Posted by on Nov 30, 2012 in |

Wooden boxes contain an Artificial Intelligence system that transforms them into a percussion instrument which evolves. When the box is struck, the public creates a language within the instrument. When it reaches maturity, the box evolves with its own language. The work is a reflection on the codes of communication between human beings and musical instruments.

About the author

The work of Daniel Palacios (Córdoba, 1981), who has a science background and is a Fine Arts graduate, develops by applying the relationships of art, science and technology to space and systems of perception as a result of his postgraduate studies: a Masters in Art and Technology and a Masters in Art in the Public Sphere.

Works such as Der Unbekannte Einwanderer (The unknown immigrant), Intrusions, Quimera (Chimera), Waves, Contextual Forms and OutComes have taken him to exhibitions like ‘Synthetic Times’ at the National Art Museum of China (NAMOC) or El discreto encanto de la tecnología (The discreet charm of technology) at the MEIAC in Badajoz, the prestigious Neue Gallerie in Graz (Austria) and the ZKM in Karlsruhe (Germany), one of the sanctuaries of electronic art on a world level. He has also taken part in international fairs such as ARCO and festivals like Ars Electronica in Linz (Austria). This has resulted in his work receiving major awards like the second prize VIDA9.0 Arte y Vida Artificial (Art and Artificial Life) in 2007, support for production, as in the case of the Fundación Arte y Derecho (Art and Law Foundation) in 2008, artistic residences like Casa Luthethia (Sao Paulo, Brazil) and publication in the specialist review ‘Leonardo’ by MIT Press, ‘Arte desde Andalucia para el siglo XXI’ (Art from Andalusia for the 21st century) coordinated by Ivan de la Torre Amerighi and the next edition by Thames & Hudson of ‘Border Watch: Artists Working at the Frontiers of Research’ by Professor Stephen Wilson.

He has also given workshops and conferences on the joint use of technology and the plastic arts in schools and centres such as the Faculty of Plastic Arts FAAP (Brazil), Faculty of Fine Arts in La Laguna (Tenerife), the Institute of Advanced Architecture in Catalonia IAAC (Barcelona), File Symposium in the SESI Gallery (Brazil), the Science Week at the Centre for Contemporary Art (CAC) in Málaga, and so on.

With an interest in IT and electronics as tools to generate a process, rather than to achieve a representation from them, his training in arts provides him with the skills necessary for modelling space. Although he addresses different themes, his work is a play of relations with space: whether this is with physical space itself, how we perceive it or the phenomena which appear in it. To a certain degree, they are environments which encourage reflection or represent the reflections he makes at a specific moment of his research into perceptions and the way in which they influence the way we relate to space.

Contact with reality and with plastic languages is an aspect which stands out in his work, which looks to create situations and not simulations, using “reality” in his installations with the aim of originating plastic and not digital results. Technology allows him to control which factors intervene in the space, to what degree and the effect they will have. This makes the public an indispensable part of the work, participating in its process, while the artist, at the same time, can study their reactions, the only factor he cannot control and a vital aspect of his work.