Marcela Armas / Arcangelo Constantini
Commissioned by Arte – Ciencia UNAM 2013

The project was originally presented as part of the exhibition SIN ORIGEN, held at the Museo Universitario de Arte Contemporáneo and MUCA Roma in 2012, in Mexico City. SIN ORIGEN was an exhibition curated by María Antonia González Valerio as part of the ARTE + CIENCIA program.

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Milpa polímera (tractora polímera)

BIOS Ex MachinA con colaboración del Depto. de Ingeniería Mecatrónica de la Facultad de Ingeniería de la UNAM.

Therefore, the seed’s artificial nature –corn plastic corn- poses a paradox of no easy solution for the conception of the artificial as a copy of the natural. In the seed, both the natural and the artificial are represented, the original and the derivative. The seed evidences the tensions inherent to these distinctions. The seed sown by our piece is not “really” a corn seed, although it has its (material) origin in it.

Corn becomes the mythical origin of several peoples precisely when it ceases to be completely natural, to become also a cultural entity, a device defining eminently human activities such as agriculture. Somewhere between the natural and the artificial, farming maize domesticates both the farmer and the cornfield. But the agriculture represented in Milpa Polímera is also artificial in a second sense: it is mechanized agriculture. The piece itself is a biotechnological mechanism.

At its center, a tractor robot swivels in a closed cycle, sowing the artificial seed. The sterile seeds are printed and fall to the ground on the radial space, turning the soil into a sown field, into a cultural and economic artifact, but a sterile one from which no plant will ever grow, such as its industrial counterpart, a system trapped in a cycle aiming to establish itself as the only possibility. Thus it presents the complex relationship between the natural and the artificial, the origin and the originated, while the soil becomes a representation of what does not remain, furrowed by the biotechnological mechanism and its own sounds.

The seeds printed are made from polylactic acid (PLA), a thermoplastic biopolymer made from corn. While proponents argue that it is biodegradable, actually it is compostable, being degraded under strict methods with precise humidity and temperature control. The truth is there is no evidence that it would disintegrate faster or more efficiently than PET or other plastics in a traditional landfill. It is worth noting that much of the corn used to produce PLA is genetically modified.

The 3D printer included in the tractor uses open-source technology promoted by the collaborative work of a community that seeks to optimize its functions and sharing codes and knowledge. PLA, in contrast, is a patent material with plenty of industrial applications. By coupling both kinds of technology, the tractor blends the contradiction between open and closed, free and limited, and presents it in a transformative act that mimics the production of life through dead and inert materials.

Traditionally in art, nature used to play the role of original model, from which the art piece –epitome of the artificial entity– was the copy. Giorgio Vasari expressed this view of art as follows: “Art owes its origin to Nature herself… this beautiful creation, the world, gave us the model, while the divine intelligence was the original master, which created us as beings superior to other animals, more like God himself –if I dare say”. In Milpa polímera, by contrast, the nature that serves as a model for the work is not the natura naturans, but the domesticated nature and its problematic relationship with technology. The corn of Milpa polímera, such as the corn from all the country’s fields, is not the “original” corn: it is not corn in a state of “pure nature”. On the contrary, it is the current corn from technologized fields: less a domesticated corn than a sterilized one due to biotechnology of genetic modification.

Text: BIOS Ex MachinA

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BPLTC III: Food Control
January 14 – February 3, 2016
Eastern Bloc Montreal

The conception of the artificial as a copy of the natural is no longer really possible today.
Maize in particular, while being a link to nature, defines human cultural activity. The production of domestic corn is done in the fields, in an increasingly mechanized way, by the agricultural industry. Milpa Polimera (Arcangelo Constantini & Marcela Armas) thus presents a tractor robot that turns in a closed circle to sow artificial seeds, including a reflection on biotechnology and the transformation of living things in their very heart. The sterile seeds thus sown constitute a cultural and economic object from which no plant will ever grow back. The cycle of life and reproduction is interrupted, and there is no alternative, except to resort, again and again, to the industrial production system. It is a closed system that self-legitimizes in a closed circle … The 3D printer (which prints the seeds) included in the tractor, meanwhile, uses open-source technology promoted by the collaborative work of a community that seeks to optimize its functionalities and share its codes and knowledge.

https://easternbloc.ca/fr/expos-events/expositions/bpltc-iii-controle-alimentaire

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BIOARTEFACTOS: DESGRANAR LENTAMENTE UN MAÍZ. MACO OAXACA, 2014.

Bioartefacts. Slowly Shelling a Corn was presented at the Museum of Contemporary Art of Oaxaca, where the debate centered around the issue of transgenic corn, non-industrialized agricultural production, and Oaxacan traditions.

The event featured participation from the collectives BiosExmachinA, MAMAZ, and Desmodium-máquina, as well as artists Minerva Hernández, Héctor Cruz, Lena Ortega, and Alfadir Luna. The exhibition was curated by María Antonia González Valerio.

“Corn is not what it seems. To pretend that these seeds are in only one way, that they represent a single thing, that they can be bioartificially produced in a factory and that this changes nothing is… pretending.”

comisionada por Priamo lozada y Plataforma PUEBLA 2031

Plataforma Puebla 2006

Laboratorio Arte Alameda 2007

Mide Museo interactivo de economia 2010

Galeria Metropolitana ” la Sombra del agua ” 2011

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Spark-un-Plug: Arcángel Constantini**

spark plugs  are the essential electrical system of internal combustion engines. Its main function is to ignite combustion, thus providing thrust to the engines.

Spark plugs transmit electrical energy from the coil in high-voltage sparks. These voltaic arcs, produced inside the engine chambers, ignite the mixture of fossil fuels with high-pressure oxygen, generating the necessary force to move the pistons and expel combustion gases.

The first internal combustion engine using voltaic arcs was designed by Isaac de Rivas in 1807. The fuel it used was hydrogen obtained through water electrolysis. Two hundred years ago, there was consideration of using the most abundant element in the universe as an energy system, but political and economic powers chose the burning of oil.

