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hiper_Arte_memo2k1
HEAD
The 21st century will be the century
of globalization, ubiquitous computing, artificial life, soft porn, online
culture, and games.
BODY
../of globalization
What we now see unfolding before our eyes as the possibility of realizing
one of humanitys distant dreams lies close in origin to the turmoil
that characterized the last century. A century of wars and revolutions.
A century of science and technology. A century that saw the triumph of
capitalism, the democratic institution, and mediatic transparency. A moralistic
century (despite all the immorality). An ideologically and culturally
deconstructive century. Locally awful, touching, macabre, hilarious, diabolic,
and innocent. Just forget it... but not completely!
The most
deep-seated sexual taboos have been broken down. Politics and nations,
as we know them, hurriedly regrouped into regional blocs, have almost
had their day, while the economic, social, and cultural dislocation of
societies and individuals is speeding up. Planet earth is an ecosystem
with a mind increasingly smarter and more aware of local and global interdependencies.
At the end of the day, the intelligent democracy, for which we ought to
struggle, is really about uprooting the old power systems in favor of
a detached self-discipline, whose, increasingly more complex, controls
will be handed over to a digital superstructure, accountable to the law
and opinion. 
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The dominant
evolution of the world contaminates more, historically, backward social
systems. Even when we deem it politically correct to preserve some anthropological
sanctuaries still to be found on the planet. Amazonian Indians; various
African peoples, such as the Congos Pygmies and the Kalahari Deserts
Bushmen; the Sahara Deserts nomads; certain Eskimo villages, or
the Australian Aborigines. A matter that is surely one of the most delicate
when it comes to contemporary ethics. We ought to trust anthropologists,
sociologists, and psychologists, who dedicate their lives to this problem,
and be supportive when they come to us with their findings and their causes.
But, if these sanctuaries of humanity can be cared for surgically, in
the name of a less ethnocentric philosophy, we cannot, however, say the
same of broad, historically backward, expanses of the planet, nonetheless
obviously interested in the spiraling drive bent on developing democratic,
technological, and mediatic capitalism. Brazil in South America, Angola,
Mozambique, and South Africa in Africa, China, Asia. Those three continents
will eventually be transformed by the leverage of modernization throughout
this century. In the wake of that "upgrade" the world will never
be quite the same again. What will it be like? For those of us living
at this the dawn of the millennium, theres no way of our knowing
right now. 
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The problem
of globalization boils down to this. Pre-technological power systems are
bursting at the seams, running the risk of having to survive while bearing
the burden of irrational humanity for the next 50 years. Current policy
is costly and inefficient. And globalization conducted by the current
power systems (and forces) tends to generate incurable conflicts between
global and local perspectives on the distribution of work and wealth.
The globalization program will have to be based on the limitation of regional,
national, and continental emission pollutant levels. On redistributing
wealth worldwide, and on decentralizing technology. On making permanent
education systems widespread, and on abolishing the death penalty worldwide.
On bolstering the powers of the human-rights courts. On bolstering societal
and individual powers of freedom, democratic rights and obligations. In
a nutshell, in the writing up of a Universal Constitution of Human Rights,
capable of beneficially overriding national constitutions in key matters,
such as the right to life and freedom to travel the digital highway. 
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../of
ubiquitous computing
Despite efforts constantly aimed at simplifying democratic and end-user
accessibility to technological tools, the technical evolution and, in
particular, the evolution of our computing tools and devices indisputably
points to the exponential complexity of the technosphere and to a more
than certain unequal sharing of work and wealth. This trend entails, among
other things, the dramatic updating of concepts regarding minimal, basic
and permanent education, and a new type of political discussion
based on entirely new methodological premises and parameters for argumentative
skills.
The marriage of computers to telecommunications systems is changing the
economy and politics, as well as our social and cultural habits. It is
enhancing, much faster than originally thought, the evolution of devices
enabling remote interactivity (telepresence), whose historic progression
unites the primitive Tom-Tom to UMTS technology, including the phone and
Internet.
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But the
hottest innovation introduced by the World Wide Web, especially through
3rd generation mobiles, is the possibility to design, produce, and access
at least four states of interactivity.
