NATIONAL
AUTONOMOUS UNIVERSITY OF MEXICO
NATIONAL
SCHOOL OF PLASTIC ARTS
MASTER
DEGREE ON ARTS AND DESIGN
VIRTUALIS
PRESENTIA. STUDY ABOUT THE EFFECTS OF VIRTUALITY ON THE REAL WORLD
PRESENTED
BY:
JOAQUIN
R.
DIAZ,
BACHELOR
ON
VISUAL
ARTS.
CONCEPTUAL
KEYS
The
key
concepts
of
the
research
are:
Reality
of
the
virtual,
Presence,
Interactiveness,
Electronic
art,
Electronic
insurrection,
AI,
Robotics,
Space,
Embodiment,
Coding,
Augmented
Human
Intellect
and
Symbiosis.
ABSTRACT
Digital
world
and
art
is
the
raw
field
of
the
research,
the
virtual
is
the
main
theme,
day
after
day
we
are
closer
to
the
virtual
and
it
is
more
relevant
on
our
life,
to
the
point
of
becoming
the
place
where
we
interchange
everything,
money,
felling,
images,
memories
and
so
on.
The
focus
is
not
the
virtual
inside
the
computer
quite
opposite,
it
is
the
virtual
in
our
physical
world.
The
idea
started
thinking
about
the
absence
of
some
appreciated
people
as
a
presence
of
something
we
can´t
see,
but
we
can
fell.
Creating
interactive
environments,
tools
that
detect
in
poetic
form
the
invisible
presences
and
automatons
that
response
to
the
presence
of
people,
it
is
possible
to
embody
the
virtuality,
making
evident
the
reality
of
the
virtual,
as
an
example
a
few
months
ago
I
built
a
pinhole
camera
(Phantasmata
sonoris,
2011)
which
did
not
use
a
film,
instead
it
used
a
flat
cover
of
LDR
(light
dependent
resistance)
that
converted
the
image
reflected
on
the
bottom
wall
of
camera
in
to
sound,
making
possible
to
“hear
the
shadow
inside”.
Research
involved
both:
development
of
artistic
work
with
digital
tools
and
theoretical
review
of
the
concept
of
virtual.
PROBLEM
STATEMENT
This
research
is
closer
to
the
3D
production
and
the
studies
about
perception
of
the
space
that
contemporary
sculpture
provoke,
by
the
interest
of
the
actual
work
we
opened
the
research
area
that
began
on
sculpture,
to
finally
arrive
to
a
new
place.
That
door
was
opened
at
the
beginning
of
the
first
half
of
XX
century,
Naum
Gabo
in
his
text
Sculpture:
crave
and
build
on
space
from
1937
writes:
“We
thing
the
space
from
a
radically
different
point
of
view.
We
consider
as
an
absolutely
sculptural
element,
free
from
every
close
volume
and
we
represent
from
inside
with
their
own
specific
properties”.
At
this
point
we
are
ready
to
speak
about
reality
of
the
virtual,
and
the
trace
left
behind.
To
complete
this
framework
we
need
to
add
the
proposed
concept
of
space
by
philosopher
Xavier
Zubiri
on
his
text Space.
Time.
Matter.:
“It
has
not
been
said
that
the
only
way
to
be
on
the
space,
to
be
attached
has
to
be
precisely
occupying
it.
By
example
old
anthropology
used
to
say
that
the
soul
is
in
every
part
of
the
body.
This
means
that
it
is
not
precisely
in
one
of
them.
However
it
is
inside
of
the
boundaries
of
the
human
body.
It
is
not
the
same
thing
being
on
a
space
than
occupying
it.
There
may
be
others
ways
to
be
on
space
different
than
occupying
it,
and
that
neither
is
defined
by
it”.
This
space
concept
allow
us
to
precisely
think
that
the
virtuality
interacting
in
our
world
without
a
full
existence.
The
concept
of
virtuality,
I
will
work
with,
is
the
one
authored
by
Pierre
Levy,
which
defines
it
as
potency
or
force,
describing
it
as
a
state
of
real
things
opposite
it
not
to
actual,
but
to
real.
The
virtual
is
real
in
terms
to
a
potency
of
being
and
it
just
needs
to
update
this
realism
so
its
virtually
develops.
A
step
in
which
it
can
be
perceived
how
virtuality
works,
proposed
by
philosopher
Slavoj
Zizek,
is
a
Father
watching
his
son
exercises
a
powerful
force
in
his
behavior,
whose
strength
resides
in
the
fact
that
it
is
not
a
physical
one.
