"Reencarnación y Descolonización:Un Arte desde el Sur" por Nahu Padilla 12/2/26 - UNEARTE- S3 by @nahupuku on 3Speak
▶️ Watch on 3Speak --- Texto borrador"Reencarnación y Descolonización:Un Arte desde el Sur" Nahu Padilla 12/2/26-UNEARTE-S3 Hi to all, my name its Nahu Padilla, @nahupuku and this time Im going to ...
Tags: #alienarthive #videoart #hive #art #arte #digitalart #experimental #generativeart #spanish #venezuela
Well, this is the exposition about my theme of specialization, Reincarnation and Colonization, A Art from the South, of Seminario 3. First part, the Despertar of the Lineage and the CERP as Territory. I'm going to present to a systematization of my own reincarnation. As my dedicatoria, of the work of thesis, is of the work is for Waikaipur, whose fury not archived in the time, but if sedimented in my ser from very tempran ed, to convert into an artist that hacky to the modernity. My investigation is an act of justice symbolic. The problem, context political, sovereign. No, we can't talk of the art in Venezuela, today, without about the more of 1 ,000-80 sanctions and the blocker. But, under the fault of olios or cameras of high-gama, surges the creativity of colonial, if no, material, we, we're doing material, we, to work with what there. My proposal islamitant, convertive, convertion of software, I'm the programer of my own discourse stetre, the structure, for what estratus. I've decided to abandoning the because my investigation is an excavation archaeological. The colony intent to tap our knowledge with the earth. I'm removing those capes to find the truth that late below. Each stratum is a level of power and knowledge that traverses my lineage, the technique Python and the sounder. For that nobody say that this is only my sense, this is blinded with the rigor of the investigation qualitative agnographic of Miguel Martinez -Migueless. He valida that my subjectivity is my major arraimienta, and to understand how the ancestral live today in the red, utilizes the necnographia sensible of Narvaes and Carmona, realizing a act of categorize the sun, cartographies of the sense and the rigor of the mirada. The cartographies, like placas tectonics. To enter in material, we have cartographied five dimensions, because, to decolonize the art, first you have to map the erie. My cartography is a geography of an obsession. Bucco desenterarer the intention after the gesture percutive. Here, the city of Caracas is a plan static, it's a body that vibra, and my subjectivity is the seismographer that vibration. The dialogue with the Maestros, Martini, and the post-positivism. Here is where I respond to the Academy traditional, my work is sustent in the paradigm post-postritivist of Miguel Martinez-Migeles. Martíin me teaches that the knowledge is dialogic, my investigation is qualitative agnographic, but with a hero, is an agnography of the yo. Al-usarvation, not observe to other, me observe to me myself, executing the pucon instrument. Valided my allysk, in categories emergentes, as the transmateriality. In my investigation, not yet in the entire physical. We've been in the area digital and, as the creator of the Sur, reclame in the space in the red. Here, enter the technography-sensibly, based on the studios of Narvaes and Carmona. No, I use the red for posteart, I use as a territory of the imaginary. Investigo, how my work resound in the ecosystem digital, hive, Instagram, phonopaper, and how those data go back to the world physical. It's a spiral methodological. The pulse of the tambour is code in Python, the code is visuality in the red, and that visuality in the memory of the spectator. tech in plenna action or technology tribal. The Justice Epistemic, the Surco-Orizont, what I look in these strates is justice epistemic. As my essay, the sound as pigment of the memory, the artist investigator, should be a point. I don't accept that the manual of the artes is scribed in Europe. My manual is in an area, it's codified in Caracas, and the university of the arts, with the rigor of who we know that the magic and the science are not separated. Part 3. The lineage of the fire and the machete. The origin, the curanderer, and the Generala. My investigation not in a biblioteca, and I'm in the tact. I'm in the lineage of Juan Evangelist Arvelades, Arbelais, the curaner, who, who me ensigno, that the true reason not are in the anachelles, but in the eyes, in the sense of the barriga, and that he sanable, taking the barriga. I'm from the mando of my vizabuela, Dona Manuel Arvelace, the General, and my grandmother, Hermina Barela. They are the matriarchs of my disobedience. My thesis is the complement of a promise of these ancestors, that their saber not would be barred by modernity, but re-encarnarer in new forms. My body is the sediment where those chamanes and guerreras operate. Estrata 4. The Puckoo Instrumento, here present the heart of my work the Pukunstrument. No, you name in battery. Academically, I define it as an installation percutive sculptorica and technologic of character ludic. It's an organo-vino-vibur of re-encarcernation sonora. in where the matter and the metal, they're found with the code Python. According Miguel Martine's, the Puckoo Instrument is my tool to recollection of data sensible, me permit acceding to acceder to extract that the language is written, that the language is written, simply not can't touch. It's my pencil to paint the sound. The Reincarnation as a category of analysis, the tribal