Abstract

Art and technology awareness is used in new media as a strategy since 1989, the end of the Cold War. It symbolises the analogue to digital system conversion and the end of industrial mode of production. It also implies the dominion of public social space under surveillance and the impact on landscapes, among others. Cartography is a system of visual representation of knowledge to display in exhibitions of contemporary art solving problems to society under value of ethics. Also it belongs to Genealogy of Space, a categorization initiated by Foucault with panoptic and heterotopia, which continues with non-site, atopia, distopia, utopia, the permanent site of power, TAAZ (Temporal Autonomous Zone and Borders). All physical or non-physical spaces are conceptualized in an embodied/disembodied effect on the subject. Psycogeography is another system of representation giving solutions as heterocronos or real time, an approach to performance. The deconstruction in dada objecthood and the meaning of surrealist images make contemporary cinematic visual era understand what Tarkovsky in this film Stalker synthesizes under the meaning of the cave, a manner of production art in relation to society.

• Laura Plana (ES) has a Bachelor in History of Art, Barcelona and a Master in Curating Media Art MECAD. Curated Cartographies of non-site an Exhibition on Digital Art, Landscape and Open Social Media. Leonardo Scholarship at Media Art Histories. Editor at Database Virtual Art. Ph.D. Research on Visual Cultures and Digital Aesthetics.

Full text (PDF) p. 278-280