Archivo de la etiqueta: Max Hernández

El mañana fue hoy. 21 años de videocreación y arte electrónico en el Perú

[English follows]

Alta Tecnología Andina – ATA se complace en anunciar la publicación de El mañana fue hoy. 21 años de videocreación y arte electrónico en el Perú, una compilación de ensayos sobre las últimas dos décadas de videoarte y arte electrónico peruanos, editado por Max Hernández-Calvo, José-Carlos Mariátegui y Jorge Villacorta.

Esta edición bilingüe en inglés y español reúne una serie de ensayos y reflexiones sobre el videoarte en Perú durante las dos primeras décadas del siglo XXI, y el impacto general del arte de nuevos medios en el paisaje cultural, así como sus conexiones con otras disciplinas y con otras iniciativas regionales e internacionales. El panorama que presenta este importante esfuerzo de investigación, examina la rica y compleja trayectoria del desarrollo del video y el arte electrónico recientes en el Perú, desde sus inicios experimentales y precarios hasta su relevancia actual en la escena del arte contemporáneo local, a través de una fuerte representación de galerías y museos, y redes fluidas de distribución. En esta historia, tal como se examina en los ensayos del libro, el surgimiento de los festivales de video y arte electrónico en Perú es un momento clave en el establecimiento de una comunidad local de videoarte, que atrajo a artistas de diversos orígenes y formación. Al trazar los primeros años de los festivales, El mañana fue hoy destaca las contribuciones estéticas de una serie de artistas que, durante muchos años, fueron personajes de culto, aunque desconocidos. Pero el libro también reconoce el papel vital desempeñado por diversos proyectos y organizaciones que dieron forma al paisaje de los nuevos medios en Perú a través de sus múltiples esfuerzos. En ese sentido, como lo sugiere el título, ese nuevo día estético que se buscó durante la última década del siglo XX, efectivamente llegó a través de los esfuerzos combinados de muchos actores de la época, incluso si no se logró reconocer en ese momento. Otros temas que el libro aborda son el lanzamiento de concursos de videoarte, iniciativas regionales centradas en el medio, así como el desarrollo de prácticas y lenguajes específicos, como cine digital, animación, video- instalación y video-performance. El mañana fue hoy también incluye una línea de tiempo de la aparición del video / TV y el arte de los nuevos medios en Perú, desde 1939 hasta 2015, que ofrece un panorama claro y conciso de esta historia.

La publicación ha sido posible gracias al apoyo del Sistema de Información de las Artes en el Perú (INFOARTES) de la Dirección de Artes del Ministerio de Cultura del Perú y del Proyecto AMIL.

Sobre El mañana fue hoy algunos eminentes investigadores de los nuevos medios han señalado:

“Hoy la vibrante escena del video y las artes electrónicas de Lima y Perú es descrita y analizada por las personas que la presenciaron y la hicieron posible. Este fascinante libro describe un panorama lleno de inventos, no solo de video, animación, sonido y obras de arte interactivo, sino también de las infraestructuras y colaboraciones que surgieron para hacer posible su creación […] acciones de increíble originalidad cuyo valor se extiende a lo largo de décadas y más allá de las fronteras del Perú. Un compendio inestimable sobre cómo inventar un medio y una escena relevante”.

Sean Cubitt
Professor of Film and Television, Goldsmiths, Londres
Editor de la Serie Leonardo Books en MIT Press

 

La investigación realizada por Hernández, Mariátegui y Villacorta es un ejemplo jubiloso que ilumina el video y arte electrónico de las últimas décadas en América Latina […] revela una gama de artistas diversos e intrigantes, que apuntan a posibilidades que aún están por desarrollarse. El libro es la mejor prueba de que todavía hay mucho por investigar sobre el arte electrónico y su reciente y rica historia.”

Solange Farkas
Fundadora y Directora de Videobrasil

 

El mañana fue hoy salda con creces la deuda pendiente de producir una historia crítica y analítica de las artes electrónicas en diálogo y a tono con publicaciones de referencia que se han venido desarrollando en América Latina cumplimentando esta tarea ofreciendo un amplio panorama y fundamentado estudio del derrotero de las artes tecnológicas en el Perú. […] señala un partido conceptual e ideológico diverso al de las modas corporativas alrededor del arte y de las historias de la imagen en movimiento.

