Ars Electronica* en México: Una propuesta innovadora.

LifeWriter06(Mex)Los espacios en los que se desenvuelve el hombre han permanecido en constante cambio, ya sea gradual como en épocas pasadas, o de una manera desenfrenada y rápida como en nuestro acontecer actual. Las relaciones sociales así como nuestra manera de entender la realidad están plenamente ligadas al desarrollo de las nuevas tecnologías.

Muchas veces la velocidad de éstas es tal que no tenemos tiempo de detenernos a pensar en todas sus implicaciones; estamos enfrascados en una marcha tal que vemos nuevos descubrimientos e inventos nacer un día, para ser consolidados y rebasados al día siguiente. En este punto se hace muy difícil –lo ha sido durante los últimos años—detenerse a pensar en todas los aspectos que la ciencia y la tecnología tienen en nuestras vidas, asimilamos los nuevos artificios que el hombre inventa e ingresa al mercado, pero lo hacemos sólo automáticamente.

¿Qué podemos inferir de la velocidad del devenir del hombre, del desarrollo exponencial de las tecnologías? No sólo hablando pragmáticamente, ya que este punto de vista es el más evidente a la luz de la razón inmediata de ser de los medios de tecnología electrónica; sino bajo un filtro filosófico, cognoscitivo, sensible. En este tenor el arte no podía rezagarse demasiado. Tarde o temprano la imperiosa necesidad de expresión tenía que innovar en este rubro e irrumpir con nuevas necesidades estéticas para entender la forma en que vivimos.

Bajo esta perspectiva y bajo el cobijo del Festival de México se presenta Ars Electronica*: (In) Posición dinámica un proyecto que rebasa la definición que lo genera. En está ocasión se presenta en la Ciudad de México en el Centro Cultural de España y en la explanada del edificio de Bellas Artes, en uno de los ductos más grandes de expulsión de aire del metro de la ciudad. En ambos lugares se encuentran emplazados tres piezas que rebasan los límites de lo estático; están en constante movimiento, un dinamismo juega de tal modo con ellos que los convierte en una especie de Performance

Organizan: la Comisión Europea, el Festival Ars Electronica* y el Festival de México, con apoyo del Laboratorio Arte Alameda, el Museo Universitario de Arte Contemporáneo de la UNAM, el Palacio de Bellas Artes y el Centro Cultural de España en México.
Colaboran: la Sociedad Estatal para la Acción Cultural Exterior (SEACEX), la Embajada y el Foro Cultural de Austria en México, la Cámara de Comercio de Austria, y las Fundaciones Jumex y BBVA-Bancomer.

(In) Posición dinámica no es sólo la expresión de las necesidades artísticas de los participantes; es también, la manifestación de la necesidad de una cultura de investigación que acrecenté nuestra capacidad de dar sentido a conceptos que se hacen cada vez más complejos: El tiempo real, la materialidad, la comunicación, la posición, la localización, la escala y la movilidad. Es en suma una muestra más de que el paradigma moderno del desarrollo del espíritu se mueve en torno a la ciencia, máxime cuando las piezas no sólo buscan expresar el desarrollo de la tecnología, si no que pretenden innovar y sumergirse en la investigación y desarrollo científico.

(In) Posición dinámica pone en diálogo propuestas artísticas que buscan transformar la manera que podemos relacionarnos con interfaces espaciales diversas: desde aquellas que desorientan la recepción para hacernos habitar en arquitecturas psicodélicas de luz pura, hasta las arquitecturas responsivas que definen como organismos vivos autónomos. De igual manera presenta la investigación artística en torno a conceptos científicos y tecnológicos específicos, como es el caso de la vida artificial, la robótica y la visualización de los procesos de telecomunicación en localidades específicas.

En el Festival de México se presentan artistas de diversos rincones del mundo; provenientes de coyunturas geopolíticas divergentes: España, Canadá, Austria, Brasil, Japón, Hungría, República Checa, México, Argentina y Francia. Una exposición de esta naturaleza no tenía otro sendero que el cosmopolita. La exposición se compone de ocho piezas situadas en diversos lugares de la Ciudad de México.

Sin más preámbulos; presento una breve descripción de las tres piezas presentadas en el Centro Cultural de España: Apnea, Life Writer y Telefonías Mx.

1. Apnea: En la explanada del antiguo edificio de Bellas Aires (Centro Histórico de la ciudad de México), se encuentra uno de los ductos más grandes de expulsión de aire del metro de la ciudad. Colocada en las rendijas de dicho respiradero, Apnea es una superficie elástica articulada con 900 pequeñas hélices que forman una red en constante dinamismo. Basada en principios aerodinámicos, cada vez que el metro pasa de manera subterránea, la expulsión relativa y de intensidad variable de viento, provoca un efecto directo en las hélices (cuerpos sólidos) haciéndolas girar, elevándolas. La pieza es un ejercicio de arquitectura líquida generando paisajes topográficos cuyo simbolismo pareciera evocar la escucha de “respiraciones suspendidas” que viajan y se desplazan de manera subterránea por la ciudad. Se presenta hasta 28 de Marzo.

2. Life Writer: Consiste en una vieja máquina de escribir que evoca el área de procesamiento analógico de texto. Además de un pedazo de papel normal se utiliza como pantalla de proyección y la posición de la proyección es siempre emparejado con la posición del rodillo de la máquina de escribir. Cuando los usuarios escribir texto en las teclas de la máquina de escribir, las letras aparecen como resultado proyectado caracteres en el papel normal. Cuando los usuarios a continuación, pulse el retorno de carro, las letras en la pantalla se transforman en pequeñas criaturas en blanco y negro la vida artificial que parecen flotar en el papel de la máquina de escribir en sí. Las criaturas están basados en algoritmos genéticos, donde el texto se utiliza como el código genético que determina el comportamiento y los movimientos de las criaturas.

3. Telefonías Mx: Es un proyecto de investigación sobre la conmutación, la distribución y el acceso a las telecomunicaciones en la zona del Zócalo de la Ciudad de México. Consiste en una instalación de tuberías transparentes conectadas a una bomba peristáltica por la que circula agua coloreada con burbujas de aire que son producidas por las llamadas de teléfonos celulares originadas y recibidas en la zona del Zócalo. Dichos datos son enviados a través de la red a una computadora que controla la obra de acuerdo al tráfico, direcciones y tiempos de las llamadas de la zona.
Una muestra que en entre otras cosas encuentra como fin último un mensaje perpetuo en el aire de la noche: “El futuro nos ha alcanzado”.

RL

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