Another
useful
concept
that
makes
a
cross
with
the
research
is
Postmedia,
in
the
way
that
Jose
Luis
Brea
speaks
about
a
moment
in
which
it
is
possible
to
intervene
into
the
mediatic
sphere
from
inside,
with
the
tools
provided
by
itself,
because
in
its
own
diffusion
and
access
to
multiple
channels
and
mediatic
tools,
in
their
arousal
created
an
open
space;
this
Brea
assures,
the
deep
transformation
of
the
area
of
knowledge
distribution
technologies
and
artistic
practices.
And
that
his
big
contribution
to
this
kind
of
artistic
work
is
because
we
use
and
transform
the
utilitarian
tools
of
electronics
to
build
non
utilitarian
objects
or
human
phenomenon.
The
current
research
will
explore
the
electronic
art
and
the
possibilities
of
digital
technologies
to
make
evident
the
effect
of
the
reality
of
the
virtual.
The
research
will
continue
my
plastic
work
trend
line
in
which
one
explores
the
concept
of
non-presence,
which
means
something
that
is
not
now
here
until
we
could
fell
it.
The
non-presence
concept
is
nearly
similar
to
the
Greek
word
phantasmata
that
was
mentioned
on
the
Myth
of
Cave
from
Plato,
he
use
phantasmata
to
refer
the
shadows
reflected
on
a
wall
cave,
which
were
the
ghost
of
an
entirely
world
outside
the
cave,
in
this
way
phantasmata
means
a
non-fully,
a
shadow
of
reality.
This
is
the
main
concept
of
Virtualis
Presentia,
ghost
of
reality,
the
presence
without
the
thing,
the
invisible
power
that
influences
our
behavior
and
so
on,
and
the
artistic
research
explores
how
it
works.
The
research
process
has
two
components
the
theoretical
and
practical.
For
each
scholar
period
I
will
create
work
art
pieces,
which
will
explore
the
phenomenon
of
the
reality
of
the
virtual,
to
conclude
with
the
development
and
exposition
of
Virtualis
Presentia.
It
is
proposed
that
for
the
final
proposal
there
will
be
conformed
a
multidisciplinary
team
that
could
interact
and
chose
together
the
better
way
to
the
final
work.
Theoretical
research
will
complement
the
production
work
bringing
clarity
on
concepts,
thinking
the
problem
of
virtuality
in
multiple
ways,
how
it
interacts
with
world,
which
places
are
selectively
permeable,
how
we
can
see
its
effect
on
us,
on
our
architectural
space,
on
our
behavior
and
so
on.
This
idea
is
to
become
stronger
day
after
day,
because
the
limits
between
real
world
and
virtual
world
are
most
slightly.
To
finalize
the
framework
of
this
research,
I
will
take
the
division
of
the
great
fields
on
digital
art
proposed
by
Christiane
Paul
in
her
book Digital
Art:
Digital
technologies
as
a
tool,
digital
technologies
as
an
iconography,
and
digital
technologies
as
a
medium.
The
research
will
take
place
on
this
last
division,
the
main
area
of
research
at
last,
but
it
will
not
be
closed
because
the
virtuality
also
is
one
of
the
main
subjects
on
digital
technologies.
GENERAL
OBJECTIVE
Develop
the
artistic
proposal
Virtualis
Presentia,
which
deals
with
reality
of
the
virtual,
using
as
Medium
the
digital
technologies
and
electronic
devices.
PARTICULAR
OBJECTIVES
Sketching
on
animation,
experimental
sound,
video,
3d
modeling,
prototyping
of
electronic
and
interactive
devices.
Research
the concept of the reality of the virtual, automatons, presence, AI,
AL, electronic insurrection.
Do
interviews
to
different
key
players
in
the
digital
art
world.
Research
about
the
needed
techniques,
materials,
methods
and
devices
useful
on
digital
art.
Study
and
analysis
of
strategic
works
inside
the
art
world
or
not,
which
will
deal
whit
the
main
subjects
of
the
research.
Production
of
the
Virtualis
Presentia
works,
find
and
negotiate
the
exhibition
space.
Background
Since
the
proposal
by
Dada
and
Russian
Constructivism
the
idea
of
space
and
matter,
has
changed
transforming
sculpture
into
different
ways
of
expression
as:
installations,
environment,
objects
and
even
happening.
Another
important
fact
that
was
underlined
by
the
Constructivism
was
the
closer
relation
between
the
engineering
and
art.
On
1970
with
the
beginning
of
the
called
New
Media,
artist,
scientist
and
engineers,
arrived
at
a
crossroad
exploring
the
infinite
world
of
possibilities
that
this
union
provided,
like
interaction,
immersion,
kinetic
and
critic
implicated
on
that
devices.
The
critic
side
is
mentioned
because
it
is
impossible
to
avoid
seeing
that
this
wonderful
technologies
have
their
origin
in
the
war
industry,
on
the
other
hand
this
technology
has
been
diversifying
for
artistic
purposes
transforming
their
character.
