PhD in Information and Knowledge Society by the Universitat Oberta de Catalunya (UOC), where he works as a course instructor in the Degrees of Art and Humanities, and Design and Multimedia Creation. He is also a professor of the Official Master’s Degree in Curating New Media Art (ESDi. Escola Superior de Dissseny, Barcelona) and teaches the course on curating digital art Curating New Media Art. Process, Interaction, Virtuality at NODE Curatorial Studies Online (Berlin). Editor and advisor at the DAM Digital Art Museum (Berlin).
espanolAunque se percibe como una representacion fiable, la representacion visual de datos se sue... more espanolAunque se percibe como una representacion fiable, la representacion visual de datos se suele manipular; esto se encuentra, incluso, en proyectos cientificos como algunas visualizaciones de la Tierra y de la superficie de Venus elaboradas por la NASA. La manipulacion de datos tambien se observa en proyectos artisticos que usan tecnicas de visualizacion de la informacion, aunque sus objetivos son diferentes: mientras que el proposito de un grafico o de una imagen cientifica es hacer visibles e inteligibles a los datos recogidos, una obra de arte puede no estar refiriendose a los datos en si sino mas bien a algo que estos denotan. Este uso especifico de los datos cientificos y de la visualizacion de la informacion se aborda en el trabajo de Martin John Callanan, un artista que explora la interaccion entre el individuo y los sistemas que configuran nuestro entorno. EnglishAlthough perceived as an accurate representation, data rendered in visual form are usually subject to manipulation, which can even be found in scientific projects such as some of NASA’s visualisations of the Earth and the surface of Venus. The manipulation of data is also apparent in artistic projects that use information visualisation techniques, although their ob- jectives differ: while the purpose of a scientific graph or image is to make the collected data visible and understandable, an artwork may not refer to the data themselves, but rather to something denoted by them.This particular use of scientific data and the visualisation of in- formation is discussed in the work of Martin John Callanan, an artist who explores the interac- tion between the individual and the systems that shape our environment.
" Grégory Chatonsky numbers among the contemporary artists who emerged at the same time as t... more " Grégory Chatonsky numbers among the contemporary artists who emerged at the same time as the Web in the 1990s. Since then, he did not stop staging the flows generated by networks in order to built fictions he now refers to as “variables”. His online creations, installations or performances question the relations between private and public. This first monographic catalog gathers texts by Michael Joyce, Violaine Boutet de Monvel, Pau Waelder, Natalie Leleu and Jay Murphy... " -- Publisher's website
A popularização da World Wide Web em meados da década de 1990 ofereceu novos canais de divulgação... more A popularização da World Wide Web em meados da década de 1990 ofereceu novos canais de divulgação de conteúdos, plataformas para comunidades virtuais e um crescente mercado de comércio eletrônico. No mundo da arte, a rede tem destinado a alguns artistas um espaço para experimentar e divulgar livremente seu trabalho, enquanto a maioria das instituições e dos agentes do mercado de arte contemporânea tem ignorado as suas possibilidades, demonstrando falta de interesse por sua presença em sites e redes sociais até o final da década de 2000. Atualmente, observa-se, por um lado, uma série de propostas desenvolvidas por artistas, colecionadores e algumas galerias para a venda de obras de arte digital, tentativas de integração da net art e da arte digital no mercado da arte contemporânea. Por outro lado, o uso generalizado de dispositivos como smartphones, tablets e smart TVs, bem como a consolidação do comércio eletrônico, tem despertado o interesse de vários marchands e de grandes investi...
Several artistic projects explore the possibilities of using the audio and visual content of a fi... more Several artistic projects explore the possibilities of using the audio and visual content of a film (or even its script) as raw data that feeds a process partly or fully controlled by a computer. The outcomes of these projects speak of new forms of cinematic language, an unwilling interaction between viewer and moving picture, endlessly mutable narrations and finally a radical shift in the perception of the film, as the human viewer is replaced by the computer.
espanolAunque se percibe como una representacion fiable, la representacion visual de datos se sue... more espanolAunque se percibe como una representacion fiable, la representacion visual de datos se suele manipular; esto se encuentra, incluso, en proyectos cientificos como algunas visualizaciones de la Tierra y de la superficie de Venus elaboradas por la NASA. La manipulacion de datos tambien se observa en proyectos artisticos que usan tecnicas de visualizacion de la informacion, aunque sus objetivos son diferentes: mientras que el proposito de un grafico o de una imagen cientifica es hacer visibles e inteligibles a los datos recogidos, una obra de arte puede no estar refiriendose a los datos en si sino mas bien a algo que estos denotan. Este uso especifico de los datos cientificos y de la visualizacion de la informacion se aborda en el trabajo de Martin John Callanan, un artista que explora la interaccion entre el individuo y los sistemas que configuran nuestro entorno. EnglishAlthough perceived as an accurate representation, data rendered in visual form are usually subject to manipulation, which can even be found in scientific projects such as some of NASA’s visualisations of the Earth and the surface of Venus. The manipulation of data is also apparent in artistic projects that use information visualisation techniques, although their ob- jectives differ: while the purpose of a scientific graph or image is to make the collected data visible and understandable, an artwork may not refer to the data themselves, but rather to something denoted by them.This particular use of scientific data and the visualisation of in- formation is discussed in the work of Martin John Callanan, an artist who explores the interac- tion between the individual and the systems that shape our environment.
