Arts and Technologies explores the profound intersection of scientific research and creative expression

Arts and Technologies is a project for a technical-scientific periodical concerning the analysis and criticism of works of art in all their forms, with specific reference to technology and research. It is maintained that these two areas are deeply interconnected and currently determine the nature of every art form.

The editorial project is founded on the epistemological concept of the work of art—viewed through historical-artistic, cultural, and aesthetic values, as well as reflections on the conditions of knowledge, means of production, and ways of creating meaning. This concept is thus emancipated from traditional categories and genre definitions of artistic practice, as it pertains to formal and compositional processes which, from the perspective of technical and expressive research, primarily imply an analysis of systems of thought and their structuring for creative ends.

Our research focuses on the concepts and fields of interdisciplinarity and signification in relation to new technologies—what is known in the musical field as the electroacoustic sense.

Since the emergence of technologies and throughout their development, a radical paradigm shift has occurred at the base of the constitutive processes of the work of art in all its forms. This shift is so profound that even those who do not work with art in direct relation to technology, or those who do not compose electronic music, nevertheless operate—both practically and culturally—within a technological cultural logic, as the latter is inherent to the current historical and social context. This is more evident than ever in the fields of photography and electronic music, whose histories are characterized internally by the historical transition from analog to digital, and externally by their emancipation from the older fields of painting and instrumental or orchestral music. However, electronic music is an even younger art than photography; as such, its independence as a technological art and a unique, singular space—with its own spheres, techniques, and stylistic and formal apprehensions—is still very much open to debate for reasons we wish to observe, investigate, and present throughout our editorial activity.

Cognitive research is firmly intertwined with technology when the latter is employed functionally within creative processes and artistic activity. Thus, photography, like cinema, established itself as its own singular place; and it is in this exact way that electronic music, in any case, asserts itself. The primary proof of this lies in the recognition by instrumental music of the influence it has undergone from technologies since their first appearance, in terms of both composition and orchestration.

Even in painting and literature, the paradigm shift is structural, as it lies at the foundation—the level of thought—of syntactic processes of constitution. It is worth noting that painting today lives through digital imaginaries, in the sense that it cannot transcend the comparison with them, just as literature lives through cinematographic imaginaries. Finally, it must be said that the fermenting melting pot of today is undoubtedly the world of audiovisuals.

In this sense, the project is dedicated to the contemporary period of art starting from the historical emergence of technologies. It is organized into sections or paragraphs, each authored by an editor and/or related to a work of art through technical-analytical and/or essayistic-philosophical thought. The content of these sections will vary periodically in relation to the works, authors, exhibitions, concerts, or performances examined by the editor in connection with their own analytical and critical reflections.