tag:blogger.com,1999:blog-15306862100341387622011-07-07T20:02:29.423ZWhen art and technology find the wrong personRaquel Herrerahttp://www.blogger.com/profile/14747925726976219102noreply@blogger.comBlogger61100tag:blogger.com,1999:blog-1530686210034138762.post-22237112094903918452007-02-26T23:17:00.000Z2007-02-26T23:26:56.004Z

Last February the 17th the I-Dissabtes (Saturdays) in Mediateca Caixaforum hosted a workshop of videogame projects “acceleration” by Joan Leandre and Vanni Brusadin which ended up to be a talk about artistic intervention in games for obvious practical reasons: how to give a workshop in only three hours? I decided not to attend the talk for various reasons and because I’m afraid that if things go

Raquel Herrerahttp://www.blogger.com/profile/14747925726976219102noreply@blogger.com37tag:blogger.com,1999:blog-1530686210034138762.post-4231387775664971222007-01-28T20:29:00.000Z2007-02-05T20:17:09.868Z

The problem of the beginning of the year is that it seems to linger on whether you want it or not well into winter. There aren’t many cultural activities and time can only be filled with personal reflection, or, in any case, with wandering thoughts about good and bad intentions to be forgotten by springtime. I’ve been wanting to write for some days and not necessarily about the same old stuff,

Raquel Herrerahttp://www.blogger.com/profile/14747925726976219102noreply@blogger.com0tag:blogger.com,1999:blog-1530686210034138762.post-90585834632973356142006-12-29T20:06:00.000Z2006-12-29T20:20:58.998Z

(Previous Spanish version posted on 12.14.06).My second bibliographic explanation from late fall (even if I’m traslating it in the bleak midwinter) revolves around Experimental cinema in the digital age (BFI, London, 2001), a compilation of articles published by English experimental filmmaker Malcom LeGrice between 1972 and 1999 about these kind of movies and the structure and aesthetic

Raquel Herrerahttp://www.blogger.com/profile/14747925726976219102noreply@blogger.com0tag:blogger.com,1999:blog-1530686210034138762.post-2617293728262236232006-12-20T20:41:00.000Z2006-12-28T20:17:02.874Z

(Previous Spanish version posted on 11.19.06. It has been edited to be self-contained). Beyond the usual attendance to diverse festivals and conference, offering instant information on phenomena allowing me to “carve out” an opinion about the relations between art and technology, my academical studies compel me to think about the narrative specificites in the digital sphere, but no matter how

Raquel Herrerahttp://www.blogger.com/profile/14747925726976219102noreply@blogger.com0tag:blogger.com,1999:blog-1530686210034138762.post-14401739996493698032006-12-13T15:11:00.000Z2006-12-20T20:40:15.324Z

(Previous Spanish version posted on 11.14.06. It has been partially edited to be self-contained). The second edition of the local symposium (with an international focus) on art criticism was devoted to the biennale phenomenon: what are they, what are they for and why do they exist. Generally speaking, as it happened in the previous edition, most of the presentations of the keynote speakers

Raquel Herrerahttp://www.blogger.com/profile/14747925726976219102noreply@blogger.com0tag:blogger.com,1999:blog-1530686210034138762.post-43316472042088461632006-12-11T15:08:00.000Z2006-12-29T20:24:47.794Z

Tempus Fugit is a blog about the intersection between art and technology. The Spanish version started in March 2005 as trilingual tryout of writings in Spanish, Catalan and English, but soon I dropped the last two options because it was much easier to focus on a single language. Nevertheless, I always missed the chance of addressing to the English speaking community. This is why I am going to

Raquel Herrerahttp://www.blogger.com/profile/14747925726976219102noreply@blogger.com0