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Daniel G. Andújar

New possibilities create new unknowns.
New unknowns create new possibilities.

Generally speaking, the debate about the new technologies, and particularly as they bear on art, continue to cover a wide spectrum, from blindness and the most absolute rejection, to the most stupidly servile acceptance and total affirmation. To me it seems obvious that the practise of art will be changed by the impact of new technologies, as will every other aspect of society, although it is possible that some values will remain substantially unchanged. The spectator, the audience for which a work is intended, is today more accustomed than ever before to highly sophisticated representational techniques as used in advertising and by television, but above all by the transformation of media consumption habits arising from the spread of the internet and the systematic introduction of computers into the private sphere. No one can now escape from the profound changes being wrought by the so-called new technologies and the parallel impact being produced by globalisation on our societies, economies, cultures, and perceptions of our surroundings.
Even so, I think that we have made rather a fetish of these new technologies, and I believe that -without taking apocalyptic positions of complete rejection-we must keep cool heads and pragmatic functionality when considering what is in store for us, and our scope for action and response to it all. Our attention to what we call new technologies should not be focused so much on the possibility of marvellous technological flights, but rather the battlefronts that are beginning to emerge in a society now immersed in a process of violent and fundamental change.

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Conditions of Media Arts

podium
Conditions of Media Arts
October 1 – 3, 1999, Dortmund
(Speaches and discussions in englisch)
Speakers:
– Daniel García Andújar, artist
– Tobias Berger, curator
– Heath Bunting, artist
– Christine Meierhofer, artist
– Heiner Holtappels, MonteVideo, Amsterdam
– Mike Stubbs, artist, Hull TBA
– Herwig Turk, artist
– Thomas Munz, Werkleitz/EMARE
– Karin Frei, curator, Zürich
– Ekkerhard Kähne, Medienhaus Hannover
– Thorsten Schilling, mikro, Berlin
– Hermann Nöring, EMAF, Osnabrück
– Iris Dressler / Hans D. Christ, curators

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The Manfred and Wilhelm Beutel’s Photo Collection

Daniel García Andújar, E, 1998
CD-ROM, 50 gerahmte digitale Prints
Koproduktion: Hartware MedienKunstVerein
Reservate der Sehnsucht, Dortmunder U, 1998

Im Rahmen der Ausstellung “Reservate der Sehnsucht” in der ehemaligen Union Brauerei wurde die von Daniel García Andùjar entdeckte Fotosammlung der einstigen Brauereiangestellten Wilhelm und Manfred Beutel präsentiert. Die Sammlung dokumentiert historische Ereignisse aus Dortmund, die im öffentlichen Bewusstsein der Stadt heute nur wenig präsent sind: die Jahre des deutschen Faschismus sowie die fast vollständige Zerstörung der Innenstadt während des Zweiten Weltkrieges.

Der wesentliche Beitrag von Andújar bei der Präsentation der Sammlung bestand in einem eigens entwickelten geografischen Informationssystem, kurz GIS, mit dem sich von jedem einzelnen Bild der exakte Zeitpunkt der Aufnahme sowie der Standort des Fotografen ermitteln lässt.

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The Manfred and Wilhelm Beutel Photo Collection

Daniel García Andújar: The Manfred and Wilhelm Beutel Photo Collection, 1998

Daniel García Andújar: The Manfred and Wilhelm Beutel Photo Collection, 1998
CD-ROM, 50 framed digital prints
Coproduction: Hartware MedienKunstVerein
Reservate der Sehnsucht, Dortmunder U, 1998

In the course of the “Reservate der Sehnsucht” exhibition in the former Union brewery, Daniel García Andùjar presented a photograph collection he discovered. Compiled by the former brewery workers Wilhelm and Manfred Beutel, the collection documents episodes in the history of Dortmund which scarcely figure in the city’s contemporary public awareness: the years during the Third Reich, and the almost total destruction of the inner city during World War II.

Andújar’s main contribution to this presentation was a specially developed geographical information system (GIS) enabling the exact time of shooting, as well as the location of the photographer, to be determined for each picture.