tech. The reincarnation, not here a concept mystical, is a category of analysis of colonial. Weimariality. The pulse of Waikai Puro, which is a pulse of resistance, via through my backets, it's, it's convicts, and then a on a sounderine, and then in a image visual or a rasto of the red, phonopaper. It's the tribal tech, the chamanism urban, utilizing the technology to guarantee our justice symbolic. We're not utilizing the H in the present digital. Decalgo of the artist and Investigator. For that is systematized my practice in the method of remindication of my roots. If I'm saying, my time my responsibility as a artiste investigator is to be a point that devolva the word to who was rebutted. Valid our magic and our spirituality, front of the egemonia technological is our major act of sovereignty. Part 4. The Code Binary, as a Pulse Ancestral, Estratos 3, and 5. The Programmation as Act of Desovedience. Entramos now in the Stratus, the Tribal Tech. Many are asked, what does the code Python in a tracy sobreancentros. The response to the sovereignty technological. In my essay, the sound as pigment of the memory, I'm When the program in Python, to traducing the ball of my tambour in a signal visual, I'm doing a hacking creative, so, hacking the system. Not I'm using a filter of Instagram, I'm creating the algorithm that allows that the she a voyage of the byte. If the tool no exists, assume the retort of the language of the machines. My code is my amuletto digital. Phonopaper, the image that grita, here is where the transmateriality is evident. I use a tool for the sounderrowne. The spectator can scaneer a image of my Hachs of Waikai Pura and hear the Percution. It's what I call to Pintar the Soni, a concept that I've been madurandahski, a filmmaker in the Cineastor Rusk, in Esculpire in the Time. I don't want to capture a moment. I look that the time ancestral reencarne in the space digital. The image is static, is a portal sonora. The Technography Sensible, more than the Reds Social. To fundamental this, we support in the Stratus, with the Nautography Sensible of Narvaes and Carmona. My investigation not only in my ture, as I said in the red, Hype, D, Instagram, but not I see as marketing, it as a territory of the imaginary. Narvae and Carmona valid that the red is a space where the knowers no-officials, our knowers, can circulate out of the censure colonial. My work in the red is a necography of the Che. Analyso, how the vibration of my Bucro Instrument, connect with other people in the ecosystem digital, creating a community of resistance active, the Tare as Radar of Resistance Active. Inspirate in the Maestro Claudio Perna and his concept of radar, my tallyer, not is a space of production-aslada, is a node of a red, a network of a network, because we've made collaborations with artists, both of my time global. In this point, I want to be clear that the Bucstrument is a device of red. Various colleagues artists have been to grab music and to create art with him in my Tadier of Art. Every session of tribal tech is a register ethnographic, as me permit to understand that my action on the instrument is a data-vivo. I'm not recollecting inquest, I'm recollecting frequencies, I'm recollecting frequency, I'm recollecting frequency, I'm recollecting. The creativity, reiterate, this display of technological, with more of 180 sanctions. My tribal tech is the response to the carency. If we don't we can't buy the software car, we program our, things that I did when generate my program. That is the Supplement methodological, the science of the sentier and the rastro digital, the agnography as a profanation of the method colonial. My proposal is alexia that observes to the other as an object of study. I have a brazo in the agnognography, critical, and I'mgeline, I think that the investigator not can disprendence in its historiocity. My body is my laboratory. When documentar my process with a book instrument, I'm realizing an observation participative in my own reincarnation. This is responsibility epistemic. As an artiste investigator, I am at the point of friction, where the theory of colonial chocka with the madera of the tambour. My auto-ecography is the register of that chispa. It's a method that me of a certain value symbolical for the cultures of the South. Histories of Life, the Sediment of the Arbelais, and the memory Timot. My methodology, is a newtri, my lineage not a arbor genealogical, a word genealogical, is a methodology, a vivid. The Saber, Evangelist Arbelais, the Curandero Dunare, is my base of data primary, as a chaman PiH of the Zone. When Martinez has about the structure dynamic of the psyche, I connect with the herence of Manuel Arbelais, the general, my vis-awela. So, history of resistance is the story of resistance, is the fury of Waikaipura, as a sediment of my sternum. The method of histories of life, me permit to trianguling my present, me, my pastoral of my ancestors, Chihuahuaay and Karina, convicti, and my biography in a geography of resistance. Each cicatry familiar is a category of analysis that fundamental because the sound is, for me, a pigment of the memory. Technography of the Imaginaria of the Imaginaria of the Red. For me it is vital justificing how the ancestral abita the digital. Here, I apply, again, the technography sensible, fundamental to the studies of Narvaes and Carmona, on the investigation of the imaginary. archaeology, rastrea, as my sound, as being scanned a code visual, activates memories