That of:
- live interactivity: i.e., when humans interact in real time; or when
they interact in real time with intelligent computing devices;
- passive interactivity: i.e., when we surf the Web, just for fun, or
searching for specific information/images;
- deferred passive interactivity: i.e., when we define our preferences
with regard to database servers, e-mail, etc., responsible for periodically
updating messages and the content of our favorites;
- and, finally, that of alienigenic interactivity: i.e., whenever we configure
the ubiquitous computer system that leads to artificial ecology of the
type: my cars GPS communicates with my house, which in turn communicates
with my UMTS, which in its turn decides to communicate with me, or with
certain intelligent devices, to put my professional, emotional, logistical,
financial, or legal affairs in order... 
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We have,
as you can see, come a long way from the Renaissance blueprint, based
on the ideology of the authorized "point of view". We have also
distanced ourselves from the inexorability of cubist expression deflagrations,
the phenomenology of abstraction and expression, and didactic conceptualisms,
as well as from more recent anti-technological autisms, and even from
that conventionally called the "acceptance esthetic". If any
esthetic arises out of the technospheres ubiquity, it will surely
be a dynamic one, or, if you will, an interactive (likewise agonistic...)
esthetic. A hyper-human esthetic too, insofar as it will have to rely
increasingly on the sense of humor and tastes of the new intelligent cyberspace
actors.
The atomization of artificial intelligence will shape, in a way we are
as yet unable to foresee, the future of humanity and its images. So, where
are the new artistic avant-gardes? Dont look for them in the corrupt
corridors of the 20th centurys cultural bureaucracy, which understands
as much of what we are currently talking about, as did the 19th century
academics about Impressionism. 
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../of
artificial life
Advances in science, technology, and medicine have led to transgenics,
cloning, the partial cybernetic reconstruction of a human body, and to
the design and artificial culture of human tissues and organs. In other
words, to genetic modification, asexual reproduction and artificial life.
The functional success of these scientific and technological innovations
is so mind-boggling that nothing will ever be quite as it was before within
the coming 50 years. The vision of a eugenic vanguard commanding a planet
of reproductive sex-slaves, victims of the most pessimistic Malthusian
predictions, is surely the wet dream of some diehard Puritan and a defensibly
theoretical excuse for over-productive transgenic cycles!
It will not be easy for us to avoid radical eugenics from forging ahead,
in the coming 5 or 10 years, to news of a human clone. Perhaps already
full grown, healthy, and socially integrated. With the amorality of it,
and even the virtue of the procedure, having been proven, the world will
inevitably be polarized into committed heterogenicists and eugenicists.
But that debate has already begun between the somewhat defenseless Nature
partisans and the new selfish philosophers of transformation and immortality.
On one point, both agree. If it is possible to nurture and prolong life,
then doing so should be legitimate. Plus, all of us would be interested
in that kind of possibility, even though it might mean going down a painful
avenue at first. Up to that point, more than one of us will be ready to
subject their body to a total or partial cryogenic procedure while still
alive, in light of later being brought back to life, as soon as scientific
and technological conditions are ripe for it. 
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Another
offshoot of the evolution in artificial-life sciences and technologies,
is the possibility of creating new genetically-aided foodstuffs (in particular
meats, leading us to the end of the era of rearing animals for slaughter
and extending a drastic moratoria on fishing. Cheese and yogurt will then
figure in the history of the human diet as the great precursors of a new
artificial food chain of animal origin. Cloned (and, obviously, transgenic)
meat will arrive at food markets under a completely safe food
label. When will that come about? Maybe after BSE has spun out of control,
leading then to the application of alternative solutions already tested
under controlled conditions, or that are at the techno-scientific incubation
stage. Vegetarian food is, and will continue to be, a major alternative
to meat and neo-meat strategies.
But one of the most controversial and stimulating themes of artificial
life is that of the theoretical possibility of copying data from human
memories. The prospect, even though remote, of transplanting and implanting
data to and from human brains would certainly give a strategic advantage
to the radical eugenicists.
Science fiction scenarios are likely, disturbing, and attractive. And,
they will have a profound and lasting impact on current and future artistic
creation. 
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../of
soft porn
If we look at the populational and moral evolution of industrial and post-industrial
societies, we can see a relentless march toward a lowering birthrate,
the ageing of the population, and a decline in strict heterosexuality.
