Decentralized Action In Art, Conversation with Azahara_cerezo about her work “Desde la Latencia” and my work “An Atlas to Track Blockchain Colonialism” Published in ARTeCHÓ – Investigating decentralized action in art. Artist/fellows: Azahara Cerezo, Carlos Monleón Gendall, César Escudero Andaluz, Cristobal Ascencio Ramos, dmstfctn, Egor Kraft, Fanny Zaman, Hrvoje Hiršl, Ianis Dobrev, OPN Studio, Merlina Rañi, Michele Bazzoli, Paula Kaori Nishijima, Peter Kærgaard Andersen, Silvia Binda Heiserova. Publised Book

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2023-2024, An Atlas to Track Blockchain-Colonialism. To understand Blockchain-Colonialism, we must go beyond cryptocurrency investments, NFTs and metaverses to bring the user closer to a more objective reality. We need to investigate the relationships between planetary resources, human labour, economics, surveillance and
privacy in order to create an image of it. In this relationship,
platforms, infrastructures, devices, corporations, governments and
individuals create a complex picture difficult to be visualised with
integrity. The objective of this atlas is to monitor how blockchain has
been used by individuals, corporations and governments to cross borders
and extract benefits from those most in need, including land, labor,
data, privacy and other resources. Download .PDF an_atlas_02.05.2024_compressed

2022/2023,Article. Metattention, Art and economy in the age of behavioral modification. The Web3 expose a new paradigm in terms of human labour, economics, data and planetary resources. It is promoted by companies obsessed with finding new forms of commercialization and surveillance models. –A new form of extractivism, which is leading to the inevitable creation of DAOs and the NFTisation of everything, merging internet services, social networks and entertainment in the Metaverse.
In the Metaverse avatars are able to move and interact with other avatars and other metaverses, but also to trade with objects, books, music, films and other services that are tokenized. This is the so called “creator economy”. A set-up resulting from experiments in the world of the art market and computer games. The intellectual writer Evgeny Morozov questions this discourse and asks himself: “How does one criticize a flawed, unrealistic, and extremely partial narrative that is, nonetheless, being rapidly turned into reality?”( Evgeny Morozov. Web3: A Map in Search of Territory). Download .PDF

2022, Article. PrtScn: The Lazy Art of Screenshot” Published by the Institute of Network Cultures, Amsterdam Edited by Dunja NešovićThe zine PrtScn: The Lazy Art of Screenshot gathered more than 30 authors in an aim to collectively explore the omnipresent, yet somehow often overlooked, screenshot as a contemporary digital image and practice that fuses the human and machinic boundaries of authorship and vision.​​ As the screenshot travels through networks and is stored away safely in the depths of our hard drives or cloud depositories, a collection of written and visual works featured in PrtScn unpacks these digital movements, freezes and many points (and pixels) in between. 

Contributors: Aisha Altenhofen, Chloë Arkenbout, Nima Bahrehmand, Elisa Bergel Melo, Elki Boerdam, Paolo Bruzzo, Lele Buonerba and Laurel Hauge, Jessie Connell, Joana Chicau, Ioanna Digenaki, Megan Dieudonné & Andrea Rüthel, Rebecca Edwards, César Escudero Andaluz, @lbert figurt, Ben Grosser, Gottfried Haider, Roc Herms, Josh Kimball, ​​​​Nicole Kouts, Olia Lialina, lu, Gabriel Menotti, Maxwell Neely-Cohen, Yoana Pavlova, Georgica Jane Pettus, Ulrich Richtmeyer, Laurence Scherz, Maša Seničić, Zach Shipko, Molly Soda, Matthew Swarts, Agnieszka Wodzińska, F. C. Zuke2022.____________________________________________________________

2020/2021, Paper. Data Pollution Devices: Artistic Strategies Against Behavior Capture. Technically, the capture of “big data” is usually eclipsed by the complexity of the devices we operate: smart phones, tablets, laptops, Internet of Things (IoTs, ) drones, self-driven cars, all of them equipped with passive sensors, cameras, GPS and tracking software, providing high-level understanding from texts, digital images and videos. According to Philip E. Agre. (2003) These distributed computer systems are able to establish a regime of total visibility through real-time human activities. Besides, these devices are continuously and indiscriminately uploading users information to data-servers where it is managed by companies and data-trackers without authorisation. This paper explores functional aspects and devices involved in the process of data-caption, including internal structures, processes, operations and system‐to‐system relationships of computer tracking. Analysed from the artistic approach, including fields such as Tactical Media, Software Studies and Critical Interface. Download.PDF

