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
____________________________________________________________
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 pdf.
____________________________________________________________
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. Downloads: PDF
______________________________________________________________
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. Downloads: PDF
______________________________________________________________
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
__________________________________________________________________
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? Downloads: PDF
__________________________________________________________________
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 Downloads: PDF
___________________________________________________________________
2015_ Exhibition/Interview. Data body as Artifact. ISMAR IEEE, International Simposium Mixed and Augmented Reality, Fukuoka (Japan). Downloads: 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. 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.