Jorge La Ferla
Profesor Titular de la Universidad de Buenos Aires

 

The Future Was Now. 21 Years of Video Art and Electronic art in Peru


Alta Tecnología Andina – ATA is pleased to announce the publication of The Future Was Now. 21 Years of Video Art and Electronic art in Peru, a compilation of essays on the past two decades of Peruvian video and electronic art, edited by Max Hernández-Calvo, José-Carlos Mariátegui and Jorge Villacorta.

This bilingual edition in English and Spanish gathers a number of essays and reflections on video art in Peru during the first two decades of the 21st century, and the general impact of new media art on the cultural landscape, as well its connections with other disciplines, and with other regional and international initiatives. The overview that this important research effort presents, examines the rich and complex trajectory of the development of recent video and electronic art in Peru, from its experimental and precarious beginnings to its current relevance in the local contemporary art scene, through strong gallery and museum representation, and fluid distribution networks.

In this history, as examined by the book’s essays, the emergence of the seminal Video and electronic art festivals in Peru is a key moment in the establishment of a local video-arts community, which attracted artists from diverse backgrounds and training. By charting the early years of the festivals, The Future Was Now highlights the aesthetic contributions of a number of artists who, for many years cultish yet obscure figures. But the book also acknowledges the vital role played by the various projects and organizations that shaped the new media landscape in Peru through their multiple efforts. In that regard, as the title suggests, that “aesthetic future” that was sought during the last decade of the 20th century, did indeed happen through the combined efforts of many actors of the time, even if unacknowledged at the time.

Other issues the book engages are the launching of video art competitions, regional initiatives focused on the medium, as well as the development of specific practices and languages, such as digital cinema, animation, videoinstallation and videoperformance.

The Future Was Now also includes a timeline of the emergence of video / TV, and new media art in Peru, from 1939 to 2015, offering a clear and concise panorama of this history.

Contributors include Mauricio Delfín, Reina Jara, Angie Bonino, Umberto Roncoroni, José Javier Castro, Elisa Arca, Enrique Mayorga, Beno Juárez, Lydia Haustein, Kathleen Forde, Sandra Lischi and Vera Tyuleneva, among others.

The publication has been possible thanks to the support of the Information System of the Arts in Peru (INFOARTES) of the Arts Directorate of the Ministry of Culture of Peru and of Proyecto AMIL.

 

Praises for The Future Was Now

The research conducted by Max, Jose-Carlos and Jorge is a joyful example on illuminating video and electronic art over the last decades in Latin America. Mapping projects and organizations that have shaped the landscape of new media in Peru, “The Future was now” reveals a range of diverse and intriguing artists, pointing possibilities that are still to be developed. The book is the best prove that there is still so much to investigate on electronic art and its recent and rich history.

Solange Farkas
Founder – Director
Associação Cultural Videobrasil

 

Now the vibrant video and electronic arts scene of Lima and Peru comes into focus, described and analysed by the people who were there, made it and made it possible. This entrancing book describes a scene bubbling with invention, not just of video, animation, sound and interactive artworks, but of the infrastructures and collaborations that had to be created to make it possible to make them. These networks and associations are artworks in themselves, experiments and performances of incredible originality whose value extends over decades and across territories far beyond Peru’s borders. An invaluable primer on how to invent a medium and a scene where it matters.

Sean Cubitt
Professor of Film and Television at Goldsmiths, University of London
Series editor for Leonardo Books at MIT Press

 

By proposing a broad and well-founded study of the course of the technological arts in Peru, The Future Was Now greatly contributes to produce a critical and analytical history of the electronic arts which is in dialogue and in tune with other publications that have been developed in Latin America. […] points out a conceptual and ideological party different from the corporate trends around art and the stories on the moving image.

Jorge La Ferla
Professor of Film and Media at Universidad de Buenos Aires

 

Puede adquirir la publicación en las siguientes librerías / Points of sale:

Lima, Perú

Librería Sur
Av. Pardo y Aliaga 683, San Isidro 15073
www.libreriasur.com.pe

Librería El Virrey
Calle Bolognesi 510
Miraflores, Lima 15074
(+511) 444 4141
www.elvirrey.com
email: pedidos@elvirrey.com

Librería COMMUNITAS
Av. 2 de mayo Nº 1684-90,
San Isidro Lima 15074
Tel: (51-1)222-2794
Email: atencionalcliente@communitas.pe
www.communitas.pe

Arequipa, Perú
Pucara Bulls
Campo Redondo 102,
Arequipa 04001
https://goo.gl/maps/qw5h3FpLnHVp3qQz9