Spark plugs are the simplest yet most complex electrical element in an engine. They not only serve to generate ignition but also to dissipate heat from the engine chambers.

It is contradictory that an element whose one of its functions is heat dissipation contributes to the main cause of global warming on Earth and, consequently, to the melting of the poles, which naturally shares the same function of dissipating Earth’s heat.

In the majority of the automotive and aerospace industries, this internal combustion mechanism is used as the sole source to produce mechanical energy, which has led, due to its excessive and exclusive use, to irreversible consequences for the environment. Billions of spark plugs flickering at every moment: electrical energy misused, a function that releases CO2 (carbon monoxide) into the atmosphere. It’s a use of electricity for archaic and environmentally depleting mechanical purposes.

**Spark-un-Plug** is a system of physical and conceptual feedback based on the number 3.

The piece consists of a matrix of 300 spark plugs, divided into small 3×3 matrices that repeat in tessellation. These spark plugs with three anodes are controlled independently and emit high-voltage electrical energy to a block of ice placed in front of them. When the audience places a coin in a collection box, it activates the piece, and at that moment, values from three types of sensors are obtained: one for temperature, another for CO2, and another for humidity. These physical and chemical processes are monitored in real-time. The data obtained is used as an intervention in the artwork.

The high voltage generated by the spark plugs, a phenomenon in which an electric charge travels between the cathode and anode of the system, is the visual and auditory event, a result of the dialogue between the two systems: the generator of the patterns of electrical discharge in the matrix and that of the environmental balance and life support, water.

The voltaic arcs of the spark plugs in the matrix represent simulations of the states of water:

– Liquid: simulation of rain.

– Solid: simulation of geometric patterns of ice crystals.

– Gaseous: simulation of gaseous fluids.

Water stands out as the most recognized element in nature; however, its complexity is equally unparalleled. The atomic bond formed by two hydrogen atoms and one oxygen atom is among the most stable in the natural world. The energetic potential of water is vast, and its intrinsic connection with electrical energy is of fundamental significance. The amalgamation of hydrogen and oxygen atoms results in the creation of water, accompanied by the release of electrons.

Water in nature follows a hydrological flow cycle: it rises as vapor, flows as a liquid, and solidifies.

Spark-un-Plug is based on the number 3, the simplest scientific formula, and the theological representation of the deity. Its electronic logic is binary, 1 and 0.

Water is the spiritual element of existence; it represents purity, rebirth, the energetic flow of the spirit to another existence, communication with divinity. It is present in all theologies and is constantly debated through scientific, empirical, and metaphysical methods, seeking to balance its mystery.

Electricity is a phenomenon of nature that is changing human consciousness.

In Spark-un-Plug, the spark plug, like the retro-generating mechanical heat dissipator, will confront and pay symbolic tribute to the natural heat dissipator of the planet: ice. Through this arrangement, it will communicate to us the danger of its extinction, rising as vapor to dream of the future continuation of its vital natural cycle.

Spark-un-Plug, a project driven by the conscious use of energy.

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AquaElectricArcPlasma is a visual and sound artwork that arises from a scientific experiment from the early 20th century. By using carbon electrodes submerged in water and high amperage electric energy, a subaquatic plasma is generated that causes an electrochemical electrolysis. This release of oxygen, hydrogen, and carbon ions leads to the creation of the COH2 gas.

The photoluminescence that occurs during the gas generation process is a crucial element of the artwork, as are the sounds generated during water electrification. This transdisciplinary experiment combines scientific, artistic, and mystical methodologies.

The experimental action took place in a memorial for the death of Príamo Lozada, an exceptional being who illuminated us with his love for art and life. The result of the transdisciplinary experiment was an energetic metaphor about the transcendence of existence.

As a society, we must find the best ways to transform energy to live in balance with nature, avoiding extreme extractive energies and the combustion of hydrocarbons. Chemical electrolysis by subaquatic plasma is an emerging way to transform energy in a more balanced and environmentally friendly way. Energy is neither created nor destroyed; it simply transforms, and it is our responsibility to find more sustainable ways to do so.

Laboratorio Are Alameda ,

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• << SpeStri >> , Speaker Strings , Instrumentos de cuerda acusticos acoplados con parlante amplificado y electronicos
• << SpeStri >> , Speaker Strings , Acoustic string instruments embedded with amplified Speaker & electronics

Following the tradition of prepared instruments in experimental music, such as John Cage’s prepared pianos, Laurie Anderson’s magnetic violin, or Christian Marclay’s turntables, prepared electric guitars are instruments that have been modified with a variety of devices to explore their sonic capabilities and experiment with processes beyond chords, riffs, or scales. They offer a wide range of sonic and expressive possibilities in their execution. Artists like Fred Frith and Hans Tammen specialize in improvisation and performance using prepared electric guitars, both electric and acoustic.

In many of my pieces, I explore the hypotheses of electromagnetic induction. Ultimately, every process, whether electric or acoustic, is electromagnetic. The Spanish guitar, being a classical instrument, started to rely on electromagnetism for amplifying the strings when it became electric. The guitar lost its acoustic chamber as it became unnecessary, and its form evolved along with the aesthetic possibilities and sonic experimentation with the instrument.

Spestri Guitar: It is a prepared electroacoustic guitar. A classical guitar was fitted with a 100-watt speaker directly on the soundboard, an equalizer preamplifier with a piezoelectric strip, a 30-watt amplifier with two channels, transducers, and various analog and DSP electronic processes.

The classical acoustic process of the guitar is disrupted as a self-amplifying system generating autonomous chaotic oscillations. This occurs due to sympathy in resonance, a phenomenon in which two vibrating systems have similar natural frequencies and mutually influence each other. When a string is played, it is amplified by the speaker, resulting in a transfer of vibrational energy between the systems and generating a resonant response from the vibrating string. This creates a loop, a feedback, producing unstable harmonics like processed drones through feedback loops.

