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Partiendo del análisis exhaustivo de un conjunto significativo de artistas y obras, el presente volumen revela que tras la aparente homogeneidad del término «bioarte» se oculta una larga y compleja historia de relaciones entre arte, biología y tecnología. La vocación abarcadora del texto, primer estudio de conjunto sobre el tema escrito en castellano, permite analizar la posición que ocupa el bioarte con respecto a otros marcos establecidos, tanto artísticos como científicos. Las tensiones que se producen entre el bioarte y estos marcos actualizan debates cruciales para la comprensión del arte actual: las relaciones entre arte y vida que atraviesan todo el arte contemporáneo, la atribución de una función crítica de las manifestaciones artísticas interdisciplinares, o la teorización de la (in)materialidad en el ámbito del arte y los nuevos medios.
Projects that bring the ‘hard’ sciences into art are increasingly being exhibited in galleries and museums across the world. In a surge of publications on the subject, few focus on regions beyond Europe and the Anglophone world. Decolonizing Science in Latin American Art assembles a new corpus of art-science projects by Latin American artists, ranging from big-budget collaborations with NASA and MIT to homegrown experiments in artists’ kitchens. While they draw on recent scientific research, these art projects also ‘decolonize’ science. If increasing knowledge of the natural world has often gone hand-in-hand with our objectification and exploitation of it, the artists studied here emphasize the subjectivity and intelligence of other species, staging new forms of collaboration and co-creativity beyond the human. They design technologies that work with organic processes to promote the health of ecosystems, and seek alternatives to the logics of extractivism and monoculture farming that have caused extensive ecological damage in Latin America. They develop do-it-yourself, open-source, commons-based practices for sharing creative and intellectual property. They establish critical dialogues between Western science and indigenous thought, reconnecting a disembedded, abstracted form of knowledge with the cultural, social, spiritual, and ethical spheres of experience from which it has often been excluded. Decolonizing Science in Latin American Art interrogates how artistic practices may communicate, extend, supplement, and challenge scientific ideas. At the same time, it explores broader questions in the field of art, including the relationship between knowledge, care, and curation; nonhuman agency; art and utility; and changing approaches to participation. It also highlights important contributions by Latin American thinkers to themes of global significance, including the Anthropocene, climate change and environmental justice.
A sweeping analysis of the lasting effects of neocolonial extractivism in Latin American aesthetic modernity from 1920 to the present Looking to the extractive frontier as a focal point of Latin American art, literature, music, and film, Jens Andermann asks what emerges at the other end of landscape. Art in the Global South has long represented and interrogated “insurgent nature”—organic and inorganic matter, human and nonhuman life, thrown into turmoil. In Entranced Earth: Art, Extractivism, and the End of Landscape, Andermann traces the impact of despaisamiento—world-destroying un-landscaping—throughout the Latin American modernist archive. At the same time, he explores innovative, resilient modes of allyship forged between diverse actors through their shared experiences of destruction. From the literary regionalism of the 1930s to contemporary bio art, from modernist garden architecture to representations of migration and displacement in sound art and film, Entranced Earth tracks the crisis of landscape and environmental exhaustion beyond despair toward speculative, experimental forms of survival.
Bioarte. Una estética de la desorganización se centra en cómo la relación biotecnología y prácticas artísticas ha dado lugar a preguntas sin precedentes sobre el concepto de cuerpo, de vida, sobre la relación entre arte, ciencia, sociedad, ética, estética, economía y política. El uso de la biotecnología y las entidades semi-vivas como partes esenciales de la investigación artística nos permite formular preguntar en torno cuál ha sido la evolución del concepto vida desde una perspectiva filosófica. Los proyectos artísticos presentados en esta tesis muestran la necesidad de re-evaluación de las taxonomías, así como permiten nuevos discursos a partir de las diferentes relaciones que establecemos con estas nuevas entidades, discursos sobre la humanidad y sobre la relación entre humanos y animales no-humanos. Este tipo de proyectos artísticos se pueden convertir en un conjunto de puntos desde los cuales analizar posibles cuestiones éticas sobre el uso de materiales biológicos con fines artísticos, o el rol de la filosofía en la investigación artística. Esta tesis establece una conexión entre una selección de proyectos artísticos y una selección tanto de conceptos como de problemas filosóficos, como las cuestiones éticas relativas al uso de material biológico con fines artísticos, el uso de animales no-humanos como parte de proyectos artísticos, el rol del arte en la investigación o el rol de la filosofía contemporánea en la investigación artística, así como supone un intento por mostrar cómo la innovación tecnológica y la investigación científica se están convirtiendo en cuestiones claves para la estética contemporánea. Una estética de la desorganización propone tomar las potencialidades de estas prácticas artísticas para desorganizar el cuerpo, desorganizar los códigos, las narrativas y las taxonomías. Supone la composición de un paisaje fractal, un collage que posibilita nuevas construcciones desde el extrañamiento, nuevas preguntas sobre el cuerpo, la vida, lo ético y lo político. Una desorganización que permite repensar- se en un plano extendido, una estética que nos permite huir de una organización unificante y jerarquizante.