Cusco, Perú
La Dragona, Club cultural – Librería
Calle Arequipa 159,
Cusco 08000

Madrid, España

La Central (Museo Reina Sofía)
Ronda de Atocha, 2, 28012 Madrid
www.lacentral.com/museoreinasofia

Londres, Reino Unido

Marcus Campbell Art Books
43 Holland Street, London SE1 9JR
email: info@marcuscampbell.co.uk
www.marcuscampbell.co.uk

Estados Unidos

Latin American Book Store
P.O. Box 7328 Redlands, CA 92375
Phone: 1-800-645-4276
Email: libros@latinamericanbooks.com
https://www.latinamericanbooks.com

Distribución internacional y otros países de Europa:

Libreria El Condor
Dirección: Seilergraben 43, 8001 Zürich, Suiza
Telefono: +41 44 262 09 66
email:  libreria@condorlibros.com
www.condorlibros.com

 

Vía Satelite

Vía Satélite, muestra de video arte y fotografía, surge con la intención de mostrar en distintos países de América Latina, Europa y el resto del mundo una selección de la producción visual peruana reciente. Vía Satélite fue presentada inicialmente en el Centro Cultural de España de Montevideo (Uruguay) en diciembre de 2004. Se inaugura en el Centro Cultural de España en Lima en 2005. Los siguientes puntos de itinerancia fueron el Espacio Fundación Telefónica (Buenos Aires, Julio de 2005), Centro Cultural de España en México (septiembre de 2005), Museo de Arte y Diseño (San José de Costa Rica, de 2005).

Los artistas que participaron en Via Satélite fueron: Roger Atasi, Rafael Besaccia, Angie Bonino, Jose Luis Carbajal, Jorge Luis Chamorro, Ivan Esquivel, Flavia Gandolfo, Philippe Gruenberg, Max Hernandez, Pablo Hare, Natalia Iguiniz, Diego Lama, Carlos Letts, Ivan Lozano, Gilda Mantilla, Jose Carlos Martinat, Andrea Miranda, Humberto Polar, Sergio Urday, Beatrice Velarde, Eduardo Villanes y Álvaro Zavala.

Exhibición producida y coordinada por el Centro Cultural de España en Lima.
Un proyecto de José-Carlos Mariátegui y Miguel Zegarra.

http://www.viasateliteperu.org/

Interferences International Electronic Art Festival at Belfort – Perú PER Muta (a liquid voice, pour’d over thy mountains)

Interferences

International Electronic Art Festival at Belfort

Organized manifestation held inside the Nuit Savoreuses, Belfort, France.

December 14th – 20th, 2000.

 

 

Participating project from Perú:

      Perú PER Muta

(a liquid voice, pour’d over thy mountains)

Alta Tecnología Andina, Perú

 

Curated by:

José-Carlos Mariátegui

Carlos Letts

 

This project presents a general overview of the alternative artistic works done in Perú in the last three years. Since 1998, on the occasion of the 2nd International Video Art Festival held in Lima, Perú, new artistic proposals are being frequently created using new technologies.

 

“Perú PER Muta” is made of selected works specially prepared by Peruvian artists that have been developing themselves in electronic art, and by others who use it as a support for mediated dissertations.

 

Different artists from different generations and activities have been chosen. All of them use electronic arts as a creative tool for developing new Peruvian ideas and thoughts.

 

The project is divided in a Peruvian Video Art Selection projection (75 min) and 5 artistic proposals to be installed at the Interferences Festival.

 

 

Peruvian Video Art Selection (1998 – 2000)

(video projection, aprox. 75 min.)

 

This Peruvian video art anthology tries to show the relevance of this media in Perú, as a new way to broaden and extend in the creative universe, against the traditional artistic proposals that made Peruvian art a useless attempt regarding our social context. For the selected artists, video and non-traditional media are shaping the way to free themselves and provides a unique opportunity to express their thoughts, to represent their very own perception of reality. Electronic art in Perú, in it’s initial stage, can be defined as the new creative metaphor recognizable with the mass, the young Peruvian audience, an audience which looks forward to a chance of expressing in harmony with their reality.

 

This video presentation will include a projection of selected works from Rafael Besaccia, Angie Bonino, Eduardo Villanes, Iván Esquivel, Roger Atasi, Fernando Gutiérrez, Arias & Aragón, Darya von Berner / Aguaitones, Delia Ackerman, Alvaro Zavala, among others.

 

 

Artistic Proposals

5 video installations proposals

organized by ATA and Peruvian artists

 

 

 

 

Iván Esquivel

Title of the Project: “can yo_ h_ar m_?”

