Transborder Immigrant Tool. Lo real frente a lo virtual de una propuesta artística de movilidad en la frontera México-EEUU
[EN] In this paper I will discuss how realIvirtual dyad has an artistic application in the Transborder(Immigrant(Tool project from the San Diego CaliforniaIUSA collective, Electronic Disturbance Theater. This project consists of a GPS mobile phone application that seeks to assist migrants in the Anz...
| Autor: | |
|---|---|
| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2015 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/88410 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/88410 |
| Access Level: | acceso abierto |
| Palabra clave: | Arte Producción artística Estética Teoría del Arte Gestión cultural Educación artística Investigación artística |
| Sumario: | [EN] In this paper I will discuss how realIvirtual dyad has an artistic application in the Transborder(Immigrant(Tool project from the San Diego CaliforniaIUSA collective, Electronic Disturbance Theater. This project consists of a GPS mobile phone application that seeks to assist migrants in the AnzaIBorrego desert USA I Mexico border. It assists to locate water reservoirs which have been installed by several humanitarian NGO’s, using a compass interface that indicates the way forward. The app has a series of poemsIinstructions which contain useful data to help survival into the desert. I propose to consider realIvirtual dyad rather than an opposition as a juxtaposition between what is real and what is possible in two ways. The first concerns the manner in which this project aesthetically interrogates the visibility of migrants in the border that is an operator of the real which functions through the mobilization and exclusion of the migrant as a subject to control and backflow monitoring. The second seeks to explain the levels at which the discussion about the possible operates in the artwork. So at the political level we can reflect what may be possible; at the technological level how to do it possible: the desire; and at the aesthetic level we turn back on the impossibility of free transit at the border, to set off an imaginary of access and hospitality. |
|---|