http://hdl.handle.net/10366/4252 2026-04-22T01:40:39Z http://hdl.handle.net/10366/170640 [ES] Resumen de la comunicación presentada en el X Congreso de la Sociedad Española de Musicología (SEdeM). Baeza, 18 a 20 de noviembre de 2021. 2021-01-01T00:00:00Z http://hdl.handle.net/10366/155611 [EN] The creation of the MediaLab Madrid Archive arises from the need to contribute to the preservation of transdisciplinary media art practices and the shaping of the new narratives related to an extended media archeology, in the context of the project Medialab Madrid as a model of transversal laboratory: art, science, technology, society + sustainability for the digital agenda (H2019/HUM-5740 MediaLab-CM) within the call for Social Sciences and Humanities (2019) of the Community of Madrid co-financed with the European Social Fund. The proposal is conceived as a panel discussion with the participation of four researchers who are involved in and experts on the subject, structured along different axes of discussion focused on the challenges of cultural innovation as of twenty years ago and its preservation and dissemination in an open, dynamic and relational archive structure, able to convey the relationships among biological, social, Technological and cultural systems, and proposing an extension and enrichment to the consensus terminologies of media art. 2022-01-01T00:00:00Z http://hdl.handle.net/10366/155606 [EN] Any historiographic effort on Media Art shows the complexity of its own conceptualization regarding those artistic practices that it involves, since there is not unanimity between experts and researchers about this topic as it is shown in the media art history meetings (http://www.mediaarthistory.org/). Neither a consensual taxonomy in these artistic practices. However, one of the most relevant is the taxonomy completed by Professor José Ramón Alcalá, MIDE´s director and a ground-breaking in the subject of electrographic art in Spain. Taking his taxonomy as a reference, we can resolve that Video art and Electrographic Art, both started in the 60’s but developed in the 70’s and 80’s, were some of the artistic practices that brought the first ideas of Media Art in Spain and Latin America. Regarding to Video art, some of the pioneer artists and researchers were Eugeni Bonet, Joaquín Dols, Antoni Mercader and Antoni Muntadas, as can be seen in the historic book En torno al video. With respect to Electrographic Art, some of the pioneers were Paulo Bruscky, Clemente Padín, Humberto Jardón and José Ramón Alcalá with the International Museum of Electrographic Artworks (MIDE) in Cuenca, the most important example adding the collection of this unique museum. 2017-01-01T00:00:00Z http://hdl.handle.net/10366/155557 [EN] For a long time, all of the artistic manifestations emerged from the early 70s by the emergence of new technologies in Spain, and under the tag of Historical Media Art and Media Art, had been scattered and, in many cases, unknown within the national and international artistic context. Spanish Archive of Media Art (SAOMA) project seeks to lighten the lack of documentation and information around Media Art in Spain. For that purpose, actions such as the identification, cataloging and labelling of all the artistic works, which belong to public and private collections, both historical and contemporary, are taking place. The main result of the project is the online Spanish Network of Archives and Collections of Media Art, as a convergence space for the cooperation on its management, preservation and dissemination through the support of technical instruments in the way to internationalization. 2019-10-23T00:00:00Z http://hdl.handle.net/10366/155546 [EN] Digital curation does not only mean to have online exhibitions on digital nature works or projects but also being able to recirculate all those historical Media Art works that have been scattered in different places or just forgotten and unknown. For that purpose, many researchers, professors, artists and other specialists seek to lighten the lack of information and documentation around Media Art in Spain, usually through different R&D projects. Thanks to the possibility offered by these projects, it is enabled to research on the historical Media Art archives and collections, the preservation and, especially, the dissemination by means of digital supports. In Spain, this is the relevant case of the work made on L’angelot and MECAD in Barcelona and Medialab Madrid in the capital, as some examples by the Spanish Archive of Media Art (SAOMA) project. Actions such as the identification, cataloging and labelling of the artistic works that belong to public and private collections, both historical and contemporary had taken place. The main result of this project is the online Spanish Network of Archives and Collections of Media Art, as a convergence space for the cooperation on its management, preservation and dissemination through the support of technical instruments in the way to internationalization. 