The audio signal passes through a Matrix Mixer and is processed by a series of pedals and filters. As an expressive and intrusive act, the strings are tuned during performance, electromagnets and motors are used, and a series of LowFi oscillators amplified by a transducer system are employed to strike the strings, transmitting the generated frequencies to the preamplification system. Equalization is important during improvisation, which is a continuous dialogue with the artifact, determined by the pseudo-autonomy of the system and the expressive orientation of chaos.

SpeStri was performed at Soundscapes 2015 (MX-UK) curated by Laura Plana, at the Fonoteca Nacional alongside J Milo Taylor, Juanjose Rivas, and Gudinni Cortina. At the Museum of Contemporary Art in Santiago, Chile with Anilla Cultural, at Hospedería del Errante in Ciudad Abierta, Chile for an improvisation set with Oscar Santis, and as a duo with Fernando Vigueras at the Infinito Festival and Habitación del Ruido. They were part of the Articulaciones del Silencio series as a duo with Liliana Rodriguez at the Centro Cultural España and performed at the Museum of Modern Art in Medellin. it also participated in the Sensory Laboratory at No Estamos Solos, ElektronischeArtandMusic in London with J Milo and Dr. Nexus at Chalton Gallery in London, at Perfume, Galería Labor. At H34r in Taller 30 San miguel de allende Guanajuato 

• Arcangelo Constanitni 2013
• Comisionada Por El Museo Universitario del Chopo, para la Muestra
• Sonorama. Arte y tecnología del Hi-fi al MP3
• Curadores Daniel Garza-Usabiaga , Esteban king Alvarez
• Produccion /CNC La Metropolitana , apoyo Santiago Itzcoatl

A hexagonal wooden structure holds six arms, each of which holds a turntable with an LP record. Another arm with a coil and the necessary electronics for the system’s operation is placed on top of these. The audience uses noise-canceling headphones and places an acrylic wafer in their mouth, which they bite down on. The wafer has a wire connected to a device with a 78 rpm turntable needle and a neodymium magnet. When the steel needle is placed on the rotating disk, the sound from the grooves is transmitted through the wire, causing the acrylic to vibrate and allowing for bone-conduction of the sound.

When the device is brought close to the coil, a sound recording of the disc as an MP3 file is transmitted to an amplifier connected to the coil. A variable electromagnetic field causes the magnet to vibrate, transmitting this elastic vibration as sound through the wire, the teeth, the bone, and finally reaching the eardrum.

Sound is a vibratory phenomenon transmitted in the form of elastic waves that propagate in solid, liquid, or gaseous matter. Its propagation is due to the transfer of energy and the interaction of these waves with matter.

A principle of physics was used by Leon Scott to produce the first sound recordings in history. He invented the PhonoAutograph, an instrument that used a fountain pen connected to a diaphragm. When the diaphragm vibrated, it transmitted this vibration to the pen, which traced the sound waves produced onto paper darkened with the smoke of a lamp. This discovery, made in 1860, could only be heard until the year 2008, thanks to researchers of these documents and algorithms that translated these graphics back into sound.

1859-Scott-Diapason-435-Hz.mp3 1859-Scott-Diapason-435-Hz, primer registro sonoro de la historian

In 1877, Thomas Edison patented the phonograph, a system capable of recording sound onto a physical medium through wave-like or groove-like indentations made on a malleable material. To amplify and make them audible, it was necessary to invert the process: a needle caused a diaphragm to vibrate, reproducing the sound. The use of grooves resembled many of the functions of the sound-producing instruments of the time. The generated sound was analog, created by mechanical systems that caused physical matter to resonate in order to transfer this resonance to the air and allow us to hear the sound.

The understanding of sound as a wave that alters the physics of objects is much older.

In 1550, Girolamo Cardano described a listening method in which sound could be transmitted to the ear through a metal plate placed between the teeth. At the same time, Hieronymus Capivacci conducted experiments on bone conduction for medical purposes to study the auditory system. Medical audiology has used and studied bone conduction of sound for many years, inspiring listening through the teeth, acetates and other sounds such as those of tuning forks. John Cage proposed an action, and Beethoven, with his limited hearing, would press his skull against the piano to hear his compositions.

The propagation of sound is much more effective in a solid medium than in air. Understanding the vibratory forces in matter led to the development of technological systems for sound recording.
With the knowledge of electricity and the development of electromagnetism systems, the first horns were built to amplify sound. The horn is made up of a coil wound with copper wire attached to a diaphragm and a permanent magnet. When a variable current flows through the coil, a variable electromagnetic field is generated. When in proximity to a permanent magnet, an oscillation is generated in the membrane. Moving the molecules and atoms in the air produces sound. Similarly, needles that reproduced sounds recorded in grooves began to use the piezoelectric phenomenon and induction to preamplify the sounds recorded on acetate much more subtly.

There was a transition from analog sound experience to electrical and electronic. Through the use of these two distinct forces, analog physics and electromagnetic physics, the most extensive impulse in the mass distribution of sound was generated. From Edison cylinders, we moved to discs, from 78 rpm to 33 1/2 rpm in stereo quality and then Hi-Fi (High Fidelity), of which billions of records were produced. For many years, this was the ideal format until the discovery of hysteresis (magnetic memory) and its commercial application, which led to the invention of magnetic wire and then magnetic tape. With the first electronic computing systems and sequencers, the field of electronics was established, leading to the digitalization of data, which has experienced exponential growth. Compression algorithms, such as MP3, were developed for the mass distribution of music, not for its quality.

There is currently a debate about formats and the quality of recorded sound, a debate between electronic, analog, and digital, between tape, disc, or chip.

campo de surcos / surcos de campo

Each of the six LP discs in the selection will be recorded in MP3 format. When the needle is brought closer to the coil magnet, the corresponding record will be played. Due to the use of the discs by users, they will suffer damage and wear, which will be recorded as new grooves. At the end of the exhibition, each disc will be digitized again.

