Media-apocalypse. Dissection, regeneration, and repair: agents for the development of technocratic-ludic zombie systems

Main Article Content

Marina Pastor
Moises Mañas

In this text, we explore the study and interpretation of the relationship existing between and the resolution underlying terms such as dissection, regeneration and repair based on the idea of the game as a relational agent. These terms operate as elements that participant in the development of interactive systems. We also explore their relationship with technological obsolescence as a model for the construction of ideal settings in the creation of atemporal recreational systems, which use the technocratic concept of problem resolution to achieve the resurgence of values for mediation and visual artistic creation in a recreational way based on social action.


Thus, if the presence of the game facilitates the re-invention, questioning and interpretation of reality, re-developing it within aesthetic thought, as well as bringing it closer to the shared daily social experience, zombification is a way of approaching planned obsolescence from a recreational micro-political perspective. Its purpose is to contribute to media theory that is practical, ethical, aesthetic and creates a more ecological media culture. We propose that recreational re-use is an important dynamic in contemporary culture, to which a critical and reflective dimension is added; this is especially relevant within the context of electronic refuse. Within this dynamic, media archaeology (transformed into an-archaeology) is able to function as an artistic methodology that makes it place within the tradition of appropriation, the collage, the re-mixing of concepts and material media. This text excavates narratives and material media such to produce a new political economy of media.

Keywords
zombie media, media archaeology, agency, anarcheology, industrial art

Article Details

How to Cite
Pastor, Marina; Mañas, Moises. “Media-apocalypse. Dissection, regeneration, and repair: agents for the development of technocratic-ludic zombie systems”. Artnodes, 2018, no. 21, doi:10.7238/a.v0i21.3178.
Author Biographies

Marina Pastor, Universitat Politècnica de València

Degree in Philosophy and Education sciences, Doctorate in Fine arts from Universitat Politècnica de València (UPV).

Currently a lecturer in the Department of Sculpture at Universitat Politècnica de València and in the Master’s degree in Multimedia and Visual Arts. She has been the Director of the Master’s degree in Artistic Production (UPV), postgraduate degrees in Art, Production and Research in the School of Fine Arts, in addition to the Department of Sculpture. Member of the Laboratorio de Creaciones Intermedia Creations R&D&I research group since 1998.

She has participated in various financed research projects, some of which include Reconstrucción de Obras Artístico-sonoras pertenecientes a la vanguardia histórica europea (1913-1945) and Percepción ampliada, un sistema dual de realidad aumentada. Since 1999, her work has focussed on the relationship between art and new technologies. She has published several works such as “La imagen crítica” in the book Radicantes; Danza y otras especies (Institut Valencià d’Art Modern (IVAM) Valencia, 2018); “La construcción difusa del paisaje. Latitud norte e imaginarios colectivos. Vínculos Nórdicos. Ética y estética del habitar” (Valencia, 2013); Ruidos y Susurros de las vanguardias (1909-1945) (Valencia, 2008); “De guillotinas... y otros modos de decapitación” in Del mono azul al cuello blanco. Transformación social y práctica artística en la Era Postindustrial (Valencia 2003); and Representaciones de la sexualidad en las artes. Miradas sobre la sexualidad en el arte y la literatura del siglo XX en Francia y España (2001). She has published multiple research articles in journals, such as “Nación–frontera. Apuntes sobre la expansión de la frontera y algunas de sus implicaciones” (Murcia 2017); “La semiótica del alien (Unstate, Valencia, 2017); “Noise into play. Disonancias e indeterminación de lo sonoro en lo lúdico” (Ausart, 2015); and “Acontecimientos, torpezas y derivas: generadores ludocráticos” (Ausart, 2014). She has participated in exhibitions including femCode <Arte+Mujeres+Tecnología> (Valencia 2014); Soirée Sonore (Le Gresas. Chalet en Bois Rond. Montebello, Canada, 2007); Festival La Flexió Verbal (Alicante, 2006); No somos idéntic@s (Valencia, 2006). International Digital Art (Mylos cultural centre, Thessaloniki, 2005); Reinventando la radio. Exploradores sonoros (Radio Educación, Mexico, 2004).