Video Installation

 

Concept

According to the dictionary, the term “interference” can be defined as a “perturbation on the reception of radiophonic emissions because of superposition of two different wavelengths”, in few words means perturbation in the reception of emissions from a source. We are talking about altering a message (information) between two points, where the transmitter, the message and the receiver are present. In case any of these components is missing, we couldn’t be able to talk about any kind of emission. When the elements are present in this circuit and nothing interferes between the transmitter and the receiver (which will imply a misdecodification of the message), we could affirm that a successful communication is taking place.

 

There are several ways to “interfere”: A TV show with no audio signal, a website that never gets to download completely because of several problems, or a telephone conversation in which a third party never answers, are all forms of interferences. But these interferences are not something recently discovered with the sudden lift off of telecommunications: there have always been interferences; everytime we talk about internet, TV or telephony, we’re not talking anything else but of communications, of information transmitted between two or more points.  In this level is that the generation of interferences gets interesting, because since it is a basic communication scheme, it’s possible then to apply it to any media.

 

Technical requirements

–       A small, closed, dark space, that doesn’t let the audio get involved or mixed with sounds from other works and spaces.

–       3 14” or 21” color TV sets.

–       3 Video Tape Reproducers

–       3 TV bases

 

* The audio will come separately from each TV set.

 

 

 

Biography

Iván Esquivel, (1971) Exhibits in various collective expositions since 1991, used the name ‘Plaztikk’ since beginnings of 1998.  Studied Art at the Pontificia Universidad Catolica del Peru, continuing his career through professional photography and graphic design.  His interest in electronic manipulation began in 1995; in 1997 developed his first web site and in 1998 produced the video clip ‘number’, that has been shown regularly at MTV.  He develops his works mainly as installations and electronic media.  Currently he is developing a cartoon and an interactive program of electronic music. His website is http://www.plaztikk.com/

 

 

 

Iván Esquivel


Roger Atasi

Title of the Project: “Covers / Portraits”

Video Installation

 

Concept

Our urban space (Lima), surrounded by a social reality (Perú), where after an aggressive social climate (terrorism), with a current government crisis, where fear is still hanging around, only remains as a space open to development, and this has many forms; here comes the particular existence of the ‘creole’ factor (creativeness), with a huge extension for the “resourceability”.

I do not take the common citizen –I truly don’t know what this is-; what I know is what he has learned from a TV Set, from a game console, complementing his studies. Now is when he must be something, someone, in gender and in number; everyone is asked to be part of something: you’re here for something (what about being here just like a passer-by?)

To be, being, being part of… he only wants to watch. But not everything is perfect, and finding obstacles and censorship is not what he likes, and what if he doesn’t need to be in touch with anybody? So he must have information and access to it, but he’s restricted, we must fight for aperture. But the enemy is big.

He needs help; although not alone, he thought he was.

 

Technical requirements

–       4 color 5” TV sets.

–       2m x 3m panel (aprox.)

–       Adhesive paper (for some words)

–       4 VHS

–       4 earphones

–       4 neon tubes (the thinnest possible ones).

 

Note:

I need information about the possibility of using unused industrial material, for example, car parts or some kind of metallic unused material.

 

 

Biography

Roger Atasi (Lima, 1976).  Studied Fashion Design at Geraldine Fashion Design School (1993) and art at the National Art School, from march through august, 1993; besides, Roger has taken place in several painting and sculpture workshops in the art museum in 1993 and 1994. After that, he went in 1995 to the Autonomous Art School, and participated in some literature, photography and film direction seminars. He has shown his works at the 2nd, 3rd and 4th International Video Art Festivals in Lima, Perú (1998-2000); in the collective exhibition “Non Places Geography” at the Spanish Cultural Center (February, 1998); collaboration with the French artist Olivier Agid in RADIO IMAGE (November, 1998); again at the Spanish Cultural Center, he presented the video installation “KILLING FOR LIVING” in the exhibition “Yohny for Sale” (march, 1999) and in “VOLATILE BODIES”, part of “The (CH) Solitude Maze” Project (April, 1999).

 

 

 

 

 

Roger Atasi


Angie Bonino

Project Title: “Feet on the Ground”

Video Installation

Concept

This work tries to question the “free” information offering, uncontextualized and alienated information to which we are subdued inside the global interconnection frame.