Most
of
these
works
began
by
elaborating
pieces
attached
to
a
plane
screen
or
a
projection
surface,
but
it
was
just
the
beginning,
with
time
the
popularity
of
this
kind
of
technology
came
to
the
top
and
this
works
began
to
leave
the
flat
behind;
as
example
on
1994
the
artist
Jeffrey
Shaw,
presented
Golden
Calf,
placed
a
link
between
classical
sculpture
and
interaction
with
virtual
objects,
establishing
a
tie
of
reality
between
virtual
and
real,
the
piece
was
composed
by
a
white
pedestal
and
a
color
screen,
which
was
the
only
way
to
see
the
object
on
the
pedestal.
After
Golden
Calf,
Mexico
City
in
2000,
the
Mexican-Canadian
artist
Rafael
Lozano-Hemmer,
which
in
his
words
“takes
the
multimedia
environment
to
occupy
the
real
space…”,
made
the
Piece
named
“Vectorial
Elevation”,
this
work
was
integrated
by
18
robotic
reflectors
that
enlighten
the
night
“Zocalo”,
main
square
in
Mexico
City,
sky;
the
were
handled
from
a
white board
with
public
access,
making
possible
that
any
spectator
could
create
and
see
his
own
inspiration
crossing
the
sky.
The
interaction
between
the
people,
public
space
and
the
work,
was
in
two
ways,
the
people
could
control
the
machinery
through
a
web
site
in
which
they
programmed
a
sequence
of
movements
of
the
robotics
reflectors
and
in
the
central
square
were
the
people
could
look
the
movement
of
the
lights.
Prior
examples
show
how
the
virtuality
had
been
interacting
with
real
world
swapping
realities.
On
2005
the
group
“Haque
design+research”,
mounted
“Haunt”
in
a
room,
reproducing
the
environment
of
a
haunted
house,
causing
in
people
attending
the
sensation
that
there
was
something,
they
heard
noises,
in
addition
to
any
other
feeling
related
to
phantasmal
presences.
The
sense
of
presence
was
provoked
artificially,
with
ultrasonic
waves,
magnetic
fields,
light
conditions,
and
temperature
control,
making
people
see,
listening
and
fell
things
on
an
empty
room.
They
put
things
or
transmitted
free
feelings
to
people
without
any
tangible
material
element;
they
just
attached
the
perception
system
and
the
sensory
system
and
the
people
did
the
rest.
PROPOSITION
Through
the
work
produced
under
Virtualis
Presentia
there
might
be
evident
to
the
people
and
allowing
them
to
better
understand
that
real
virtuality
goes
beyond
reality
in
our
world
and
in
daily
life.
PRODUCTION
METHODOLOGY
Methodology.
The
practical
and
theoretical
research
begin
with
an
exploratory
character,
to
ponder
the
concepts
and
techniques
by
which
the
artistic
technological
works
have
been
done,
but
the
goal
of
research
is
explanatory,
in
the
way
we
could
bend
the
virtuality,
carrying
it
to
the
real
world.
I
propose
the
“Art
Based
Research”
(Shaun
McNiff,
1998)
as
the
methodology.
Bibliography.
I
will
do
a
review
of
specialized
literature
that
develops
main
concepts
of
the
research.
Also
I
will
do
a
visual
review,
taking
the
artists
and
non-artists
who
do
this
kind
of
work,
about
the
virtuality
or
making
art
works
with
digital
technologies.
Experimentation.
This
step
is
divided
into
three
stages:
First
to
approach
the
idea,
in
this
stage
I
will
do
sketches
on
video,
installation,
photography,
experimental
sound,
animation
and
prototyping
interactive
devices.
In
the
second
stage
I
will
select
some
of
the
sketches
made
in
the
first
one
and
develop
some
pieces.
In
the
third
stage
the
multidisciplinary
group
will
select
the
way
that
Virtualis
Presentia
will
create
the
final
work
for
a
specific
site.
Production
planning.
I
will
form
a
multidisciplinary
team
to
do
the
final
work;
it
will
make
the
necessary
arrangements
for
the
production,
exhibition,
and
socialization
strategies.
Final
Report.
I
will
finish
the
text
including
the
different
stages
of
the
research
embracing
the
conclusions,
exhibition
and
a
final
statement.