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2019 _Article/paper. THE WORK OF ART IN THE AGE OF ITS
TECHNOLOGICAL DISTRIBUTION by Cesar Escuardo Andaluz. ABSTRACT: Nowadays, artists are faced with the challenge of visualizing, modelling and predicting technological issues regarding distributed infrastructures. – A new environment that has changed the conditions of production, affecting the way that art is created and shown–.This essay has as its aim to explore political and functional art practices associated with distributed infrastructures. The Internet of other people’s things edited by: Kairus.org – Linda Kronman, Andreas Zingerle Download.PDF

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2018 _Article/diagram. Economy, Knowledge and Surveillance in the Age of the Cryptocene. By Martín Nadal and César Escudero Andaluz. ABSTRACT: Nowadays, knowledge has been placed at the service of production, describing a new expression of power generated by the accumulation of information in the networked world. This historical context of relations between intellectual property, piracy, consumption goods and homogeneity of money is counterbalanced by cultural movements and communities defending the open society, proposing free access to information and speculating with non-monetary futures. Download: PDF

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2017 _Paper. Diffractive interfaces: diffraction as artistic research method. by Andreu Belsunces, Laura Benítez Valero, Ulrich Brandstätter, César Escudero, Fabricio Lamoncha, Paula Pin, Enrique Tomás. ABSTRACT: The abundance of methods of artistic experimentation is a reality that requires alternative methodologies for their study and evaluation. ‘Diffractive Interfaces’ is a research approach that focuses on the relationship between art and teaching, enabling dynamic interaction be­tween agencies through experimentation through different relational patterns and possibilities, facilitating the search for other ways of (re)presentation and gestural movement within the context of cultural interfaces. Both the work processes and the results of ‘Diffractive Interfaces’ are characterized by an interdisciplinary procedure of appropriation and interaction between scientific and artistic research through the use of technology, biology, sociology, critique, music, art and philosophy. Download.PDF

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2017_Article/paper. Critical mining blockchain and bitcoin in contemporary art by Martín Nadal & César Escudero Andaluz. ABSTRACT: The bitcoin was originally conceived as an electronic decentralized system for capital transactions. Each node (user) has the same opportunities to get a reward when validating a collection of transactions (block). In the last years, this system has triggered a competitive struggle in which computing power is the most important variable for earning bitcoins. This involves the use of large computers farms spending physical and environmental resources, a struggle that benefits only the owner of the most powerful and efficient technology. This text examines different examples of artworks based on blockchain technology, in particularly how artistic practices are able to explore critically bitcoin mining processes and which are the factors provoking the bitcoin being suspicious to be dangerous for society. The objective is to connect aesthetic experiences, creative practices and artistic products analyzing four different spheres; technical, ideological, ecological, and economical. Practically introduces three artworks Bittercoin, the worst miner ever, Bitcoin of things (BoTs) and Bitcoin traces, developed between 2015 to 2017, examples helping to expand frontiers opening a dialog, tracing their historical influences in contemporary and critical art.  Buy book ,  Download book

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2016_Master Thesis. From_the_image_to_the_GUI. , Interface Cultures, Kunstuniversität Linz. ABSTRACT: Unmasking the secret mechanisms in the photographic message has been a continuing concern by theorists and artists from Walter Benjamin until the present. What is it? What does it show? What lies behind each one of these significant surfaces? Nowadays, the new-media context managed by the Internet and the computer remains as enigmatic as a photographic image. The viewer has become the user, the computer in a media manager and pictures in Graphic User Interface (GUI). The objective of this thesis is to investigate how the development of GUI has changed the artistic production and how artistic practices are able to change the GUI models into something critical. What the GUI is showing us? What is it hiding us? How can we show what we do not know?  Download.PDF  

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2016_Paper. Critical Aspects, Interfight and early works: Codes, Data, Applications, Behaviors, Objects & Protocols. Interface Politics International Congresse, BAU, Centre Universitari de Cisseny de Barcelona, UOC, Ramon Llul Univesity, HANGAR.ORG  Download.PDF

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2015_ Exhibition/Interview. Data body as Artifact. ISMAR IEEE, International Simposium Mixed and Augmented Reality, Fukuoka (Japan). Download. PDF

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2015_Paper. Scroller_Toy & Interfight: Ludic Tangible Interaction for Capacitive Surfaces. Interface Cultures, KunstUniversität Linz.

2015_Article. Mística y lógica entorno a la Interfaz. Manifesto for a critical approach to the user interface, PIPES BCN, HANGAR.ORG. Link: PDF

2015_Article.Image_Conjuring_Imagination_Magic_Metaphor. Manifesto for a critical approach to the user interface, PIPES BCN, HANGAR.ORG. Link: PDF

2012_Thesis Master. Function, Logic Dysfunction, artistic instrument in new media environment [SP]. Polytechnic University of Valencia.

2010_Thesis Master Frankenstein, arte tecnología y artesanía disfuncional. MADIN. Master of Architecture and Interior Design, University of Salamanca, Spain. 2008/2010.