 

Description

People will participate of this project by walking into a room where they’ll have to open their way through the pneumatic spheres to an exit. The spheres will receive the projection of video (images taken from TV and the Internet).  The video images will be mounted one over the other, generating a kind of ‘information noise’. To get out of the room the people will need to move around the pneumatic spheres (since they have images projected on them, the distribution of the information will be modified).  The panels are needed to help the pneumatic spheres not to get out of the room.

 

Technical Requirements

–       4 Video Projectors

–       4 VTRs

–       40 pneumatic spheres (provided by the artist)

–       7 – 8 m2 closed space, with two entries (in & out); dark, if possible.

–       Racks or supports for the projectors, which will be mounted perpendicular to and above the ground.

–       2 panels of 90 cm2 for both entries, to prevent the the pneumatic spheres to get out of the room.

 


Biography

Angie Bonino (Lima, 1974).  Peruvian visual artist.  Studies at the Escuela Nacional de Bellas Artes del Perú. Work in painting, video, installations and graphic design. Among his most interesting exhibitions are the following: “Esquemas”, individual exhibition at the Marc Chagall gallery, Peruvian-Russian cultural center, Lima (1997); “Cuestión de Fé”, installation at the collective exposition “Recintos”, at the Museo de Arte Contemporáneo del Cuzco (1997); “El Túnel del Paroxismo”, installation at the collective exposition “Ultima Función”, at the Casa Museo José Carlos Mariátegui (1997): “Retrospectiva de Relleno Plástico”, individual exhibition at Universidad Nacional Mayor de San Marcos School of Art Gallery, Lima (1998); “STAND-ART”, installation at the collective exposition “Johny se Vende/imágenes y documentos acerca de Gamarra”, at the Cultural Center of Spain-AECI, Lima (1999).  Has also participated at the 3rd and 4th International Video Art Festival of Lima (1999, 2000) and at the 6th Latin-American Video Festival, Rosario, Argentina (1999).

 

 

Angie Bonino

 

 

Max Hernandez

Title of the Project: Relay/Breakdown”

Video Installation

 

Concept

The “Relay/Breakdown” Project takes as it’s starting point the conception of an unexpected (frequently traumatic) event that pierces the surface of quotidian life as an interference on our vital experience, although it is assimilated to it. To approach this issue of the surface of daily life as always on the verge of breaking up, or already broken, the work employs real time as a way of interwining with the quotidian. On one hand a video camera registers the daily activity of the town (it will be installed outdoors, on a high transit area) and on the other hand, a computer connected to the web will access different pages that register and document events that signify a breaking of common experience for its participants (ranging from accidents to violent events, private and public, individual and communal). In a closed environment a multimedia projector connected both to the computer and the camera will project randomly the input that comes from both sources.

Technical Requirements

–       Video Camera

–       Computer connected to the internet with video output

–       Video Projector

–       6 – 8 m2 closed space

 

 

Biography

Max Hernandez Calvo (London, 1969).  Arts Faculty,  Pontificia Universidad Católica del Perú. Solo Shows: Forum Gallery “Teenage Heaven” 1997; Forum Gallery “The Gap” 2000.  Events: International Lima Festivals; I Bienal Iberoamericana de Lima; I Bienal Nacional; Fiestas Julianas, La Paz, Bolivia.  He is actually a practicing artist and writer, and teaches art theory at two local schools (PUC and Corriente Alterna).

 

 

Max Hernández

 

 

Carlos Runcie Tanaka

Title of the Project: Limit Zones”

Video Installation

 

Concept

Landmarks of Information:                  – Appropriation

– Exchange

– Devolution (questions / answers)

 

The Habitat – the crab that digs into tunnels in the sand, to position itself in a more humid zone, always between water and earth.

 

The Perimeter – the constant flow of water-earth, “the waves of the memory”

 

The Activity – the action of food ingestion (education?) afterwards returned in the shape of small spheres (knowledge spheres); the act of pleasure (the crab’s own alimentation)

 

Hand – Head / Brain – Heart

 

Act

Thinking

Feeling

 

Action

Meditation

Impulse

 

The Eyes

 

Visualization of contour

Look further than looking

 

 

Technical Requirements

The space is seized with a clay element worked in situ and complemented with a video projection.