The memory of matter and binary data are key elements in the auditory experience, physical perception, and psychological understanding and enjoyment of sound.

Groove field / Field groove

Fernando Vigueras

The convergence of approaches, methods, and disciplines that surround Arcángel Constantini’s artistic practice situates his work in a complex territory to articulate. On one hand, it is inevitable to find in each of his works a network of reflections that trigger diverse lines of thought, formulations, and dissertations about technology and its impact on different perceptible processes. The artist investigates and generates correspondences with the environment and the way specific elements interact within diverse contexts: from an application for a tablet to the development of a system of artifacts that interact with the environment by controlling the pollution level of lakes (to name two essentially distant yet interconnected records). An important part of Constantini’s polyhedral production shows an interest in the physical nature of sound, understood as a flow of energy that can move and spread through different material elements with which it interacts. The propagation of this sound flow and the process involved in its physical representation and possible expansive diffusion has become one of the most interesting social phenomena in the history of contemporary culture. Groove Field / Field Groove is a piece that studies the coding, processes, and behaviors generated from the transit of sound diffusion technologies, exploring different sound reproduction formats. At the same time, the piece shows the deterioration of audio quality generated by the massive consumption of sound reproduction devices, a direct allusion to the socialization rituals established in the transmission of information through oral tradition and the self-absorption that demands listening to music through an iPod in the immediate context. To what extent have we been aware of the place that sound occupies in our environment? Could a different dimension of public space be defined or established in relation to the interaction that is had with sound matter? What elements shape and define the collective sound imaginary, and how much has it been worn down with the use and accumulation of information? What kind of information are we accumulating?

SIGHT & SOUND: SCIENCE FACTION

6th EDITION – INTERNATIONAL FESTIVAL – DIGITAL ART / Eastern Bloc, Montreal Quebec

HoloDecon is an experience situated at the intersection of technology, dreams, and the Buddhist philosophy of impermanence. This reality-bending installation is based on the idea that technology can be used to deconstruct our perception of reality and transport us to a dreamlike dimension where reality dissolves into a world of luminous pixels by observing the impermanence of objects.

In Buddhist philosophy, impermanence is a fundamental concept that refers to the changing nature of all things. Everything that exists, including our own thoughts and emotions, is in constant flux and transformation. Buddhist meditation seeks to train the mind to be aware of impermanence and to accept it as part of the nature of things.

HoloDecon is an invitation to explore the impermanence of reality through technology. By deconstructing our visual and auditory perception, it invites us to question the solidity of reality and immerse ourselves in a world of constant change and transformation. Every day objects become abstract and forms fade into a sea of pixels. “Holodecon” is a term that combines “holos” and “deconstruction,” referring to a device of interfered perception that allows the observation of three-dimensional environments using obsolete technology. This technology creates a hologram-like appearance that can be perceived by the user.

The experience offered by Holodecon is unique, as it uses obsolete technology, creating a kind of “charm” that takes us back to the past and makes us question the nature of reality and how it is constructed through our perceptions and experiences.

Furthermore, the concept of deconstruction in Holodecon is related to the idea of dismantling and rebuilding the elements that make up our perception of reality. By using obsolete technology to create the appearance of holograms, we are deconstructing the notion that modern technology is the only one capable of creating augmented reality experiences, in this case, a transgression of reality.

The speculation for this research began one day prior to a meditation retreat. I was using the camera of my cell phone (prior to smartphones) and attaching a magnifying lens to the screen. The phone had a very low-quality camera. I was observing a small ficus tree and the screen resolution allowed me to see some dimensioned pixels, a matrix of light.

It is recognized how the use of technology influences the content of our dreams. Before cinema, dreams were linear; after cinema, we dream about framing, camera angles, and movements. During the Buddhist retreat, impermanence was one of the main factors of the study. We had long contemplative walks in nature, attending to the transitory states of existence. I spent long moments observing a bush with flowers growing, some with fruit emerging, mature and rotting, and others with already dry flowers.

During the last meditation session, I started a hypnagogic process that I entered lucidly. I began to observe rhizomatic branches as if with a macro vision with a high depth of field. The distance and proximity were completely in focus, which made me realize that I was in a dream and lucid in it. Questioning the sharpness of the image and constant focus made me doubt that reality. At first, I only observed the plants on a black background, but when I became lucid, I began to observe green leaves, like those of a vine. I was inside a maze-like vineyard. I began to observe grape branches hanging from the leafy ceiling. These were replaced by exotic flowers of very vivid colors, some dried flowers, and others that seemed to be made of plastic. This thought led me to observe trinkets, objects of all kinds trying to overcome entropy. The intensity of the colors and shapes was very special. I progressed through the maze and everything started to become very white until all forms disappeared and I was in a void of the purest white. I felt someone put a white flower in my hand, and as I closed it, it dissolved into a fine powder that dripped from my hand. At that moment, the bell rang to signal the end of the meditation, and I realized that I had closed my hand. I lay down on my side in complete fulfillment.

Upon returning to my studio, I began developing HoloDecon based on this experience. The experimentation I had done with the camera on my phone prior to the retreat was what spontaneously triggered the dream experience during hypnagogia. A significant aspect of my artistic research is the perceptual relationship between dream, concrete, and digital spaces. I began to speculate about how technology had initiated an immersive experience during my hypnagogic state, and whether it was possible to share this experience using technology.

installation

Users wear a pair of lenses to explore a room. These lenses are made from two hacked Samsung phones. Using the phone camera, a line counter lens was placed in front of the tiny screen, which has very low resolution. As the images are independent for each eye, the mind reconstructs a three-dimensional image. When viewed up close, the image is an enlarged array of luminous pixels that appear to be a hologram of sorts. The processing speed of these phone cameras is very slow, producing a scanning effect with movement. Users attempt to understand this new reality. The room is filled with various objects hanging from the ceiling, pots with live plants, freshly cut flowers, dried flowers, plastic flowers, and a variety of curious objects obtained from flea markets related to impermanence. The room is dark, and the lenses have a lamp on each side. The user experience is immersive, as they explore the space and try to identify and recognize these objects. Pressing a button on the helmet activates a series of filters that make the experience more abstract.

