Ars Electronica va tenir lloc del 9 al 13 de setembre, convertint-se Barcelona en una de les principals seus deslocalitzades d’aquest consolidat festival que va celebrar la seva 41a edició a Linz (Àustria) i a 120 ciutats al voltant del món.
Ars Electronica Garden Barcelona va ser comissariada per Pau Alsina, director de la revista Artnodes UOC i professor dels Estudis d’Arts i Humanitats de la UOC, Irma Vilà, professora UOC, Maria Lladó, Vicente Matallana, Lluís Nacenta, director d’Hangar, i Eva Sòria.
El programa de l’edició 2020 d’aquest Festival Internacional d’Art i Tecnologia ha estat marcat per un any inesperadament atípic. Un esdeveniment que s’ha reinventat en mig d’una pandèmia i s’ha transformat en l’Ars Electronica Garden. Us compartim algunes de les sessions destacades de la darrera edició.
Art and Science of the Political Ecology of Disasters
Roundtable hosted by UOC
Participants: conductor Pau Alsina (ES) con Joana Moll (ES), Andy Gracie (UK), Israel Rodríguez (ES), Ingrid Guardiola (ES). Relator Vanina Hofman (AR)
Catastrophes and vulnerability has once again brought us to the forefront the urgency of assuming and acting against the consequences of an Anthropocene that advances inexorably. Being aware of the interconnectedness of all has been our daily life, facing the interactions between biological and ecological systems, but also the media ecology, within a relational ecology of practices where art, science and technology collide. In this panel artists, scientists and theoricians will explore all those possible futures ahead of us.
Facing Uncertainty And Its Discontents
Roundtable hosted by UOC
Participants: conductor Pau Alsina (ES) con Roc Parés (MX), Marina Garcés (ES), Joan Soler-Adillon (ES), Tere Badia (ES) y Pau Waelder (ES)
While we are getting used to deal with those events in which the probability of a certain situation occurring is not known, we ask ourselves what does it mean to live in a context of extreme uncertainty? How to take the risk of uncertainty and try to slide their gains? How arts, sciences, technologies and thought have learned from it and propelled their practices of uncertainty? In this panel, we will explore different approaches to this topic in the global context of an imperfect predictability of the facts.
In a technological world in which the present has eternalized and the oblivion is the security of the next innovation, what we call reality is a magma in which floats an endless number of images, data, pieces of information, flashbacks and promises of liberation. This fact requires us to find other rules, other ways of reading and new ways of looking through unexpected paths.
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