Approximate Working Area: 5 x 12 m2

Location: variable (preferring on a covered exterior)

Elements needed:        Mud – Clay – Water

3 video projectors

Transparent plastic (for covering)

Red cinnabar pigment

Light equipment

 

 

 

 

 

Biography

 

Carlos Runcie Tanaka (Lima, 1958). Studied pottery at “El Pinguino” workshop in 1978.  He was then invited by Master Potter Tsukimura Masahiko to work as his apprentice in Ogaya, Japan (1979), and later went to Mashiko as a guest assistant to Master Shimaoka Tatsuzo. From November 1981 to April 1982 continued studies in Florence, Italy, with a grant from the Organization of American States (OAS). In 1986 he was given another grant form the OAS to study crafts design in Brasilia, Brazil. In 1989 Runcie held an individual exhibit at the OAS Museum of Modern Art of Latin America in Washington D.C. and in 1990 had another one at the Centro Cultural de la Municipalidad de Miraflores, an important exhibiting space in Lima, Peru. In 1991 he received the “Ciudad de Mexico” Scholarship, representing Perú at the IV Havana Biennial in Cuba. In 1994 held the “Displacements: Spatial Images of Discontinuous Traditions” Exhibition held in the Museo de la Nación, Lima, Perú. “Displacements” was a multimedia installation which focused on ceramic objects as a mean to achieve a linkage between these two cultural driving forces, immigrant and native. The crabs recollected at Cerro Azul (130 kms. south of Lima) became the leit motif of the exhibit, representing the circular experience of movement, stillness, life and death. During 1996, Runcie took part in “La Espera” (The Wait), an installation shown at ARCO 1997, Madrid, Spain. In august 1997 he exhibited “La Cuenta del Cangrejo” at the Museo de Arte Contemporaneo, Santiago de Chile, Chile. “Tiempo Detenido” (“Standstill”) is his latest work Shown at the I Bienal Iberoamericana de Lima in 1997.

 

 

 

Carlos Runcie Tanaka

 

About the Curators

 

Carlos Letts

(Lima, 1977). Poet, photographer and sensorial designer.  His recent participation at the 3rd and 4th International Video Art Festival in Lima as part of the organizing committee led him to explore the vast fields of video-creation. As Cultural Coordinator of ATA he has been involved in artistic activism in alternative areas of knowledge, as well as the development of over 30 productions in cooperation with Peruvian and international artists. At present, studying at the Communications faculty of the Universidad de Lima, his interests in the career develop in the forms of filmmaking and journalism. He has published several poems in local literature magazines. His next project talks about the future nostalgy of a constant feedback to the 80s decade.

 

José-Carlos Mariátegui

Peruvian.  Born in Lima, Peru.  Studies of Biology and Computer Science at Cayetano Heredia University, Faculty of Sciences and Philosophy (Lima). President of Alta Tecnología Andina (ATA), non-profit organization dedicated to the development and research of artistic and scientific theories.  Director of Memorial Museum Mariátegui (his grandfather and a Latin-American Marxist thinker) of the National Institute of Culture.  Resident at the CICV Centre de Recherche Pierre Schaeffer Montbeliard Belfort, Hérimoncourt (France). Member of the Scientific Though and Philosophy of Science Program, directed by Dr. Alberto Cordero, Cayetano Heredia University (Lima).  Coordinator of numerous expositions and symposiums in Peru. General Coordinator of the International Video Art Festival in Lima (since 1998).  Teaches the courses: “History of Computers”, “Multimedia: The art of communication in the modern age” co-organized by ATA and Cayetano Heredia University (Lima) and “The virtual museum” at Ricardo Palma University Postgraduate Museology Program.  Beta tester, producer and developer of multimedia programs and web sitesCo-creator of “Tupac Amauta”, VideoPoemOpera by Gianni Toti in co-production with the CICV (France).  Recent conferences include: Festival de la Vallée des Terres Blanches (France, 1997), III Latin American Congress of Humanities (Costa Rica, 1997), Isea Revolution Symposium (Liverpool, 1998), Invençao: thinking the next millennium (Sao Paulo, 1999), Biota 3, Third International Conference on Cyber Biology (California, 1999).  Member of several committees on virtual reality, interaction and Visual Computing. His more recent publication is “Techno-revolution: False evolution?” (Third Text, n. 47, London, 1999).

 

The Meaning of ATA

Alta Tecnología Andina (Aloft Andean Technology) is a non-profit organization created to collaborate with the formative aspect of those who are going to be activators of creative intelligence, of inventions, of the new origins of a humanizing and re-naturalizing world. By this means we would cover all fields in human activity, with the development of techniques and loggias in the production of goods and services in every sector of the economy, as well as the development and growth of the applied scientific investigation. This will contribute with the re-evolution of the world and Perú within the planet.