The International Conference Artefacto arises from the confluence of the need – of the Artech Association and CIAC – to create an international event that would bring together, not only the most current reflections on the universe of new media art but also the objects about which they speak.

The art created with digital resources or from the combination with new technologies has taken, over the last 50 years, many names and diverse formats. Anne Cauquelin, in 1992, concludes in her book Contemporary Art – An Introduction, Introducing the Reader to a New Possible Form of Art – the concept of technological art. If we consider that the relations between art and technology began in 1952, with an electronic music concert held at MOMA, and that in the 60s we witnessed remarkable events emerging for the consolidation of this relationship, it seems a little strange that we are being “introduced” to a new modality of art only in 1992. In fact, the relationship between the arts and technologies developed somewhat surrounding the official history of the arts, through festivals such as Ars Eletronica and the emergence of specific galleries and/or museums, still in the 80s. In general, this relationship, no matter how fruitful it has been and continues to be, has created some distrust, in the same way that photography and cinema did in their times. Artists had to take the lead and experiment with new media to disrupt the logic of the functional and functionalist discourse – inherent to machines.

In the same way that the Contemporary Arts have expanded in the most varied directions, the arts, contemporaneity, which use technologies as a tool, medium, or device for their creations, assume different modalities – more or less virtual, more or less interactive, but always with the intention of provoking a reaction in the viewers, which leads them to think about themselves, about their body and their role in the world that quickly transforms, expands and contracts, in a world that dissolves in bits and algorithms.


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