Reproduction of the species has slowly ceased to be a priority of the
species itself. The principal causes of this philogenetic modification
are the drastic reduction in the economy of subsistence farming, the progressive
end of the family economy in cities, of women working, and the higher
compulsory school-leaving age. The traditional, matrimonial, and reproductive
family is in crisis and nothing appears to be able to prevent its getting
worse. The family is increasingly seen as a temporary contract, out of
which successive reconstitutions can be made. That perception gives rise
to a whole range of judicial, meta-parental and emotional firsts, originating,
on the other hand, a progressive revision of the sexual taboos on which
ideologies and human conduct have been based during the course of the
preceding millennia, while also culturally redefining the sexual function
and eroticism. Also on this point, the century, whose portal we have just
entered, promises to radicalize some behavioral innovations already heralded,
to a certain extent, in the latter decades of the 20th century.
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The growth
and progressive social acceptance of male and female homosexuality has
led directly to the notion, commonly shared today, that sexual freedom
is a reasonable conquest, and, as such, the right to an alternative sexuality
must be part of a citizens constitutional rights. The question as
to the limits of that freedom, nobody, for the moment, seems ready to
answer. But well get there, sooner than expected.
The first methodological dissection to operate on this debate is the
difference between consent, exploitation, and coercion. The latter two
terms, relating to the universe of democratic morality and legality, should
be addressed on the same political and judicial plane as all causes concerning
the physical, economic, social, and moral integrity of individuals. In
the universe of consent, on the contrary, resides an interesting and fertile
discussion that we can have on the new sexuality. The first idea on its
way to becoming a fairly acceptable one, is that sex, or better yet, practicing
sex, which besides having to be a freely consented to and gratuitous activity,
can at the same time be, although on a distinctly subjective and emotional
level, the subject of various professional and economic activities. The
argument here boils down to the debate on the need for the decriminalization,
regulation, and legalization of prostitution.
In an era in which non-reproductive sexuality has become all-pervading,
nobody can explain why we consider it perfectly normal for someone to
smash an adversarys neurons in a boxing match, or slaughter bulls
at a public spectacle, while at the same time condemning the marketing
of sexual services. The objection to AIDS is not valid, insofar as it
touches on all nature of sexual activity without exception. 
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With male
and female homosexuality legalized, like bi-sexuality, consensus and mental
reservations regarding the so-called sexual perversions, such as anal
and oral sex, whether heterosexual or homosexual, have yet to be clarified.
What answer, for example, do we offer vis-à-vis the taboos of incest,
pedophilia, zoophilia, coprophilia, and sado-masochism, among others?
Before post-modern societies are even ready to discuss these issues, pornography
has burst like a veritable mediatic bomb before all our very eyes (adults
and children). In Portugal, for instance, a channel belonging to a commercial
TV station, in which the state has a stake, daily transmits hard-core
pornographic films. As in other countries where this phenomenon has also
cropped up, and as with the Internet, pornographic sites and channels
are responsible for the "invisible" commercial success of many
an "innocent" entrepreneurial initiative.
In fact, what we are seeing here is the birth of enumerable professional
activities dedicated to eliminating sexual taboos and in the declared
defense of erotic creativity. The gyms of sexual liberation have been
taken over by the trend for erotic consulting rooms, already disseminated
by most of the media. But, in line with what happened in the world of
drug trafficking, the great "trustees" of sexual exploitation
will attempt to hang on to their share of the spoils, lobbying on in the
opportunistic labyrinths of power in favor of sexual prohibition. 
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The current
over-exposure of erotica, of which the leaning toward a progressive social
acceptance of pornography is the best reflection, throws down some interesting
challenges at the feet of contemporary art. Eroticism always was a prerogative
of the arts. They had, so to speak, a special permit to handle the exposure
of bodies and the depiction of the libido. However, with the predominance
of Informalism, Abstraction and, in general, of iconoclast Puritanism
in modern art, avant-garde artists distanced themselves from that privileged
territory of poetic imagery and eroticism, leaving it to photography,
the cinema and TV the new shrines of imagery. Places where the
formerly well-defined limits of the linguistic domains of a more or less
imaginary imitation of the world, its apparent copy, information, and
peculiar productions... gather.
The rejection of libido practiced by the first Puritans, for what its
worth, in the end denotes a brief and superficial trend in Western estheticism.