The reactive scattering for H- + H2 and H+ + H2 and its isotopologues were investigated using different methods. The studies aimed at providing insights into elementary reactions, and go beyond these to more complexchemical reactions. By comparison of the reaction probabilities of H+ + H2 using adiabatic and non-adiabatic methods, it was found that, at low collision energies, the reaction preferentially occurs adiabatically, but at higher collision energies non-adiabatic effects should be taken into account. For H- + H2 and its isotopologues, we can see that, at low collision energies, the reaction probabilities and reaction cross section using SM-PES and AY-PES are very similar but different from PS-PES. The reaction cross sections investigated with quasi-classical trajectoriesare higher than those calculated with quantum wavepackets. For the collision H- and D- with HD, the main reaction path ways are different with the different collision energies.
When American architects, designers, and cultural institutions converted wartime strategies to new ends, the aggressive promotion of postwar domestic bliss became another kind of weapon. In the years immediately following World War II, America embraced modern architecture—not as something imported from Europe, but as an entirely new mode of operation, with original and captivating designs made in the USA. In Domesticity at War, Beatriz Colomina shows how postwar American architecture adapted the techniques and materials that were developed for military applications to domestic use. Just as manufacturers were turning wartime industry to peacetime productivity—going from missiles to washing machines—American architects and cultural institutions were, in Buckminster Fuller's words, turning "weaponry into livingry."This new form of domesticity itself turned out to be a powerful weapon. Images of American domestic bliss—suburban homes, manicured lawns, kitchen accessories—went around the world as an effective propaganda campaign. Cold War anxieties were masked by endlessly repeated images of a picture-perfect domestic environment. Even the popular conception of the architect became domesticated, changing from that of an austere modernist to a plaid-shirt wearing homebody. Colomina examines, with interlocking case studies and an army of images, the embattled and obsessive domesticity of postwar America. She reports on, among other things, MOMA's exhibition of a Dymaxion Deployment Unit (DDU), a corrugated steel house suitable for use as a bomb shelter, barracks, or housing; Charles and Ray Eames's vigorous domestic life and their idea of architecture as a flexible stage for the theatrical spectacle of everyday life; and the American lawn as patriotic site and inalienable right.Domesticity at War itself has a distinctive architecture. Housed within the case are two units: one book of text, and one book of illustrations—most of them in color, including advertisements, newspaper and magazine articles, architectural photographs, and more.
The Digital Difference examines how the transition from the industrial-era media of one-way publishing and broadcasting to the two-way digital era of online search and social media has affected the dynamics of public life. In the digital age, fundamental beliefs about privacy and identity are subject to change, as is the formal legal basis of freedom of expression. Will it be possible to maintain a vibrant and open marketplace of ideas? In W. Russell Neuman’s analysis, the marketplace metaphor does not signal that money buys influence, but rather just the opposite—that the digital commons must be open to all ideas so that the most powerful ideas win public attention on their merits rather than on the taken-for-granted authority of their authorship. “Well-documented, methodical, provocative, and clear, The Digital Difference deserves a prominent place in communication proseminars and graduate courses in research methods because of its reorientation of media effects research and its application to media policy making.” —John P. Ferré, Journalism and Mass Communication Quarterly
A compelling investigation into the relationships between our biological past and cultural progress, "Cells to Civilizations" presents a remarkable story of living change.