Abstract

The artistic imagination inhabits spaces, with the most diverse qualifications, the world to be examined, that of Nanoart, provides additional perceptive coordinates, very few felt by the general public since it is located within the parameters of the quantum physics which experience is still confined to a small group. The nanotechnology world has its own laws. The transmutation of elements by manipulation of its molecules, the superstar of nanotechnology, introduces an almost magical connotation but still not always possible because it demands environmental requirements such as speed of action and scientific methods still not so accessible despite its social-cultural impact. For us, artists, this new space is tempting because it depends on the imagination to be led to consciousness; it has short history, making us responsible for this new association to science, aiming at producing and revealing the scientific secrets yet to be discovered and setup. These requirements of nanotechnology make the creation in Nanoart difficult because we lack a deep and long experience of the quantum universe and of the art being generated. When we walk into a room or a Nanoart installation, our expectations are formulated by the experience in the macroworld and we seek to translate this experience by means of the logic of the macro but we face the demand to change it to a scale pertaining to the nanoworld, what can be done only by means of imagination. The condition of invisibility in the nanoworld and the presentation of its images provided by the electron microscopes, where the scanning by electron beams translate them into a topographic map, increase the sense of touch to the first magnitude. The art, since the historical vanguard, seeks the integration of all senses. This leads to new experiences in Nanoart because there is here no physic condition to touch the matter. This text discuss ways that have been updating Nanoart and introduces the artists that are responsible for it. The emphasis is on the presentation of  a group of works and research by the author: 200 million years, Installations and digital animations.

• Dr. Anna C. Barros. Multimedia artist, she lived  in Los Angeles where she was awarded a BFA at the Otis Art Institute of Parsons School of Design.  MFA Arts Universidade de São Paulo; PhD in Communications and Semiotics, Pontifícia Universidade Católica de São Paulo. Anna was awarded a sandwich PhD with the San Francisco Art Institute. Post-doctorate research developed at (PUC/SP). She has been participating in several national and international symposia and conferences. Her artistic work has been presented in Brazil and abroad: Digital video animations and installations. As author has published a great number of texts, and books. With the SDVILA group, with artist Alberto Blumenschein, developed the project Creation of Genetics Texts on the Web – The Wanderer, which was cited for the Sergio Motta 2001 Prize. Anna taught at PUC/SP and was visiting professor at the University of Brasilia- UnB. She was the president for the National Association of Fine Arts Researchers, ANPAP. Curator of the art-science interdisciplinary event, Light of Light, at SESC- Pinheiros, São Paulo, 2006-2007.  Curator of the exhibition Nano : Poetry of a New World. Art, Science and Technology.  MAB – FAAP, São Paulo, 2008; Curator of the exhibition A New Space for a New Perception. Nanoart, Museu Brasileiro da Escultura – MuBE, São Paulo, 2011. Nominated for the Sergio Motta Prize on Art and Technology  for her carrier, 2009. Last five years Anna  has been working and showing  nanoart, digital animations and installations. Gallery representing her work – Galeria Slaviero e Guedes, São Paulo, Brasil.  annabarros08.wordpress.com

Full text (PDF) p. 187-193