Heterocronicidad. Cronos a debate

  1. Labella, Antonio 1
  2. Sancha, Salvador 2
  3. Cuevas, Maria 1
  1. 1 Universidad Complutense de Madrid
    info

    Universidad Complutense de Madrid

    Madrid, España

    ROR 02p0gd045

  2. 2 CEO Eneso Tecnología de Adaptación
Journal:
Artnodes: revista de arte, ciencia y tecnología

ISSN: 1695-5951

Year of publication: 2018

Issue Title: Digital Humanities: societies, policies, knowledge

Issue: 22

Pages: 72-83

Type: Article

DOI: 10.7238/A.V0I22.3233 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: Artnodes: revista de arte, ciencia y tecnología

Abstract

The Cronos system installation was displayed in the exhibition hall at Polo Digital during the 3rd Congress of the International Society of Hispanic Digital Humanities. Societies, politics, knowledge, held in Málaga on 18, 19 and 20 October 2017. The conceptual development of the research carried out to construct the installation and to define the spatial and participative characteristics required by its assembly are framed within the context of Digital Humanities as applied to artistic creation. This document shows the creation process for the Cronos system and the manner in which its functionality has been adapted to the specifications required by the Heterochronicity project. Generated by María Cuevas Riaño and Antonio Labella Martinez (Faculty of Fine Art, Complutense University of Madrid) and Salvador Sancha Ros (CEO, Eneso Tecnología de Adaptación), its aim is to reflect on the concept of time-art. In this version of the system, we can observe the presence of time in the reproductive sequence of living organisms (rhythm, duration, behavioural pattern, etc.). This is recorded digitally and reinterpreted on the basis of a musical score, written in line with the authors' criteria, which is used to define the manner in which the public should interact with the proposed installation, so the observer can experience the concept of presence and time. Thanks to the trans-disciplinary work, which has included art theory, artistic production and computer engineering, it has been possible to build a discourse around the visualisation of data-time, to propose an experimental exhibition space and to define the strategies for spectator-user participation.  In this article, we share the technical issues and the authors we have referred to in order to prepare our proposed time-art discourse, as well as describing the fundamental aspects of the computational language we have created to produce the installation for the Heterochronicity project.

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