by Ana de Fátima Sousa, august 11th 2002
photos by Carol Lambert
The russian artist and theorist of New media, Lev Manovich, celebrated the opening of the symposium Emoção Art.ficial. Manovich brought up the theories explored in his most recent paper [finished while he was flying to Brazil, last thursday], The Anti-Sublime Ideal in Data Art.According to him, the data art is a connection of two main concepts: one is data visualization and the other is data mapping.
The computers work as the intermediary level of transmission os this new expression of art, as they tuirn it easier to map data and elaborate different drawings, lectures and even graphic visualizations of these data – wich can be represented by a very simple cartesian graphic or something deeper and much more abstract as a picture like Mondrian’s artwork.
“It’s possible to think about art as a great data mapping, whatever they are: images, sounds or even colours”. The mapping – for Manovich – is the more adequate form to describe what new media can do with the old ones. As you map an artwork, you are able to add new interface, new sort of objects, preserving the original media structure.
Manovich showed a series of artworks that deal with the caractreristics of data art. The work of Joachim Sauter – which is also part of emoção Art.ficial exhibition – and the german media center ART+COM was largely explored during the conference.
The opening event also gave to the participants the opportunity to watch the national release of the documentary Sónar 2002, by Denis Rodriguez e Eliana Iwasa (digital video, 18 min), about the last edition of one of the most important eletronic art festival that takes place in Barcelona, Spain.
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- Abertura Simpósio Emoção Art.ficial 11/8/02
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- Lev Manovich