The century we have just entered will see some of the most implosive trends
of Abstraction and Conceptualism utterly swept away, educationally reviving
the healthy eroticism and healthy anarchism of Dadaism, of which Guy Débords
Situationism was the last great manifestation. That art will revive a
radical and subjective critique of the world, once more picking up the
initially corrosive logic of Pop Art, exhibited, among others, by Richard
Hamilton and Öyvind Fahlström - artists almost always underestimated
by the pseudo-historians of 20th century art.
Pornography has therapeutic effects, and can even be seen as a branch
of radical philosophy focused on the flesh, perception, and the ghosts
of imagination. How could we not but consider it a serious art subject?

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../of online culture
Throughout the past century, the arts managed to anticipate
the globalization logic (learning to handle technologies and mass information).
Those that, on the contrary, found themselves confined to phenomenological
entropy (I am speaking of course of the suicide of some "avant-gardes")
are faced with the one and only path to salvation. The path of digital
interactivity.
So, and however insipid "net art" may appear today, one thing
is certain. All the new stuff this century brought to contemporary art
will find its vortex within digital networks, organically developing as
one of the many dynamic characteristics of the technosphere. Around 1993,
this new world, a hub of analogical and digital happenings and reality
images, set off on its rootlike path. It seemed, way back then, that it
would merely become a digital replica of the old order. Now we are beginning
to see it as an authentic "extension" of reality. Or, as a hyper-reality.
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The pre-industrial, fundamentally classic, medieval, and Renaissance, iconological
order was exceedingly uncomfortable with the appearance of photography,
cinema, and TV. The world had up until then had abided by a point of view
that was overwhelmingly the point of view of a transcendent, untouchable,
manipulative and fantasist authority. Bourgeois society, in the course of
its own liberation and in the wake of a period devoted to putting its ideological,
economic and social agenda in place, called for freedom, and also called
for the freedom to look at it. It needed a certain dose of truth to achieve
its purposes when taking on the old royal and clerical order. Some painters,
such as Goya, Manet, and Courbet, knew how to address this need, unveiling
the bases of the modern Realism that would influence the objective shape
of the 20th century. As was inevitable, the discoveries of Daguerre, and
the generation accompanying him in perfecting photography, were greeted
with optimism by this esthetic trend. The printing press and the intrinsic
possibility of being able to run off illustrations in large batches culminated
in the much-heralded freedom of the arts in the domain of fantasy. All in
the name of bourgeois republicanism, Enlightenment, and this new social
category that became know as the People, with a capital P.  |
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Photographic objectivity and newspapers carried far too much impact, however,
to continue under the aegis of Arts and Letters. Journalism became, of course,
an inevitability. And with it, the soft democratic manipulation of our consciences.
As part of the new mass media, print technologies, photography, and later,
cinema and TV would come to rely on major investments for their rapid evolution
(induced by increasingly aggressive commercial competition between the new
social orders entrepreneurs). The artist at the service of the new
power of communication immediately galloped off to join the proletariat.
And when he did escape, it was to set himself up as a commercial artist,
proofing custom-made images and texts for a barely tolerant and poorly educated
clientele. Slowly he became used to editors authorized to take a hatchet
to his images and texts, in the name of the overriding criteria of perception,
legibility, and good conceptual digestion. In short, he was no longer considered
a messenger of God and Beauty. Banality was imposed as the predominant standard-bearer
for illustrations and chronicles. It is not difficult to see why, in the
end, there would be an inevitable parting of the ways between integrated
creators and those that, shunning integration, would end up by becoming
that species of apocalyptic genius characterizing modern and contemporary
art so well.  |
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If, however, the realm of objectivity was usurped in the name of truth and
by the triumphant bourgeoisies, what was left for those ill-disposed to
succumb to the new regimes iconological manipulation, was to draw
closer to the heterodoxies and ideological utopian ideas that everywhere
started, in small doses, to demystify the new bourgeois order. Following
that course, the idea gained strength of an art for arts sake, thats
to say, of an art whose manifestations were entirely and exclusively the
upshot of a disinterested, free, and spontaneous act "of" Creation.
Out of that confrontation, and conceivably even today, Western art turned
into a critical voice and a corrosive image of reality. Unable to compete
with the powerful resources of propaganda and communication generated by
economic and political powers, it ended up by embarking on one of two isolationist
approaches. The neurotic disfiguration-of-the-world approach, and the abstraction
(another form of disfiguration...) approach. Expressionism, Cubism and Neo-Plasticism
are a clear indication of the enormous analytic propensity marking the essence
of 20th century art. The first players in that strategic retreat were painters
such as Monet, Cézanne, Matisse, Van Gogh, Picasso, Klimt, and Mondrian.