PRELIMINARY
INDEX
INTRODUCTION
VIRTUALIS
PRESENTIA
Interactive
automatons
The
multidisciplinary team
Making
of
The
staging
Digital
Art Mainstrean, a review
Interviews
Golan
Levin
Arcángel
Constantini
Final
statement
A
glossary
A
BLIND WORLD
Absence-presence,
start point
Sketching
– experimentation
Animation
Experimental
audio
Provocative
electronic
Behavior
Reality
of
the
virtual
Interviews
Martin
Bircher
B
glossary
WALKING
THROUGH
HELL,
A
PATH
TO
KNOWLEDGE
Electronic
insurrection: bending, hacking, low fi
Engineering
Vision
Robotics
Coding
Augmented
reality
Artificial
Intelligence
Interviews
Jose
Ramon Alcala
Gilberto
Esparza
Carmen
Gonzales
C
glossary
Conclusion
Coda
References
RESEARCH
CONTRIBUTIONS
The
research
allows
us
to
get
close
to
a
sensible
knowledge
about
virtuality,
which
every
day
becomes
more
important
into
our
society.
The
virtuality
embodied
in
an
object
or
caused
by
an
intentional
situation
could
bring
light
about
its
origins,
behavior
and
how
we
interact
with
it.
It
contributes
to
the
formation
of
the
theoretical
body
of
digital
art,
which
is
beginning
to
develop
in
our
country.
It
Could
be
a
benchmark
for
future
studies
in
both
areas
art
and
technology.
Socially
contributes to the understanding of this phenomenon as a sequel to
the classic and modern sculpture still so present in our lives.
MATERIALS
AND TECHNICAL RESOURCES
I
have
an
equipped
workshop
for
sculpture
and
basic
electronic
prototyping,
and
access
to
specialized
literature.
I
have
been
supported
by
the
Multimedia
Center
of
National
Art
Center
which
could
provide
technological
and
theoretical
consulting.
REFERENCES
Bibliographic
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Arteleku (ed). Ruido y Capitalismo.
Spain, audiolab, San Sebastián, 2008.
–
Ascott,
Roy (ed.), Engineering Nature, art
and conciousness in the
Post-biological era, U.K., Intellect, 2006.
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Banzi, Massimo. Getting started whit
Arduino. United States of America, O´Reilly, 2011.
-
Bachelor, David. Minimalismo. Hong Kong, Tate Gallery, 1997.
-
Benjamin Walter, La obra de
arte en la época
de su reproductibilidad
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Bernard, Korzeniewsky. Cybernetic Formulation
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Borestein, Greg. Making things see.
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Bourriaud,
Nicolas. Relational Aestetics. Argentina,
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Brea,
José Luis. La era post media;
Acción comunicativa, practicas
(post)artística, y dispositivos
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–
Brice,
Richard. Multimedia and virtual
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Burdeau,
Grigore. Et al. Tecnologías de la
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Christian,
Paul. Digital Art. Singapore, Thames and Hudson,
2008.
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De
Oliviera, Nicolas. Installation art in
the new millennium: the
empire of the senses.
Singapore, Thames and Hudson, 2003.
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Didi-Huberman,
Georges. Ser cráneo: lugar,
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Ellegood,
Anne. Vitamin-3d. U.K., Phaidon press, 2009.
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Esquilo, Prometeo encadenado. Pehuen press,
2001.
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Fisher, Jaime. El hombre y la
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filosofía política de la
ciencia y la tecnología.
Mexico, Universidad Nacional Autonoma de México, 2010.
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Flynn,
Tom. El cuerpo en la
escultura. Spain, Akal press, 2002.
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Gibson, William. Neuromante. Barcelona, Spain, Minotauro,
1994.
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Gonzales Carmen, Sonidos_de_protoboard, Tijuana, Mexico,
Protolab_movil, 2011. Descarga en: http://protolabmovil.cc
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Lynn, Gale, et al. Fotografía digital. Mexico,
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Giannachi,
Gabriella. Virtual theatres: an
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Giannetti, Claudia. Media Culture. Spain, L´Angelot, 1995.
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Estética
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Benjamin Stephens, Robotics Institute, Video.
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Video
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Andy Wachowski, Lana Wachowski (1999), The Matrix, Video, E.U.A., 136
min.
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Andy Wachowski, Lana Wachowski (2003), The Matrix Reloaded, Video,
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Andy Wachowsky, Lana Wachowski (2003), The Matrix Revolutions, Video,
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Kamijama, Kenji, Ghost in the Shell: Stand Alone Complex, Production
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Peter Chung, Andrew R. Jones et al., The Animatrix, E.U.A., 2003, 156
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Sophie Fiennes (2006), The Pervert's Guide to Cinema, Video, E.U.A.
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McG (2009), Terminator Salvation, video, E.U.A. 115 min.
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Ridley Scott (1982), Blade Runner, Video, E.U.A., 117 min.
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Ridley Scott (2012), Prmetheus, Video, E.U.A., 124 min.
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Zizek Slavoj, 2004, The reality of the virtual.
http://www.youtube.com/watch?v=CBKMfXy_aF8
Consulta: 01-12-2011.