Users modify the sound environment by moving around the room using an ultrasonic sensor. The sound piece is a collaboration with Manrico Montero.

During the retreat, I experimented with contemplative meditation using sound. I brought a selection of soundtracks produced by Manrico for his label Mandorla. It was a complementary part of the process that led me to that perceptual state.

Science fiction literature has been one of the first transdisciplinary artistic processes to explore the relationship between technology, science, and speculation about reality. Through books, pages, and words that fade away, the narrative gives us access to imaginary and speculative realities, a reality that occurs in the author’s dream world, materializing in concrete space in the form of a book, activating the reader’s imagination to explore “virtual” worlds.

Virtuality in dreams and imagination refers to the ability to create and experience fictional or imaginary realities in our minds. It is constructed through complex cognitive processes involving perception, memory, attention, and creativity.

In this sense, several science fiction authors have speculated about the possibility of immersion in simulated realities, exploring their possible reaches and problems. The simulation of reality has gone from being a speculative narrative to current experiences that use complex computing systems and visualization devices to achieve increasingly immersive experiences.

The lucidity of perception is a topic that has been explored by various philosophical and spiritual traditions. In Buddhism, for example, we are taught that ignorance and attachment are the primary causes of our suffering. We cling to our perceptions and beliefs as if they were absolute truths, which leads us to confusion and deception. Therefore, meditation and contemplation are practices that help us awaken to reality and see things as they truly are.

In our everyday lives, we are often distracted and disconnected from reality. Our minds are preoccupied with thoughts, worries, fears, and desires, which prevent us from perceiving reality clearly and objectively. However, the experience of HoloDecon invites us to connect with reality in a deeper and more multidimensional way.

This installation allows us to experience three different perceptual states: the dreamlike, the concrete, and the digital. The dreamlike experience refers to the world of dreams, where our minds can be more creative and symbolic. The concrete state refers to the physical and material world around us, with objects we can see, touch, and feel. Finally, the digital state refers to the world of technology and virtual reality, where we can immerse ourselves in artificial yet convincing environments.

Through this experience, we can learn to perceive reality in a more complete and profound way, connecting these three perceptual states and experiencing a richer and more meaningful reality. Furthermore, by using immersive technology, the experience becomes more intense and visceral, allowing us to fully immerse ourselves in the experience and connect with reality in a deeper way.

In physical reality, the present is presented to us as a dynamic stage in which everything constantly changes, in which time flows, and things transform before our eyes. It is a world of textures, smells, sounds, and flavors that blend in a symphony of sensations that connect us with life itself.

In the virtual world, the present manifests itself on the screen, in interaction with technology, and in the immersion in simulated realities that transport us to simulated worlds. It is an increasingly present experience in our daily life, in which we can create and experience fictional realities that allow us to explore new ways of being and existing in the world.

In dreams, the present becomes an oneiric universe in which the mind is freed from the constraints of physical reality and enters into worlds of fantasy and imagination. It is an experience in which lucidity allows us to take control of our dreams and create realities that transport us to unimaginable places.

In all these states of perception, lucidity is the key factor to awaken to reality, to truly be present and experience life to its fullest. It is a call to live each moment with intensity, to be surprised by the beauty of the world around us, and to create new ways of being and existing in the here and now.

Afecto Material Exhibition 2016

Technology has a significant impact on our perceptual ability, which influences the construction of our dream world. Our perception of objects and environments is based on the experience of their properties, either through our biological sensors or technological interfaces that enhance our sensory ability. This situation presents a paradox in understanding and validating reality, which flows through different energetic processes but is perceived as a non-accidental construction within a context of chaotic order with a beginning and an end.

The construction of objects depends on autonomous or dependent principles of other autonomies, and their designation of materiality is nourished by their relational dichotomy between existence and nullity. The environment and objects are dynamic and fluctuate, and their materiality is intimately related to our perception and understanding of the world around us.

Reality is constructed through synapses activated by the direct fluctuation of information captured by our sensors or by the lucidity coming from collective mnemonic activity. In general, our perceptual capacity is affected by technology, leading us to question the nature of reality and how we construct it through our perceptions and experiences.

Sonoluminimente

Sonoluminescence is a complex phenomenon that is still not fully understood, so there is no single and definitive hypothesis that can be considered the most accurate. However, there are several theories that have been proposed to explain this phenomenon, such as the cavitation hypothesis, the Casimir effect theory, and the quantum electrodynamics hypothesis.

The cavitation hypothesis suggests that sonoluminescence occurs due to the violent collapse of a gas bubble in a liquid, which generates a large amount of heat and energy. The Casimir effect theory suggests that sonoluminescence is caused by the interaction of quantum vacuum fluctuations with sound-excited water molecules, which generates virtual photons that become real.

The hypothesis of quantum electrodynamics is based on the idea that sonoluminescence is caused by the excitation of electrons in water molecules, which then emit photons when they return to their original energy state. This theory also suggests that the quantum vacuum plays an important role in sonoluminescence, as it can generate pairs of virtual particles that interact with the excited electrons.

These physics theories have in common the attempt to understand the Vacuum: a fundamental concept in physics that refers to the state of total absence of matter and energy in a given space. In classical physics theory, the vacuum was considered to be a state in which there was nothing at all. However, in modern physics, it has been discovered that the vacuum is not really empty, but is filled with quantum fluctuations that generate virtual particles and energy fields. In fact, it is believed that the quantum vacuum is the source of dark energy that drives the accelerated expansion of the universe.