2020-09-07T00:00:00Z http://hdl.handle.net/10366/155448 [ES] Durante los años ochenta, España fue testigo del desarrollo de diversas prácticas artísticas que desde finales de los años sesenta habían comenzado a gestarse en Estados Unidos fruto de la aparición de diversas tecnologías domésticas de la imagen, especialmente de la fotocopiadora. Los artistas más independientes se agruparon para investigar todas sus potencialidades artísticas e ir más allá de lo que era una simple técnica artística. Siguiendo ese objetivo, España se convirtió en un destacado crisol a nivel internacional cuya eclosión fue la aparición del Museo Internacional de Electrografía de Cuenca en 1990. Un museo que alberga un patrimonio artístico de más de 4000 obras de los artistas más representativos a nivel internacional en el uso de la fotocopiadora, el fax o el ordenador, entre otros, constituyendo un importante constructo temporal e histórico desde el arte analógico al digital. Para la comprensión del valor de ese patrimonio, su recuperación y, sobre todo, no solo un mantenimiento adecuado, sino la puesta al servicio de aquellos que quieren conocer la verdadera historia del Media Art, es necesario el uso de nuevas herramientas metodológicas que, incorporando los nuevos parámetros artísticos, permitan excavar en el pasado con la base y el razonamiento teórico en el presente. Una de estas herramientas es la Media Archaeology, que permite contextualizar esta investigación en el presente para revisar y estudiar un pasado reciente, y tratar de establecer líneas comunes con el hoy desde un discurso que ha sido marginado por los relatos canónicos. Para ello, se trata de situarnos en el punto en el que los mejor estudios de este tema han terminado su campo de actuación y tomar como base y fuente primaria de investigación la entrevista con los artistas, conociendo profundamente y de primera mano estas prácticas, sus protagonistas y los principales contactos geográficos. De este modo, esta investigación presenta un Estudio de Caso de la aplicación del enfoque Media Archaeology para desenterrar y dar luz a un patrimonio artístico que posee más de 40 años de antigüedad y cuyo valor es inestimable para reivindicar parte de las bases históricas del Media Art en las tecnologías automáticas de multi[re]producción surgidas en los años sesenta. El resultado será una consideración crítica de estas prácticas artísticas y una reflexión historiográfica y artística que las sitúe como raíz del Media Art. 2019-09-18T00:00:00Z http://hdl.handle.net/10366/155443 [ES] Bellas Artes no es sólo hablar de Educación Superior, sino de creación y experimentación en un escenario específico de investigación y contacto con el Arte. La Facultad de BBAA de Cuenca, fundada en 1985 como una propuesta educativa conectada con la cultura del Museo Abstracto, renovó la perspectiva educativa con lab-museos donde profesores-investigadores, alumnos y artistas internacionales producían obra. Uno de aquellos, el Museo Internacional de Electrografía (MIDE) creado en 1990, es un hito en la historiografía del arte y las nuevas tecnologías con más de 1800 obras creadas con la máquina electrográfica, el fax y el ordenador con una metodología creativa fundamentada en research-creation. Ofrece una visión única de las vanguardias experimentales de mitad del S.XX y principios del S.XXI, con una colección que ejemplifica el paso de lo tangible a lo intangible a través de obras de Arte Electrográfico, Digital y Multimedia, con su difícil gestión económica y patrimonial. Debido a que esta Facultad posee otros centros similares, se ha creado CAAC (Colecciones y Archivos de Arte Contemporáneo de Cuenca) integrado por una serie de colecciones como Colección Parkett o Colección Juana Mordó, entre otras, así como una serie de archivos documentales, bibliográficos y audiovisuales como ARTEA o la productora de Pedro Almodóvar. CAAC se instaura en una metodología investigativa de calidad con aval del Ministerio de Economía y Competitividad, tras concederle un proyecto I+D de Excelencia en su última convocatoria (12/2103,REF.:HAR2013-48604-C2-1-P) para clasificar y exponer todo a aquellos interesados en revisar la Historia de las vanguardias experimentales.; [EN] Fine Arts is not only talking about Higher Education, but about creation and experimentation in a specific research scene and contact with Arts. The Faculty of Fine Arts of Cuenca, founded in 1985 as an educational proposal connected to the culture of the Abstract Museum, renewed the educational perspective with variety lab-museums where teacher-researchers, students and international artists produced their artworks. One of these, the International Museum of Electrographic Artworks (MIDE) created in 1990, is a milestone in the historiography of art and emerging technologies with over 1800 works created with electrographic machine, fax and computer with a creative methodology based on research-creation. It provides a unique insight into the proposals of experimental avant-garde of mid-twentieth century and the beginning of XXI century, with a collection that illustrates the passage of tangible to intangible, through works of Electrographic, Digital and Multimedia Arts, with its difficult economic and heritage management. Since this Faculty has other similar centres, it has been created CAAC (Collections and Archives of Contemporary Art in Cuenca) composed by some collections such as Parkett Collection or Juana Mordó Collection, among others, as well as a diversity of documentary, bibliographical and audiovisual archives as ARTEA and the production company of Pedro Almodóvar. CAAC has put in place a research quality methodology guaranteed by the Ministry of Economy and Finance, after allow a I+D Project of Excellence in its last call (12/2103,REF.:HAR2013-48604-C2-1-P) to classify and put everything available to researchers interested in reviewing the history of the experimental avant-garde. 2015-01-01T00:00:00Z