" Grégory Chatonsky numbers among the contemporary artists who emerged at the same time as t... more " Grégory Chatonsky numbers among the contemporary artists who emerged at the same time as the Web in the 1990s. Since then, he did not stop staging the flows generated by networks in order to built fictions he now refers to as “variables”. His online creations, installations or performances question the relations between private and public. This first monographic catalog gathers texts by Michael Joyce, Violaine Boutet de Monvel, Pau Waelder, Natalie Leleu and Jay Murphy... " -- Publisher's website
A popularização da World Wide Web em meados da década de 1990 ofereceu novos canais de divulgação... more A popularização da World Wide Web em meados da década de 1990 ofereceu novos canais de divulgação de conteúdos, plataformas para comunidades virtuais e um crescente mercado de comércio eletrônico. No mundo da arte, a rede tem destinado a alguns artistas um espaço para experimentar e divulgar livremente seu trabalho, enquanto a maioria das instituições e dos agentes do mercado de arte contemporânea tem ignorado as suas possibilidades, demonstrando falta de interesse por sua presença em sites e redes sociais até o final da década de 2000. Atualmente, observa-se, por um lado, uma série de propostas desenvolvidas por artistas, colecionadores e algumas galerias para a venda de obras de arte digital, tentativas de integração da net art e da arte digital no mercado da arte contemporânea. Por outro lado, o uso generalizado de dispositivos como smartphones, tablets e smart TVs, bem como a consolidação do comércio eletrônico, tem despertado o interesse de vários marchands e de grandes investi...
Several artistic projects explore the possibilities of using the audio and visual content of a fi... more Several artistic projects explore the possibilities of using the audio and visual content of a film (or even its script) as raw data that feeds a process partly or fully controlled by a computer. The outcomes of these projects speak of new forms of cinematic language, an unwilling interaction between viewer and moving picture, endlessly mutable narrations and finally a radical shift in the perception of the film, as the human viewer is replaced by the computer.
This book is a practical guide to collecting contemporary art using the tools available online an... more This book is a practical guide to collecting contemporary art using the tools available online and on any smartphone or tablet, with a special focus on digital art and the particular advantages and challenges it presents to collectors. The guide is intended for anyone who would like to collect art, regardless of their knowledge of the art market—or their budget. The volume is divided into three parts: two separate (but related) manuals and a troubleshooting guide for collectors of digital art.
This excerpt includes the first chapter from each part of the book.
Published by Printer Fault Press in Frankfurt Language: English Size: 21,8 x 15 x 3,5 cm Pages: 416 ISBN: 978-84-09-23382-3
Le 110e numéro de la revue ETC MEDIA est dédié à Grégory Chatonsky. L’artiste qui vit depuis 10 a... more Le 110e numéro de la revue ETC MEDIA est dédié à Grégory Chatonsky. L’artiste qui vit depuis 10 ans à Montréal a construit la forme et le contenu de cette édition spéciale. Pionnier du netart avec la fondation d’Incident.net en 1994, explorateur infatigable des relations entre les technologies et les existences anonymes. Philosophes, historiens et critiques d’art, artistes également,reviennent sur deux décennies d’expérimentations qui a vu notre monde bouleversé par la généralisation d’Internet jusqu’à ce que cette omniprésence du numérique en signe la quasi-disparition. Divisé en 3 parties : «infinitude», «hyperproduction», «sans nous», ETC MEDIA devient une plate-forme pour naviguer dans notre époque et pour mieux comprendre un futur dont les signes avant-coureurs restent profondément ambivalents, promesse et menace tout à la fois. Post-digital, accélérationnisme ou matérialisme spéculatif sont moins des concepts à la mode souvent mal interprétés par le milieu de l’art contemporain, qu’ils ne forment la constellation d’un monde en train de périr et de naître.
Uploads
Papers by Pau Waelder
The volume is divided into three parts: two separate (but related) manuals and a troubleshooting guide for collectors of digital art.
This excerpt includes the first chapter from each part of the book.
Published by Printer Fault Press in Frankfurt
Language: English
Size: 21,8 x 15 x 3,5 cm
Pages: 416
ISBN: 978-84-09-23382-3
Philosophes, historiens et critiques d’art, artistes également,reviennent sur deux décennies d’expérimentations qui a vu notre monde bouleversé par la généralisation d’Internet jusqu’à ce que cette omniprésence du numérique en signe la quasi-disparition.
Divisé en 3 parties : «infinitude», «hyperproduction», «sans nous», ETC MEDIA devient une plate-forme pour naviguer dans notre époque et pour mieux comprendre un futur dont les signes avant-coureurs restent profondément ambivalents, promesse et menace tout à la fois.
Post-digital, accélérationnisme ou matérialisme spéculatif sont moins des concepts à la mode souvent mal interprétés par le milieu de l’art contemporain, qu’ils ne forment la constellation d’un monde en train de périr et de naître.