Each subatomic interaction consists of the annihilation of the original particle and the creation of new subatomic particles. The subatomic world is a continuous dance of creation and annihilation, mass transforming into energy and energy transforming into mass. Transient forms appear and disappear from existence, creating an infinitely and constantly new reality. – Sogyal Rinpoche

Humanity has begun to explore consciousness processes through meditative and mindfulness methods, leading to speculative hypotheses about the existence and perception of reality. Eastern mystics have observed the constant presence of emptiness and impermanence when contemplating consciousness and nature, seeing the universe as energies and fluctuations that constitute an illusory, transient, and non-dual reality.

In Buddhist philosophy, Śūnyatā is the emptiness that constitutes the ultimate reality. Sunyata is not seen as the negation of reality, but rather as the undifferentiated source from which all apparent entities, distinctions, and dualities arise. Emptiness teaches the lack of substantiality or independence of things, and also speaks of impermanence, of how everything is in constant transformation and change.

The practice of Sonoluminiment focuses on meditation on the nature of reality, specifically on impermanence and emptiness. The construction of the mantric artifact involves replicating the multiple bubble sonoluminescence experiment using electronic components and a wooden structure that represents a portal, alluding to the bardos.

The electronic circuit consists of a frequency generator, a sound amplification system, a borosilicate flask with two high-frequency piezoelectric elements, and a wound inductor to amplify the electrical signal from the generator. The wooden structure holds the flask at eye level, and a meditation bench is used for sitting.

To measure the meditative state, a headband is used to measure the brainwave frequencies of attention, which allows for controlling the frequencies emitted to the system. Unlike the single-bubble experiment in the laboratory, which requires very special conditions, Sonoluminimente uses multiple bubbles, which generates a special and hypnotic cavitation sound.

Upon entering meditation, attention is focused on the formation of the bubbles, observing the tiny micro-dot of light and emptiness that forms inside them. This practice seeks to bring understanding that all things are empty of intrinsic and independent existence, and that everything is interconnected and conditioned by everything else.

The phenomenological manifestations of mystical emptiness, like subatomic particles, are not static and permanent, but dynamic and transitory, appearing and vanishing in an incessant dance of movement and energy. Just like the subatomic world of physics, the world of Eastern mysticism is a world of samsara, of a continuous birth and death. As transient manifestations of emptiness, the things of this world do not possess a fundamental identity. This is particularly accentuated in Buddhist philosophy, which denies the existence of any material substance and also maintains that the idea of a permanent “self” that goes through successive experiences is an illusion. Buddhists have often compared this illusion of a material substance and an individual “self” with the phenomenon of a water wave, in which the up and down movement of water particles makes us think that a “part” of the water moves on the surface. It is interesting to see that physics has employed the same analogy in the context of field theory to point out the illusion of a material substance created by moving particles. Thus, Hermann Weyl writes: According to the field theory of matter, a material particle such as an electron is simply a small region of the field within which the strength of the field assumes enormously high values, indicating that a comparatively very large amount of energy is concentrated in a very small space. Such a knot of energy, which is by no means clearly delineated against the rest of the field, propagates through empty space like a wave of water on the surface of a lake; there is no substance of which it can be said that the electron is composed at all times.

FRITJOF CAPRA

“Endō”

is a Japanese term that refers to the interdependence or mutual coexistence of all things. In Buddhist philosophy, this idea is related to the concept of emptiness, which refers to the lack of an intrinsic and autonomous existence of all things.

The notion of endō suggests that all things are interconnected and mutually influence each other. This is reflected in the Buddhist teaching of dependent origination, which holds that all phenomena arise in dependence on other phenomena. In other words, things do not have an independent existence, but are interconnected and conditioned by everything else.

Emptiness in Buddhism refers to the lack of a fundamental and permanent identity of all things. Every phenomenon is transitory and dependent on other phenomena, which means that there is nothing that has an autonomous and independent existence. This idea is related to the notion of endō, as it suggests that everything is interconnected and that there is nothing that exists by itself.

• Arcangelo Constantini / Roberto Zenit ( cientifico)
• Comisionada por el Colectivo reactante para la muestra Quanta
• Apoyo , Santiago Itzcoatl, Diego Liedo, Mauricio Alvarez
• Bernardo Palacios , Daniel Lara Ballesteros
• Asesoria:  Dra Margarita Navarrete , Russ
• Agradecimientos : Nathalie Regard, Adriana Casas, Centro Multimedia, Lina Pulido, Andres Stepanichtchev, Dr Juan hernandez Cordero, Dra, Rocio de la Torre
• Artista en Residencia
• Laboratorio de Reologia
• Instituto de Investigaciones Materiales
• UNAM
• comisionada por 
• Reactante 
• Bogotá Colombia 2017

Iinaguration Bogota

production Art in residence UNAM

installation Bogota

Modos De Oir , Laboratorio Arte Alameda

( Bio Photo Neuro Modulator )

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The therapeutic light system of Biohack and Neurohack is an electronic device designed to provide red light therapy. This device is composed of a PCB board that contains an array of high-power red LEDs at 640 nm, a flexible arm, and a frequency generator circuit. This system uses both the benefits of the red light spectrum and the emission of specific frequencies through light.

Red light has been studied for its therapeutic effects on the skin, tissues, and cells of the human body. In addition, red light can improve blood circulation and reduce inflammation. On the other hand, it is known that specific frequencies can affect neuronal activity and thus have positive effects on mental health.

This system combines both technologies to provide comprehensive therapy. The device is designed to be flexible and easy to use, allowing the user to aim the red light at the desired area of the body. In addition, the frequency generator circuit allows for the emission of specific frequencies through light, which can help improve neuronal activity and, consequently, improve mental health.

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Red light therapy is an example of how technology can be used to improve human health and well-being. By harnessing a specific wavelength of light, red light therapy aims to obtain therapeutic benefits both clinically and cosmetically. This technique is based on the use of light-emitting diodes (LEDs) that emit red and infrared light, replicating the regenerative light spectrum present in natural sunlight.

