16
11/10
02:39
Caso tres de topografías de video digital y topografías de sonido sintético.
Third case of topographies of digital video, topographies of synthetic sound.
Cedeño Montaña, Ricardo. Topografía lenta tres. 2010. Digital video and audio.
//Soon File to download (XXMB)
13
10/10
02:23
Caso dos de topografías de video digital y topografías de sonido sintético.
Second case of topographies of digital video, topographies of synthetic sound.
Cedeño Montaña, Ricardo. Topografía lenta dos. 2010. Digital video and audio.
//Soon File to download (XXMB)
30
09/10
17:32
Caso uno de topografías de video digital y topografías de sonido sintético.
First case of topographies of digital video, topographies of synthetic sound.
Cedeño Montaña, Ricardo. Topografía lenta. 2010. Digital video and audio.
File to download here (78MB)
24
09/10
21:24
Cedeño Montaña, Ricardo. 4 movements of 12 colours in procession. 2010. Processing
Source codes: first movement, third movement, four movement, second movement
11
09/10
05:08
Today the production and distribution tools for media have to be free and open. Free and open software have brought a new perception toward these tools. Steadily, we leave pyramidal and individual forms of ownership and production in media to openly share materials, ideas, and procedures in social surfaces without centres. To embrace collaborative forms of production is a breakthrough in media (art, design, and production). Free software allows to collective knowledge and aesthetic to surface. These expressions have been largely, neglected by close and feudal tools as poor quality. We were conveniently convinced that only industrial and formal knowledge in media production was proper. This pervaded the media arts and the designs mainly focused on spectacle and effects.
Knowledge has to run free across the very media. People has to remember how to collaborate if we are to change our world. But digital media are meant to fragment and be used by mere machine bureaucrats in a frenzy consumption state. Artists and designers! WE have the duty to denounce and expose this. WE need to defranchise the production of images, narratives, experiences, and objects. WE have to believe it is possible to overcome to supremacy of the bureaucrat system with single ideas and single tasks. WE ought to appropriate these tools before they appropriate us. WE need to fight the self-referential trend of the open media, if WE are to see the variety of the possible. WE need to open art and design and a first step to free art and design.
26
08/10
02:59
Popular is to be consumed.
Popular is to be comfortable.
Popular is to be right in the middle.
Popular is to be standard.
Popular is to be in.
17
06/10
20:32
Software libre significa que usted controla lo que su computadora hace. Software NO libre significa que alguien mas controla eso, y hasta cierto nivel lo controla a usted. Richard M. Stallman
El uso y difusión de software libre no es un asunto de dinero, sino de ética.
05
06/10
15:23
Traducción por ricardo cedeño montaña al Español de la definición de software libre dada por Free Software Foundation (FSF).
El software libre se refiere a la libertad de los usuarios para correr, copiar, distribuir, cambiar y mejorar un programa. De forma más precisa, esto significa que los usuarios de programas tienen cuatro libertades esenciales.
Richard Stallman. 1985
29
05/10
02:07
Machinic is about actualizing one instance of a series of combinatorial productive options which already lie on the matter. In that sense the quality of being exists on the matter and not before it, in order words the way the elements and materials are combined and formed is not given in advanced but exerted during the actualization of the process. To separate matter and form, as if they were different entities, divests matter of its productiveness. It is to think of it as dead. The productive assemblages of matter demand of the creator an attitude in which form is not externally imposed to the material but it is teased out of the matter. In a machinic production, a series of processes bring the material to a fluid and fertile state for the emergence of a form.
To listen on-line:
machinic midi data. Ricardo Cedeño Montaña. 2010. Duration: 8:00
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Noisecraft data. Ricardo Cedeño Montaña. 2010. Duration: 4:50
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
To download:
machinic midi data 14MB
noisecraft data 8.5MB
10
05/10
16:24
A machine may be defined as a system of interruptions or breaks.[1, p.36]
Every machine is part of system of machines and all of them integrate a constant current. This current has no starting point nor end, it is just a collection of connections that flows. Thus, a machine is perceived through the fractures it creates in a flow. The fractures frame discreet portions of the flow, therefore machines have inputs and outputs (other flows), and in the middle a particular flow is processed. If there is something to say about a machine is that it fractures a collection of flows. A machinic attitude in media must then make evident the fractures rather than to hide them.