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Yet the irony of it resides in the fact that that retreat ended up by fitting
in perfectly with the bourgeois logic of alienation and separation, serving
to underpin the conditions that gave rise to its widespread reproduction
as a model of destructive growth. Isolated in ivory towers of phenomenological
and psycho-dramatic metaphysics, the avant-gardes of modern and contemporary
art mis-spent their energy on a second confrontation that, just like the
first, they finished up losing. A confrontation with disciplinary knowledge
made, in the interim, autonomous. No matter where they turned as far as
thinking (philosophical, metaphysical, psychological, political
) was
concerned, their protests came up against some already-formed epistemological
domain, more competent and informed than that which was supposedly esthetically
clairvoyant. Traveling this exhausting disciplinary path, 20th century art
would end up by allowing itself to be reduced to an opaque and untranslatable
subject, whose practical value was progressively debased in the name of
usury, along with the prevalence of speculative trading values, statutory
exhibitionism, and money-laundering.  |
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Capitalisms logic dominates the world. Consequently, we all remain
separate from one another in the name of the systems efficiency.
This is not to speculate on the possibility of artists returning home like
the prodigal son did. But to return instead to the aggressive methodologies
of the historic avant-gardes of the 20th century (such as Dadaism, Constructivism,
Concretism and the Situationist Movement) to relaunch new strategies of
symbolic guerrilla warfare against the eternal lack of imagination and poetic
brutality of the agents of Capitalism. The interesting point here is, what
is happening in the intrinsic virtualities of the technosphere, the utilization
of which takes a prior mastery of its rules and mechanisms as read. Unlike
the painters who turned their backs on photography, we should imitate the
enthusiasm with which constructivists, in around about 1917, grabbed hold
of the new times. The constructivist dream did not outlast the Bolsheviks
fantasies and illusions. But, nonetheless, they do remain in the memory
of the arts as one of those rare moments in the 20th century in which sensitivity,
communication, and technique were able to create a unique symbiosis of creativity
and social awareness. Neither manipulation nor autism. Just simply a great
utopian party!  |
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The Web world is a digital galaxy in expansion. Search engines only employ
25% of their potential in every search made. Even so, answers to the questions
put by us flood in overwhelmingly. Will we have to monitor our explorer
systems? May we, after all, operate outside a particular group of interests?
And if we do operate within only a limited number of virtual groups, will
we have any notion of the zone of the universe we are exploring? Our spaceship
(de-game.org/) has a specific mission. To attract, and be attracted to,
everything to do with the knowledge, criticism, creation, and publicizing
of computer games, as well as dealing with the appropriation and hijacking-like
links introduced into this domain by artists, wherever they may come from.
It is a principle of action and a method of analysis, presented in this
initiatives context, as a challenge.
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../and
of the games
Free time in affluent societies will be occupied, to a great extent, by
agonistic activities. Computer games, especially when shared on the Internet,
generate chains of very strong agonistic solidarity. While television
viewers just watch games or motor racing, Playstation players, and Internauts
who battle out Quake sessions on the Internet, do actually take part in
the game. Simulators, evermore sophisticated and realistic, lead players
to live experiences of total phenomenological immersion. On the other
hand, in strategy games like Summons to Surrender, players can live a
double life for months or years. As models, animation, and the intelligence
of digital players become more sophisticated, greater empathy is established
between the player and those actors. The degree of complexity at which
the worlds, operational scenarios and virtual actors is growing, makes
the game experience progressively more interactive. Not just its physical
performance, but also the growing importance of the psychological and
biographical characterization of digital players contributes to their
progressive social integration into the individual human players
universe. Modifying the texture of these games, dressing and undressing
their respective heroes and heroines, altering available weapons systems,
etc., are just a few of the hacking practices (authorized or not by the
games producers) currently very much in vogue with these groups of players.

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This intense
techno-cultural dynamism, thrust on the world by the creators and cybernetic
generators of these new landscapes and virtual narratives, has aroused
the curiosity of a growing number of artists, who see in this feeding-frenzy
an excellent window of opportunity for their own unusual incursions.
António Cerveira Pinto
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