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Short Cuts ? Anschlüsse an den Körper

Martin Pesch

Frieze Issue 37 November-December 1997

DASA, Dortmund, Germany

DASA, or the Deutsche Arbeitsschutzausstellung (The German Health and Safety at Work Exhibition) to give it its full title, is a museum in which you can put on a pair of hygienically padded headphones and take a guided tour of the history of work. Behind this is the serious point that working people – whether typing at computers or tapping blast furnaces – are exposed to danger. Ear muffs, goggles and back exercises were all invented to protect the body during the production process. If the mind responsible for that body is to understand how vulnerable it is and how it works, clear images are needed. ‘Short Cuts – Anschlüsse an den Körper. Ein Cross-Over durch Kunst, Wissenschaft und Körperbilder’ (Short Cuts: connections to the body. A criss-cross tour of art, science and images of the body) is the wordy title of an exhibition that provides just that. The 17 artists involved use photography, video, installation and interactive computers. Curators Iris Dressler (art historian) and Hans D. Christ (artist) state that in organising the show they were interested in ‘surfaces’ and not in ‘physical feelings’.

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The Body Research Machine

Daniel García Andújar: The Body Research Machine, 1997 (Screenshot)

Daniel García Andújar: The Body Research Machine, 1997,
Multimedia-Projekt (Screenshot)

Installation

Coproduction: Hartware MedienKunstVerein
Courtesy: Technologies To The People
Since 2000, a modified version has been part of the permanent collection of the Deutschen Arbeitsschutzausstellung, Dortmund
Shortcuts. Anschlüsse an den Körper, 1997

“‘THE BODY RESEARCH MACHINE©’ uses innovative technologies based on advanced biometrics in order to record complex data related to the human body. The machine transmits through the body ultrasound waves which are then split up into phase data. While doing so, the machine scans every section of the body for interesting information, transferring all input signals to a special computer database.
Specially developed by TECHNOLOGIES TO THE PEOPLE©, the database system imitates the structure of various atom models and is able to reconstruct, atom for atom, individual amino-acid structures. These data and other information are stored in our central database. The collected data can ultimately be compared with the DNA strings saved in a GenBank.

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Awards and Acknowledgements

A long list of awards conceivably and inconceivably bestowed on the Technologies To The People website which, as its makers would have us believe, is »one of the most popular art sites on the internet «. Framed in silver like a collection of especially valuable postage stamps, the some 30 distinctions presented in the original thumbnail format include »Browser Watch — Net Fame!«, »An Internet cool site of the day«, »Magellan Star Site«, »Prescribed by Dr. Webster’s Web Site of the Day«, »Art Dirt« — »Your Webscout Way Cool Site«, and »Orchid Award for Page Excellence«. (Inke Arns)

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The Body Research Machine

Installation, 1997
Koproduktion: Hartware MedienKunstVerein
Courtesy: Technologies To The People
Seit 2000 in modifizierter Form in der ständigen Sammlung der Deutschen Arbeitsschutzausstellung, Dortmund
Shortcuts. Anschlüsse an den Körper, 1997

“THE BODY RESEARCH MACHINE© nutzt neuartige Technologien, die auf hochentwickelten biometrischen Technologien basieren, um komplexe Daten über den menschlichen Körper zu erfassen. Die Maschine sendet Ultraschall-Wellen durch den Körper, die in Phasen-Daten aufgespaltet werden. Sie sucht dabei jede Sektion des Körpers nach interessanten Informationen ab und überträgt sämtliche Eingangssignale in eine spezielle Computerdatenbank.

Das Datenbanksystem, das von TECHNOLOGIES TO THE PEOPLE© eigens entwickelt wurde, beruht auf dem Aufbau verschiedener Atommodelle und kann individuelle Aminosäurestrukturen Atom für Atom nachbauen. Diese und andere Daten werden in unserer Zentraldatenbank gespeichert. Die gewonnenen Daten können schließlich mit den DNA-Ketten einer GenBank verglichen werden.

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