New book on art collecting by Pau Waelder

New book on art collecting by Pau Waelder

Pau Waelder is the author of the book You Can Be A Wealthy/Cash-Strapped Art Collector In The Digital Age (Printer Fault Press, 2020). The book is a practical guide to collecting contemporary art using the tools available online and on any smartphone or tablet, with a special focus on digital art and the particular advantages and challenges it presents to collectors. The guide is intended for anyone who would like to collect art, regardless of their knowledge of the art market—or their budget.

The volume is divided into three parts: two separate (but related) manuals and a troubleshooting guide for collectors of digital art.

  • The first manual, titled ‘You can be a wealthy art collector in the digital age’, addresses all the basic aspects of collecting contemporary art, from finding a motivation to buy art and exploring the art market, to considering quantified analyses of artworks and sharing one’s collection on social media. It also provides insights and advice for collectors of software-based, web-based, and interactive artworks, as well as an analysis of the impact of artificial intelligence and blockchain technologies on art collecting
  • The second manual, titled ‘You can be a cash-strapped collector in the digital age’, turns to the possible ways of collecting contemporary art on a small budget (from $3 to $300) made available nowadays on online stores, app stores, and digital edition marketplaces. It also discusses the basic aspects of collecting, including motivation, searching for art on a budget, and understanding the type of objects on sale. This manual provides an additional focus on art in digital formats, including art apps, digital editions, and digital art frames.
  • The troubleshooting guide offers solutions to common questions and problems faced by collectors of digital art, such as digital editions, software art, interactive installations, and web-based, virtual reality (VR) or augmented reality (AR) artworks.

Each section in the book can be read independently, providing different points of entry to its content. Furthermore, in each section the main text is complemented with graphs and illustrations, as well as insets describing case studies and providing lists with additional references.

Printer Fault Press. Frankfurt, 2020
Language: English
Size: 21,8 x 15 x 3,5 cm
Pages: 416
Binding: Smyth sewn
Illustrations: Color and b/w
Format: Softcover
1st ed: October 2020
Run: 300 copies
ISBN: 978-84-09-23382-3

Design: Tres Tipos Gráficos
Photos and illustrations by: Serafín Álvarez, Daniel Canogar, Paolo Cirio, Rafael Lozano-Hemmer, Martin John Callanan, Manfred Mohr, Harold Cohen, Guido Segni, Christa Sommerer & Laurent Mignonneau, Carlo Zanni, MTAA (M.River & T.Whid Art Associates)
Proofreading: Dieuwertje Hehewerth
Printed by Imprenta Kadmos, Spain

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Poster about the UOC’s Arts Degree

Poster about the UOC’s Arts Degree

Laia Blasco-Soplon makes one of the posters of the GUNi International Conference.

This GUNi International Conference aims to be an international meeting to debate on the role of the humanities, and the interrelation between humanities, science and technology in the 21st Century with a special focus on Higher Education. The main objective of the Conference is to open a worldwide debate on the current role of humanities in the social, academic and scientific areas and on their importance to boost a more equitable, more responsible and more democratic society. The event has gathered 160 attendees from 22 countries and from diverse areas of knowledge and fields (education, research, public institutions, organizations) in order to debate on the role of the humanities in the world. The Conference was held on the 19th to 20th November 2018 at the CosmoCaixa Museum in Barcelona.

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Quelic Berga participates in the course: “Big Data: visualización de datos”

Quelic Berga participates in the course: “Big Data: visualización de datos”

Data visualization” is the fourth course of the specialization “Big Data – Practical use of massive data”. Organized in four weeks, it aims to motivate and introduce the key concepts of data visualization as well as show examples in different contexts. In addition, criteria are provided to formulate the problem and choose the most appropriate tools to obtain a correct visualization. This should be an introductory, motivating and inspiring course for storytelling through the visualization of your data. The four modules in which the course is structured are the following:

MODULE 1: Context for data visualization today

MODULE 2: Data analysis and visualization tools

MODULE 3: The process of creating a data visualization

MODULE 4: Other aspects of data visualization

The assistant professor at Universitat Oberta de Catalunya and DARTS member Quelic Berga has participated in the creation of modules 1 and 3 of the course in collaboration with UAB and UOC.

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Irma Vilà moderates Creative Technologies Café panel

Visual artists, creators of graphic universes, interactive and immersive experiences designers, visualists… Their work defies labels and definitions. Some of the most in-demand visual artists of the moment talk about the inner workings of their pieces, unveil common (or divergent) processes and tools, and dig deep into the engines of nowadays artistic creation.

This session will be chaired by Irma Vilà and will feature visual artists Tom Scholefield (konx-om-pax), Nazare Soares, Pablo Valbuena and Sean Caruso.

Session information: CA / ES /EN

 

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“La privadesa digital. El jo en la banda de Moebius”. Course for high school teachers within the framework of the Transversalia project. Ideas by Pau Waelder with the participation of the educator Jordi Ferreiro

Pau Waelder has designed the course “La privadesa digital. El jo en la banda de Moebius” with the participation of the educator Jordi Ferreiro. The course will be held at Museu d’Art de Castelló / Centre del Carme, València between 10-12 april 2018

In our daily interaction with digital devices and Internet services, we assume that both the devices and content platforms are at our service and that we obtain the network that we want, even without giving anything in return. But we are actually providing data constantly and feeding a system designed to help us to share more and more, to record, quantify and disseminate everything we do, where we are and even what we think. Our privacy is increasingly exposed, to the point where the private and the public are confused, alié and their own. But this is not the result of the imposition of a totalitarian government, as George Orwell imagined in 1984. It is not just Army control by a Great Brother, but the desire of each individual to show himself before others in a society that It celebrates individualism and a technology industry that facilitates the means to do it and finances it with our data.

However, the key is to ask: Why do we need to make ourselves visible on social networks? How do we build our ego based on likes? Digital technologies have created situations for which social norms have not yet been consolidated, the consequences of which cost us to foresee. The works of various artists who work with new media offer a frame of reflection and experimentation that reveals the ways in which our privacy is changing and how personal identity is shaped in the information society. Examining various artistic projects and the contributions of theorists and researchers, we will discuss some issues with which to work on the concept of privacy in the digital age and the formation of self in an uncertain space that, as a band of Möbius, does not distinguish between interior and exterior.

 

 

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