Abstract

Online presentation

Keywords: futures, possibles, digital art, creativity, art, culture, technology, pandemia, postpandemia

During the last year, science and technology have been playing an indispensable role in a difficult and complex context. All areas of our lives have been forced to adapt to digital processes at an accelerated pace.
Faced with an obvious economic and social transformation, we want to consider the state of culture and creation, one of the sectors hardest hit by the crisis. Specifically, we are interested in focusing on the particular situation of digital creation, devastated especially by the lack of protection and funding, by the closure of galleries and specialised spaces.
It is not a question of starting from scratch. Future possibilities must be presented as opportunities. First, by analysing what has been learned, experienced and discussed so far before and during the pandemic. From there, we must identify, on the one hand, the direct consequences of the pandemic, and on the other, the problems arising from the acceleration of the digital transformation. Especially in those aspects that allow us to relaunch and promote new lines of work, heterogeneous initiatives, or new methodologies while always bearing in mind that this knowledge and experience has to settle and survive under the rules of the digital economy. Both the creation and consumption of content requires new digital, communication, entrepreneurial and commercial skills.
Let us look for new perspectives, let us face the transversality that the hybridisation between art, science and technology can offer. Let us analyse and share with all those involved in all the creative processes and avoid going back into a loop. We are facing a complicated and risky, but exciting project. It is more necessary than ever to learn from mistakes, and to extract the value of certain experiences related to digital art. And, above all, let us not forget two of the most important components: to value the creators, to recover the public, and to attract those who have never felt attracted by these types of artistic practices. Let us look for and share the way to encourage and promote new contents and scenarios.

• Paloma González Díaz (ES). Audiovisual Culture, BAU (University Design Centre) Director, Uncovering Ctrl. A teacher and researcher, she has developed and implemented new development methodologies in creative and educational interactive projects, both for private companies and public organisations. Always integrating her training and experience in technology, design, arts and communication. She is a lecturer at the UOC’s Faculty of Computer Science, Multimedia and Telecommunications, and teaches Audiovisual Culture at BAU (University Design Centre), and Experimental Languages on the Bachelor’s Degree in Arts at the Escola Massana. She is a member of the GREDITS research group (Research Group on Design and Social Transformation).Her thesis “Prácticas artísticas digitales y tecnologías del control y vigilancia (2001-2010)” (UB) shows her interest in the evolution of digital creation, interaction and power relationships established through technology. Since 2007, she has published the blog specialised in media art, surveillance and privacy Uncovering Ctrl, which forms part of the Spanish Media Art Archive AEMA/SAOMA. She has participated in events related to digital culture such as Interface Politics Conference (2016/2018), bodies_perceptions_design (2018), or the International Congress NODOS del Conocimiento 2020 (2020); in conferences, congresses and symposiums in LABoral Centro de Arte y Creación Industrial, Museu del Disseny de Barcelona, the University of Málaga, or the Universidad Autónoma de Diseño de Morelos (Mexico). http://www.uncoveringctrl.com https://orcid.org/0000-0001-6718-3137CV

Full text [PDF]