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In this exhibition the innovation comes from philosophical interpretations of technology and programming codes are seeing as poetical resources rather than being seen only as a practical tools; which in the contemporary world are part of the most advanced forms to distribute knowledge.

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Given the fact that at the time this group of creators came up with these kind of electronic artworks, what we recognise as digital art did not exist.

Approximately four decades ago we had the ideas and philosophical frameworks to develop the complex platforms that we have integrated within the diverse range of social networks, but it was thanks to the contributions of these artists to the art community, that their concepts and explorations became the constituent bases of what nowadays is understood as New Media Art.

His creative use of telecommunication networks pre-empted technological changes in art and society.

In 1983, years before the rise of Internet, Ascott presented ‘La Plissure du Texte (A Planetary Fairy Tale)’, seminal international text collaboration between artists- the exhibition includes an updated version, set in Second Life.

For this reason this exhibition examines some specific artworks of electronic arts, in the same way as this group of creations will illustrate a fragment of the history of electronic and digital arts, and this initiative will provide Bogotá’s audience the outstanding works of the pioneers of New Media, a term that in turn is mediated by the flow of information and its subsequent computer hybridization.

Digital Analogy is an exhibition that will allow us to examine closely the formal structures of these works and also aims to generate dialogue concerning the researches that these theories have arisen.

Reas: “Like early twentieth-century collages built from the media of that time, and (comparable to) mid 20th century video collage, Signal to Noisefractures and distorts contemporary information into new data structure”.

For 100% Gray Coverage, Reas developed a newer more evolved collage engine to create imagery: the video is completely abstract and moves at a rapid pace.

–Casey Reas– Casey Reas’ 10 minutes digital video-piece 100% Gray Coverage, exclusively available on Sedition, was derived from Reas’ work Signal to Noise.

The latter is a so-called collage engine, a programme that uses terrestrial television signals as raw material and transcribes them into visual footage.

The path is a long one that finally leads a translation of a text to its new destination.

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