(Traducido po Google)
«A medium is not safe, do not expect anyone to use to define its direction, which, in one form or another, is part of its essence from the
moment it exists. Their existence beyond the application you may receive later has been determined by the characteristics of the person
who produced, sensitivity and interests. «Gettino
Due to the versatility and variety that has shown the Internet and its diffusion characteristics and easy
economics have proliferated increasingly digital works of net art, amazing work daily with artistically
sophisticated, besides having a high level critical and concept.
Moreover, the images of the net artist, their colors, their shapes are no longer linked to the specific nature of
things. «Nothing much difference to other Web art practices such as the fact that your receive mode, the way
to reach the audience, calling other patterns of» cultural consumption «, reading or receiving, than those to
which he (the spectator Now user) is used to. » (1)
Works created with the computer are encrypted and stored on the hard disk memory, thus being reduced to
a new scientific mysticism and new language is constantly changing.
To alleviate some asepsis own digital technology, and apart from questions about policies, we find the case,
among others, Antonio Alvarado, that very line Jodi collective shows in their work behaviors of reality, all the
mysteries that hides the digital process. This is the source code used by various computer languages.
These practices that probe beyond the network, the known-art software and criticize the process and the
behavior of the software: revealing hidden all content each Web page
Within this new way of doing all kinds of proposals exist
There are also proposals that leap off the screen to the outside and are installed in theaters and Walker
streets for joy and lively audience that wants to participate, as in the case of anti-capitalist actions, well
known, Heath Bunting.
All these practices are hybridized and need out of the screen outward mixing with installations, painting and
sculpture, resulting in an enrichment of the art scene. This is what we can see in the work of Alvarado
http://antonioalvarado.net _sumamente complex and varied in content-virtual plastic.
The screen glass presents geometries with different shapes, sizes, textures, colors, movements, trajectories
and positions close to the organic, living forms, composing digital chaos powerful and seductive
transparency. In addition to an almost endless series of screens corresponding to the source codes of VRML
and images to explain better quote some words of Rachel Greene collected by John M. Lucero in his article
codes, interruptions, text «what is normally hidden in a Web page, programming, becomes part of the visible
content of alphanumeric soup so vast that often surprises even the most skilled computer» (2)
The share code, is installed in the room forming a curtain of paper around the computer in an impressive
display that always varies depending on the space and the number of printed pages that it generates.
The viewer is surprised by the revelation of the secret by a text which itself turns out to be another puzzle for
him. We are facing a new aesthetic that we must know how to interpret.
The artist himself wonders and asks: what is the real work, the source code or its interpretation? Take the
1 Brea, Jose Luis. http://aleph-arts.org/pens/online_conmunities.html
2 Lucero, Juan Manuel. Codes, interruptions, texts. http://www.paginadigital.com.ar/articulos/2001seg/varios/beta_test2.html