original_9f02e174-4b32-405e-a40b-3fe5bf56c225 2017_Article. Critical mining blockchain and bitcoin in contemporary art by Martín Nadal & César Escudero Andaluz. 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.


Screen shot 2016-04-01 at 12.28.442016_Master Thesis. From_the_image_to_the_GUI. , Interface Cultures, Kunstuniversität Linz  FREE DOWNLOAD

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?


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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 http://www.gredits.org/en/scientific-production/congresses/interface-politics-2016/interface-politics-gredits-publications/



2015_ Exhibition/Interview. Data body as Artifact. ISMAR IEEE, International SImposium Mixed and Augmented Reality, Fukuoka (Japan). URL: http://marart.org/documents/CATALOG_ISMAR_EXHIBITION_2015.pdf


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. http://interfacemanifesto.hangar.org/index.php/Main_Page

2015_Article.Image_Conjuring_Imagination_Magic_Metaphor. Manifesto for a critical approach to the user interface, PIPES BCN, HANGAR.ORG. http://interfacemanifesto.hangar.org/index.php/Main_Page

2013_Paper. Chudy 2012. [ENG]. [SP]. Interface Cultures, KunstUniversität Linz.

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 [SP]. MADIN. Master of Architecture and Interior Design, University of Salamanca, Spain. 2008/2010.