The BOT project for Arebyte is based on the concepts of transhumanism, digital presence, fake culture and overexposure. These concepts are already part of the collective imagination in online and physical environments. Both barriers are becoming increasingly blurred, making of the human presence a complex net of truths and lies that are difficult to locate.
The project is visually based on instant messaging or chat environments. With the emergence of artificial intelligence and the automation of tasks by machines, the concept of BOT has emerged. A bot is an automated programming unit capable of performing certain tasks repeatedly. These bots are recently widely used on certain online platforms as a corporate visitor service. These bots always pretend to "look" human. The project plays with the idea of BOT but through the presence of the artists, who are in charge of answering the questions and comments of the visitors on the website. The interface presents different services of "fake" presence but also introduce sections in which the presence is real. In the first instance, Solimán López and then 5 artists belonging to the Harddiskmuseum will be in charge of answering and completing the visitors' requests. This artist will be revealed each week, so.. Stay tunned!! 🤓 🤓 🤓 🤓 🤓 🤓
BOT or NOT
New media artist and founder of the Harddiskmuseum. Creator of the BOT project for AOS.
BOT or NOT
Klaus Fruchtnis is a Paris based French-Colombian artist, researcher and educator. His research is based on the areas of photography, multimedia, digital drawing and media experimentation, as well as collective and participatory projects that involve art, technology, cultural, social and political aspects. His practice and academic research foster more than the artistic aspect; it involves shared projects and initiatives with multicultural partners, new approaches to education and the development of digital literacy. As an artist committed to social and urban development projects, he believes that the role of an artist or a designer in the development of society is as important as that of an architect. His work has been exhibited, performed and published internationally.Over the past few years, he has developed different projects with museums, art centers, correctional centers, local communities, city councils, universities, etc., and, as a result of this, he has created through his own practice, and as part of his artistic research, highly effective and innovative teaching techniques and pedagogical methods. These include a streaming educational channel with new media content, urban mobile workshops, and engaging in discussions with the directorate of cultural affairs of several cities in France in order to develop technological cultural policies. He is currently Associate Dean of Graduate Studies and Chair of Photography and Transdisciplinary New Media departments at Paris College of Art.
BOT or NOT _ SURVEILLANCE’S SYSTEM IS (A) CREATING (SOURCE)
Polymorphic artist Jean-Marie Caddéo, under the pseudonym STASH, has been immersed in underground culture since the 90s. As an event organizer in Paris, he surrounds himself with internationally renowned figures, talents and artists with whom he mixes parties and artistic reflections, immersive works and ephemeral places, collaborations that offer him privileged places of observation in the art world. Self-taught, Stash is free from the constants of cultural art and convinced of the virtue of ignorance, his work is emancipated from all the figures that could impose a path already traced, and naturally asks us the question of the relationship between new technologies and the so-called « classic » artistic ideologies. He develops the concept of Code Art, an artistic movement born in the 1960s with the arrival of the first computers, with the ambition of giving in his creations as much space as possible to self-generated works based on algorithms. His inspiration comes from many fields such as sacred geometry, perception, artificial intelligence, tribal rituals, spiritual symbols, nature, or the generation of forms from sounds.
BOT or NOT _ EVOLUTION OF VIRTUAL SPACE
Maxi Bellmann, visual artist based in Buenos Aires. Works with digital and electronic tools usually in videos, installations. He is part of the Oligatega art collective, a group of artists that explores intersections between art, technology and experimental collective production since 1999.
BOT or NOT _ SENT
Questioning how man deals with his multi-environments and using the symbols of conservation, Vidya-Kélie’s projects imitate naturalist or archaeological expeditions, sometimes involving technology as a revealer. They are transposed by the attire and gestures of the explorer, the biochemist, the detective or the archaeologist. The results of his research are similar to the concept of the Codex. Borrowing the methods, attributes or vocabulary of science, she questions the knowledge, connections and phenomenon of their display. SENT: While “private space” on the web is synonymous with control economy, data storage and predictions of digital behaviour, the cheapest, least polluting and most intimate space is the public digital space, without identifications and without accounts: the free man, dialoguing with the digital continues to question himself and to confront linguistic disjunctions.
BOT or NOT _ SHALL WE DANCE
Paulo Arraiano [b. 1977, Portugal] has a degree in Communication from ISCEM [Lisbon], and Visual Arts at Ar.Co - Centro de Arte e Comunicação Visual [Lisbon]. Currently, he works as a visual artist, co-founder of Re_act Contemporary, an art laboratory and residency programme based in the Azores Islands, WATA Publishing and No.Stereo, an independent artist-run platform. Paulo’s research relates to the idea of visual seismography, assessing surges concerning new natural, social and cultural paradigms. This artistic production interweaves with his research which involves matter and anti- matter, and engages the body, the landscape and technology to address questions concerning climate changes, biosphere, extinction, transhumanism and the anthropocene.