Nature has provided living beings with an inexhaustible source of energy and benefits in the light spectrum of the sun. Sunrise and sunset are moments when the sun emits red and infrared rays that are recognized for their regenerative and healing capabilities. Through LED technology, these benefits can be replicated and harnessed in red light therapy.

Although red light therapy has been used for decades, it is only recently that over 5000 studies from private laboratories and universities have delved into the cellular process that occurs for the benefit of the body. This knowledge has allowed for a greater understanding of how red light therapy can be used to improve health and wellbeing in a variety of contexts.

The fundamental principle of red light therapy, also known as photobiomodulation, is the stimulation of the mitochondria present in all cells of the body. These organelles are responsible for the production of energy in the form of the molecule called adenosine triphosphate (ATP). By exposing the mitochondria to red and infrared radiation, ATP production is promoted, which in turn allows cells to regenerate and repair damage. In other words, this therapy seeks to rejuvenate cells through the stimulation of their mitochondria.

Although aging is a natural process that has intrigued philosophers and scientists for centuries, it has been identified that aging is associated with a decline in mitochondrial activity, resulting in a decrease in ATP production. Red light therapy, by stimulating the mitochondria and increasing ATP production, aims to counteract this natural aging process.

It is important to note that red light therapy is a technique backed by scientific evidence and has been studied in various private laboratories and universities. Although the exact mechanism of photobiomodulation is still being investigated, the results obtained so far suggest that this therapy can have a significant impact on human health and well-being.

Red light, as mentioned earlier, has the ability to penetrate deeply into the skin and activate a series of cellular processes that lead to energy production and tissue regeneration. The energy produced through photobiomodulation activates the synthesis of collagen, elastin, and ATP, allowing for increased oxygenation of the skin and improved blood circulation.

Furthermore, red light is capable of reducing inflammation and pain in joints and wounds, which can have significant therapeutic implications. However, it is important to note that photon absorption can also have side effects, such as a temporary increase in reactive oxygen species and modulation of calcium levels.

These side effects, however, are necessary for the activation of a wide range of transcription factors that lead to better cell survival, increased proliferation and migration, and the synthesis of new proteins. In this sense, photobiomodulation becomes a valuable tool in the modulation of cellular processes and tissue regeneration in the body.

Scientific evidence supports the hypothesis that oxidative damage and mitochondrial deterioration due to aging are determining factors in the accumulation of mitochondrial deficits in cells, tissues, and organisms. This principle underlies the ability of light therapy to improve the recovery of a wide variety of tissues. Red light therapy strengthens the intracellular antioxidant system and increases the strength and size of mitochondria, while stimulating the creation of new mitochondria. Ultimately, this increases resistance to stressful environmental factors and promotes greater adaptability to the changing environment.

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Red light therapy does not produce thermal damage, as the low-power LED light used does not emit significant heat. Therefore, it is a safe and non-invasive option for treating various health and beauty problems.

In addition to ATP production and improved mitochondrial function, red light therapy has also been associated with the activation of cellular cleansing processes, such as autophagy and apoptosis, which helps eliminate damaged or defective cells and promotes cell renewal.

Red light therapy has also been used to improve sleep quality, as exposure to red light before sleep is believed to help regulate the circadian rhythm and improve melatonin production.

Preliminary studies suggest that red light therapy may also have beneficial effects on the brain, including improving cognitive function and reducing brain inflammation.

In addition to its rejuvenating effects, red light therapy has also been used to treat a variety of skin conditions such as acne, rosacea, and psoriasis. Red light has the ability to kill acne-causing bacteria and reduce inflammation associated with rosacea and psoriasis.

Red light therapy has also been shown to help relieve pain in various conditions such as arthritis, muscle pain, and back pain. Red light can penetrate deeply into body tissues, reducing inflammation and improving blood circulation, which can help reduce pain.

Red light therapy has also been used to improve cognitive function and treat mood disorders such as depression and anxiety. Red light can stimulate the production of neurotransmitters such as serotonin and dopamine, which can improve mood and reduce symptoms of depression and anxiety.

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The Biophonemo light system represents an interesting technological tool that exploits the symphony of frequencies that permeate the universe. Everything that exists vibrates and emits frequencies, from planets in their orbit to subatomic particles. Neuronal activity is also regulated by electromagnetic frequencies, and states of consciousness can be measured through electroencephalogram records. The notion of non-ordinary states of consciousness has been recognized for millennia, and various cultures have used different sound frequencies to achieve states of fulfillment, physical and mental health.

With the Biophonemo bio-photo-neuro modulation system, not only do we obtain the therapeutic benefits of red light in our biological organism, but we can also select different frequencies with a specific intention to benefit our psyche.

The teachings of Pythagoras about musical tuning and the “music of the spheres” speculated about the energetic and musical nature of the cosmos. In the Vedas of India, we find the legacy of the chakras, which are energetic clusters of water molecules in our bodies, while in Tibetan Buddhism, mantras are used to reach states of balance and harmony. Tesla, for his part, left us his discovery of the numerical pattern 3, 6, and 9, which is used in the solfeggio frequencies.

Light, as an electromagnetic phenomenon, is one of the greatest mysteries of existence. It behaves simultaneously as a particle and a wave, and its potential is immeasurable. We are still discovering the secrets it holds.

Neurohack

​​Everything in the universe is frequency: energetic flows that generate fields of action. Science has discovered that mathematics is in nature and is an intrinsic part of the universe, not a human invention.

For Nikola Tesla, the study of the triad: frequency, energy, and vibration, was essential to understanding the universe. He had a mathematical view of these flows that allowed him to glimpse practical scientific solutions that changed the world we live in. He recognized patterns in nature and devoted himself to studying 3, 6, and 9, obsessed with understanding them.

The powers of the binary system are a pattern that starts from one and continues doubling the numbers. This pattern is found in the development of cells and embryos: 1, 2, 4, 8, 16, 32, 64, 128, 256, etc. This pattern is established as the computational binary system.

