06 12/22

Paisaje sonoro #1

Grabación dentro de una guadua sin editar. Mic de celular Samsung A50. Lugar: San Luis de Palenque, Casanare, Colombia. Fecha: 2022 00

03 09/19

Bruno Munari’s Manifesto del Macchinismo 1938

| Categories: art, machine, technical media

Il mondo, oggi, è delle macchine.

Noi viviamo in mezzo alle macchine, esse ci aiutano a fare ogni
cosa, a lavorare e a svagarsi. Ma cosa sappiamo noi dei loro
umori, della loro natura, dei loro difetti animali, se non attraverso
cognizioni tecniche, aride e pedanti?

Le macchine si moltiplicano più rapidamente degli uomini,
quasi come gli insetti più prolifici; già ci costringono
ad occuparci di loro, a perdere molto tempo per le loro cure,
ci hanno viziati, dobbiamo tenerle pulite, dar loro da mangiare
e da riposare, visitarle continuamente, non far loro mai mancar nulla.

Fra pochi anni saremo i loro piccoli schiavi.

Gli artisti sono i soli che possono salvare l’umanità da questo pericolo.

Gli artisti devono interessarsi delle macchine,
abbandonare i romantici pennelli, la polverosa tavolozza, la tela e il telaio;
devono cominciare a conoscere l’anatomia meccanica, il linguaggio meccanico,
capire la natura delle macchine, distrarle
facendole funzionare in modo irregolare, creare opere d’arte
con le stesse macchine, con i loro stessi mezzi.

Non più colori a olio ma fiamma ossidrica, reagenti chimici,
cromature, ruggine, colorazioni anodiche, alterazioni termiche.

Non più tela e telaio ma metalli, materie plastiche, gomme e resine sintetiche.

Forme, colori, movimenti, rumori del mondo meccanico
non più visti dal di fuori e rifatti a freddo, ma composti armonicamente.

La macchina di oggi è un mostro!
La macchina deve diventare un’opera d’arte!

Noi scopriremo l’arte delle macchine!

22 10/18

Sinusoidal function

Tags: , | Categories: art, digital media, machine

Study Nr. 01 of a sinusoidal function

Made with processing

11 04/18


Tags: , , | Categories: art, machine

06 12/16

Portable Moving Images: defence 

Tags: | Categories: art, digital media

Public defence of the doctoral thesis: Portable Moving Images: a Media History of Storage Formats

 Ricardo Cedeño Montaña

Throughout the 20th and 21st centuries small-gauge film formats, consumer videotape formats, and low-resolution digital video files fostered the easy generation and transmission of moving images. Each of these media have emphasised the media’s portability as the defining condition for media production. The subject matter of this dissertation is a description of the media storage formats that have constituted the material and technical basis of amateur and DIY productions of moving images. It inquires into the effects that the technical features of such formats – their form and structure – have had on the visual qualities and dissemination of amateur moving images.

07 December 2016 12 pm

Interdisciplinary Laboratory Central Laboratory. 

Sophienstr 22b. 10178, Berlin,  Germany. 

28 07/16

The Iliad and the trichromatic theory 

Tags: , , | Categories: art, colour, technical media

​ Three glittering dragons to the gorget rise,
Whose imitated scales against the skies
Reflected various light, and arching bow’d,
Like colour’d rainbows o’er a showery cloud
(Jove’s wondrous bow, of three celestial dyes,
Placed as a sign to man amidst the skies). 

  • Homer. The Iliad of Homer. Trans Alexander Pope. XI:198. The Project Gutenberg: Sep 2006

03 05/16

Comparisons: eight

Tags: | Categories: art, diseño, technical media
Command Occurrence
Obedience Resistance
Magical Monstrous

Befehl und Einfall. Kreativ Dialog 4 Konferenz an der BWG interdisciplinary laboratory von der HU-Berlin. 28-30 April 2016.

Compare: Comparisons

13 07/15

Postmedia 1: Historical moments

Tags: | Categories: art, technical media

More than a year ago I participated in a workshop under the title: Postmedia Discourse and Intervention, organised by Christina Vagt at the TU-Berlin on 20 June 2014.

The central question of the workshop revolved around the term postmedia, a term that manifests fears and expectations that with electronic media something is happening but that is clouded. Electronic media do weird things to history and historiography. The history of television is one example, the medium is not dead but more alive than ever and connects several elements.

The following are my hurried notes of that session that for unknown reasons to me only emerged one year after the actual meeting. I briefly edited them and made some spelling corrections.

First approach to the topic: What is postmedia?


  1. The historical Moments of PostMedia by Andreas Broeckmann

“der notwendige gebrauch und widerstand der Sprache in einem durch die Technik beeinflusseten Jahrhundert ist zu untersuchen.” Walter Höllerer, Sprache im technische Zeitalter Nr. 1, 1961.

3 conceptions of postmedia:

  • Post-mass media. Felix Guattari
  • Post-medium condition. Rosalind Krauss
  • Digital as postmedia. Lev Manovich and Peter Weibel


Rosalind Krauss. Post-medium condition goes beyond medium specifity.

For Greenberg, the nature of the medium is brute positivism. It is tied to the physical substance. Installation is postmedia because it introduces ordinary material. It ask what makes this art, rather than the medium. Nicolas Bourriaud considers the postmedia as altermodern that liberates art from the course of modern art. However, Bourriaud refers to the medium specificity.


Peter Weibel. Digital as postmedia

The traditional media of the art only became recognised as media with the technological media. The artistic medium of Greenberg was influenced by McLuhan electronic medium. The history of the perspective undermines the Weibel argument. Postmedia aesthetics: the application of digital media concepts to art history as in Lev Manovich. All art is postmedia art because the computer simulates everything, even creativity is turned into algorithms and rules into the output of a universal machine.


Felix Guattari. post-mass-media means access to production and transmission on an individual scale.

The subjectivation of the media, heterogeneous production, media ecology, in which each subject takes part. Postmedia opposes to small, fragmented, distributed networks of operators. In Guattari postmedia there are passionate individual, amateurs, no professionals.


Postmedia should be taken historical. Are we ready to discuss the google, facebook, as Post mass media? There is no specificity or homogeneity in post-media aesthetics. Some aesthetics are not defined by the digital.

Topics to discuss:

Subjectivity and the technical or rather on the question on how media construct subjects whether as listeners or producers. This looks similar to a post-structuralist approach. The subject is multiple, layered, and historical. There are collective assemblages signified by connections and there are self-conscious artisans, radical and distributed subjects, simultaneously singular and without local rooting. Everyone can participate in the art production this might emancipate the observer, visitor.

What are the media and their technical, affordances that Guattari and Weibel refer to? The digital is not a media. How digital media are specific? Should the media specificity replaced by rootlessness, travelling and translation.


29 01/15

Peter Sunde at Transmediale 2015

Peter Sunde words at the opening ceremony of transmediale 2015. 28 Jan 2015 HKW Berlin, Germany.

The centralised model has destroyed the internet. We’ve lost and corporations have captured us all. We even carry the sensors, mics and cameras to monitor us. Don’t play the game: give up.

Update: Sunde’s base text published on Wired UK.

15 12/14