She has participated as a speaker at conventions including Interface Politics (Barcelona 2016); Arte y políticas de Identidad (Murcia 2017); and I Forum Internacional Una (altra) Història de l’art. Dones i Art (Valencia 2018); and commissioned exhibitions including the 4th Biennial of European Academies of Visual Arts (Maastricht 1993); Art Public. IX Mostra d’art public per a joves Creadors (Valencia 2006).  

Moises Mañas, Universitat Politècnica de València

Degree in Fine Arts, Doctorate in Visual Arts and Multimedia at UPV and Postgraduate degree in Internet and intranet programming. CFP- Dpto. de Informática de Sistemas y Computación. (DISCA). UPV. 

Currently a Media Art lecturer in the Department of Sculpture at Universitat Politècnica de València. Director of the Official Master’s Degree in Multimedia and Visual Arts (UPV) since 2012. Member of the “Laboratorio de Luz” R&D&I research group since 2000.

He has presented communications and been a panellist at electronic art festivals including FutureEverything (Manchester), Ars Electrónica- Electro Campus (Linz, Austria), Transmediale (Berlin), AMAZE (Berlin) and ISEA (Istanbul).

He has made use of new technologies as applied to the arts since 1996. His work has been presented and received awards at different festivals and exhibitions concerning art and technology in Spain and abroad since 1997.  Noteworthy mentions include: “Parlamento1#” at Institut Valencià d’Art Modern (IVAM) 2017; "Los Algoritmos suaves”, 2018; "Reinventar lo posible-Accionar lo imaginable”, CCCC Centro del Carmen, Centro de Cultura Contemporánea (Valencia) 2017; "Remote Signals" (Tallin, Estonia) 2016; Media Art Futures Festival(Murcia) 2015; the 2013 international ARCO-BEEP Electronic art award (jury special mention); Technical Unconscious (Oporto, Portugal) 2014; QUARTEL (Abrantes, Portugal) 2014; the WRONG, New Digital Art Biennale, 2013; Common Ground (Miami, FL, USA) 2012; Museo de Arte Moderno de Santo Domingo (Dominican Rep.) 2011; Instituto de desarrollo de las artes visuales de la Habana (Cuba) 2011; Space Gallery (Pittsburgh, PA, USA) 2011; Tornielli Museum, (Ameno, Italy) 2011; Festival Digital Image-Espacio ENTER (Canary Islands, 2009); El discreto encanto de la tecnología, Neue Galerie Graz (Austria) 2009; MEIAC-Badajoz 2008; ZKM-Center for arts and media(Karlsruhe, Germany) 2008-9; 4th Festival de las Artes de Castila y León (Salamanca) 2008; Bienal de Valencia 2007; File 04 (Sao Paulo, Brazil), Mediaterra 2000 and 2004 (Athens, Greece); Inmedia 2000 (MI, USA); Observatori-2000, INTERTECNO 2000, Valencia; Festival de Creación Audiovisual de Navarra 1998/1999/2000; Ciber@rt 1999; Muestra itinerante de Cd-Rom españoles (Costa Rica, Santo Domingo, Argentina, Colombia); Museo Reina Sofia (Madrid) 1999/2000; II Muestra Internacional de arte en CDROM, Media Center d'art i diseny (MECAD) (Sabadell, Barcelona) 2000; Vértigos: Artes visuales. Online/ Offline Madrid 2000; “Entre les yeux et ce qu’ils voient” (Liège, Belgium) 2001; Pasos de cebra, Injuve (Madrid) 2001; Situaciones 2001, Arte Joven. Injuve 2000 (Touring: Uruguay, Argentina, Peru); “Front” Edgard Neville (Alfafar, Spain) 2003; Lenguajes Híbridos 2003 (Gandía, Spain); Robotic Art, Interactive Installations & Robots, (Pittsburgh, PA, USA) 1999; Analogic Bytes (Southampton, UK) 1997.

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