Scientist Marko Rodin discovered that in the pattern called Vortex Math, the numbers 1, 2, 4, 8, 7, 5, 1, 2, 4, 8, 7, 5, 1, 2, 4, and so on repeat indefinitely. According to Rodin, the numbers 3, 6, and 9 do not appear in this pattern because they represent a vector that goes from the third to the fourth dimension, which he calls the “flow field.” This field is a higher dimensional energy that has influence over the energy circuit of the other six numbers.

These numerological patterns are symbolic. The number 3 is very important in mysticism and science. For Christianity, the Holy Trinity is fundamental, as well as for the basic tenets of science: matter cannot be created or destroyed, only transformed. Every living being is born, reproduces, and dies.

Neuroscience detects the energetic flow of the brain and how it oscillates, representing the basic states of consciousness: Alpha, Beta, Delta, and Theta. Frequencies have the ability to modulate different states of consciousness and have been recognized in nature since ancient times.

Biphonemo uses an electronic frequency generator circuit to oscillate light. The conscious vision is unable to perceive these changes, but the subconscious does. Visible light is an electromagnetic field, and everything in the body is electromagnetism. Light has a subtle yet effective impact on metabolic processes and cellular functioning. Each frequency has an intention, and by selecting a frequency, you seek to modulate your subconscious with that intention. It’s a neurological process of attention, meditation, and contemplation. With these luminous frequencies, you hack your consciousness to expand and balance your perception. This work is parallel to luminous biohacking.

The 174 Hz tone is very beneficial and effective in relieving pain. It acts as a natural anesthetic and helps to heal the sick aura that surrounds a person.

These are some of the benefits of the 174 Hz frequency:

• Helps relieve pain in the back, feet, legs, migraines, and stress.
• Works wonders on brain tissue and increases emotional power, fostering a sense of security, love, and courage, which helps to heal the person quickly.
• It is an excellent tool for improving concentration levels.
• It contains different nodes and background tones that directly affect the chakras and develops the power of healing and energy that makes you feel better.
• It is an excellent way to reduce emotional pain as well. People who have lost someone or who have not been able to live happily can find relief in this frequency.

The frequency of 285 Hz helps to heal tissues and return them to their original shape by sending a message to restructure damaged organs and tissues. In addition, it improves the immune system and is believed to create positive changes in those who are near it.

Benefits of the frequency of 285 Hz:

• Heals and regenerates body tissues.
• Restructures damaged organs by sending a message to the tissues and returning them to their original shape.
• Influences the energy field surrounding the body.
• Influences the energy field around the house or office.
• Helps with the rapid healing of burns, fractures, sprains, cuts, and other injuries.
• Improves the immune system.

396 Hz is one of the fundamental frequencies used in Sound Healing. This frequency cleanses the feeling of guilt, which often represents one of the basic obstacles to realization. It is useful for creating a strong magnetic field of energy that helps and empowers us to achieve our goals. Its vibrations release you from the feeling of guilt and fear. This frequency is used to awaken and transform grief into joy. It is associated with the Root Chakra, our Primary Energy Center, and is used to balance the Root Chakra.

Benefits of 396 Hz:

• Empowers your goals.
• Eradicates the feeling of guilt, even the guilt that resides deep in the subconscious mind.
• Increases your ability to find inner peace.
• Helps you overcome fear, which is often the main obstacle in achieving our dreams and goals.
• Liberates from negative subconscious beliefs and thoughts.
• Used to balance the Root Chakra.
• Transforms grief into joy.

417 Hz is known for eliminating all the negativity within us. It is a frequency that can bring about change, mark the beginning of new beginnings in life, and is so powerful that it can reverse and undo negative events.

Benefits of the Solfeggio frequency of 417 Hz:

• Eliminates negative energy from the body.
• Eliminates negative energy from the home and office.
• Eliminates negative thoughts and behavior patterns.
• Undoes negative situations.
• Facilitates change in yourself and others.
• Helps overcome traumas.

528Hz | Brings Positive Transformation | Heals the Heart Chakra | Repairs Cells Throughout the Body.

Benefits of 528Hz:

• Promotes endocrine system health and decreases cortisol levels, which in turn helps to promote cellular regeneration and repair.
• Is effective in improving sleep quality, as most cellular repairs occur during the night.
• Promotes healing of the Heart Chakra, leading to beneficial effects such as an increase in energy levels and a boost in positivity.
• Helps increase self-confidence and self-esteem.

639 Hz – is associated with the Heart Chakra. This is the Solfeggio frequency of Compassion and Eternal Love.

Benefits of 639 Hz:

• Allows for the creation of harmonious interpersonal relationships.
• This frequency can be used to address problems in relationships, whether within family, between partners or friends.
• At a cellular level, the 639 Hz frequency can be used to encourage cells to communicate with their environment.
• Enhances communication, understanding, tolerance, and love.

The 741 Hz es conocida como la “frecuencia del despertar interior”. Se cree que tiene propiedades curativas y terapéuticas que ayudan a reducir el estrés y la ansiedad, a aumentar la claridad mental y a mejorar la intuición y la percepción sensorial.

• Benefits of the 741 Hz frequency:
• Acts as a repulsive magnet for negativity and toxins.
• Protects against negativity both inside and outside of us.
• Clears the Throat Chakra, allowing for better communication and truth-telling.
• Helps to release pent-up emotions such as anger, resentment, and jealousy.

The frequency of 963 Hz, often called the “Frequency of the Gods,” is known to be an activator of the pineal gland.

Benefits of 963 Hz music:

• Helps to open the crown chakra.
• Promotes activation of the pineal gland, often described as the “seat of the soul.”
• Helps to clear mental fog and bring clarity to our thought process.
• Is the frequency of divine connection.
• Can help establish a deeper connection with the divine.
• Is our gateway to awakening our higher consciousness, leading us to deep inner peace.