Abstract
Through the category of ‘border hack’ (proposed by Rita Raley) and the analysis of three meaningful artworks (Transborder Immigrant Tool by Electronic Disturbance Theatre 2.0 and b.a.n.g. lab, BorderXing Guide by Heath Bunting and Shadows from Another Place by Paula Levine), the aim of this article is to investigate the aesthetic-political practices around the notion of transnational border. These are works of a performative nature and are linked to the networked environment of the Internet. They exemplify a brand-new season of New Media Art, in which the electromagnetic armamentarium of satellite positioning systems and mobile devices takes on a tactical dimension of confrontation with the equally technological governmental-military strategies of border surveillance and identity control.
Highlights
Sommario 1 Artisti programmatori. – 2 La conciliazione tra gli universi dell’arte e della scienza. – 3 Tra invenzione artistica ed evidenza scientifica
While traditional techniques prevail in the art system, computer art represents an experimental field in which the image is the product of mathematical formulas and algorithms
Critics and art historians have described it as a new type of art, the latest encounter between humanistic and scientific culture
Summary
Sommario 1 Artisti programmatori. – 2 La conciliazione tra gli universi dell’arte e della scienza. – 3 Tra invenzione artistica ed evidenza scientifica.
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