BOOK RELEASES ON SAD 2017
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(...) There are at least two senses in which the postdigital can be understood. On one side, assuming the prefix “post” has its temporal meaning “after/’, the postdigital would be referring to everything that came after the increasing and progressively finer installation of computational algorithms on all human activities. This is a neutral sense, purely chronological. On the other side, there is the critical sense: it’s mandatory to copy out the losses and gains. This is willing to be the meaning of “postdigital”. The time of euphorias have passed, indeed, properly accompanied by dysphorias which, on its extremes, praises nostalgically the apocalypse. Fortunately this time of extremisms faded in respect to the digital. Now it’s time to face its ambivalences, paradoxes and contradictions. This, exactly, has been called the “postdigital”. (...) On this context, the present book by the title of Postdigital Configurations: Art and technological cultures, appear as an invaluable kaleidoscopic overview to all the readers who wish to be updated on the conditions concerning the artistic production and takes part on the offered creational power. The book contains a myriad of perspectives, fine prismatic subdivisions of technological art on its digital aspects, with specific details of production in the use of latest generation devices and resources, such as kinect cameras, multi interactivity, ciber interventions, mixed and expanded reality, tridimensional modelling , programmable environments, complex algorithms, neural helmets, etc. On other hand, the book is filled with theoretical rehearsals in which the new museum conditions, the artist books the hybrid arts, the authorship, the digital art festivals, the digital version of cinematography and, last but not least, the geophysical and geochemical materiality are reconsidered and faced by the latest challenges. (...) From Lucia Santaella’s Preface. |
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(...)The Current publication is a compilation of deriving articles concerning a few communications which were part of Design+ first edition, event carried by the Research Group Design, Science and Technology USFM/Cnpq and promoted by the Department of Industrial Design of UFSM. Is worth mentioning that the beginning of this event history which has transdisciplinarity as its focus. On days 20, 21 and 22 of July 2016, we realized Design+ first edition, with the theme: art|science|technology. The event happened between CT’s (technological center) auditorium at the Outbuilding C, Building 40 CAL and the Planetarium, at the ranges of UFSM. Lectures and roundtable discussions happened at the Outbuilding C of CT and focused on the connections between Design, aArt, Science and Technology, enabling exchanges among Industrial Design, Electronics and Computation, Visual Arts, Physiotherapy, Occupational Therapy and Social Sciences Professors, in association with other national and international institutions. The event’s organization is a partnership with UEMG and SAD (Seminary of Digital Arts), but in 2016 maintained a connective focus with UFRGS, and, internationally with ESAT (Superior School of Art and Technology of Valencia). Active professionals on the market still narrated their experiences. (...)At Design+ art, science and technology: theoric-practical connections, there is an expansion of discussions evoked by this event. (...) From Débora Aita Gasparetto’s introduction. |
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