in other bodies, a kilometers of distance. It's a technography of the reincarnation, the ancestor, the ancestor, and the ancestor, and the The rigor of my work resides in the process of categorization that propone Martinez-Miguel. No, me keep on the surface of the register. I take the incidences critical, of my sessions sonoraes, and those transform in categories like justice symbolic, tribal tech, and sovereignty esthetic. This is the true praxis, the capacity to elevate the PUC-istroup-instrument to a level of extraction theory that can be shared and validated by the community academic. My methodology is a spiral of colonial. Part of the sense of the ancestors, is a is a code neignography, and he goes to the academia, as a common, another, that reclama, part of his life. Part 5. The allasgos in the Selva of 2-Temp, Stratus. The Reincarnation, we enter in Stratus 6. Alleyagos of the Rigor of Miguel Martinez-Miguel is the force of my lineage. The allignt, this thesis is the thesis, and the I have found that the HE, that force vital that hered of the Arbelai's and the coroner of Unare, not so that's transmaterialize. The allayasue is clear. The technology of Python and phonopaper not dehumanize the rito, but it allows that the rito survive and spanned the contemporaneity. It's what I categorize as a reincarnation aesthetic. The Poco Instrumento, as a seismographer of the subjectivity. During the process of categorization, I discovered that the Pucgment, actua as a seismographer. My allayasks, demonstrate that, the percussion, is a rupture of the time colonial. In my Talley, it functions as a radar of resistency active of Claudio Perna. The data recollectas not only numbers, but vibrations of justice. I've been systematize how the execution of the instrument, produce a state of consience expanded, that me permit the city of Caracas, not as a metropolis of concrete, but as a selverida that grita through the cower of the tambour of. This is an allayasco methodological, the art of sonoro, as a tool of sanation. The transmateriality. Another allure that I present in this stratos is the transmateriality. I've also to demonstrate that a concept ancestral, like the protection of the orations that hered of my mother and my ancestors, can be codified, visual and sonoramely. A troughed, I observed that, when the spectator interactuva with my pieces digital, there is an activation of the memory collective. This means that the code is preneated in tension. Investigation, creation, demuestrae, that the sovereignty is the only way for that the artiste of the Sur, dege to be a consumer of aesthetics agenas, and begins to be an emissor of realities propit. Articulation of the Justice Symbolic. Finally, in this strato six, the article of the Justice Symbolica, and my alliagos, indicates that every goal has a instrument, every line of code Python, and every map subjective is an act of reparation. We're repairing the silence, that is the impulse Waikipur. We're repairing the oblivion of the abetting of an area. The allure is political and esthetic. My praxis, demuestra is a art from the South is a repository, as a device that I've done, the sound is the pigment with that we're repinting in our own history, one that not was written for the vencedure, but it's being executed, for the survivors, or even for me myself, being the reflex of the life pasted of the Guatopori, Wakaipur. Part 6, Justice Epistemica and the Legada of the She, Estrato 7. to an university of the Averers Otros. We get to the Stratus, the Capa more more to the surface to transform the Academy. Here, no present conclusions, serrathes, but an aperture of caminus. My investigation demestre that the University of the Artes should be a space for the Averer Others. As a systematicized, my decalogue of the artist and investigator, the responsibility not only to produce objects, but to leave constance of a process of deliberation. The Estrato 7 is the validation of that my praxis is an event isolated. It's a methodology pedagogic that can be replicated by other creators of the South, that's their own sovereignty. My work not to keep an instrument object. My puclement is a musical instrument is a technological. Appoyant on the technography, I've demonstrated that the pookestrumenture not only to talk music, is to recollectar frequencies of the memory collective. At integrate Python and Fono Paper, I'm blinding my work against the obsolescence colonial. I'm not an artist, technology in medium of a blocker and a sanction. This is what Martines-Migelles, originality creator, in the investigation qualitative. The legate of the Arbelaises and the fury of Waalcaipura. At this exposition, I'll start at the intersection of the curandism of John Evangelist of Aurelais, and the desonementiae of my ancestors and the vows-passed rebeles. I've come to the promise, the San Bernard ancestral of Unare, and the in lineage of Chihuahari, now have a body academic, a code informatic and a structure of stratos that nobody can borrow. The sound that emanate of the pocum instrument is the pigment with the and today that fury has become in a science of colonial. My gritty is of war and of the same time, justice epistemic, leaving constance of that this process goes from 2008 to 2026. I've excavated on the earth that the colony put over us and I've encountered my truth. This work final specialization is my support of the sovereignty of Venezuela and to the memory of my access. Reflections final. To finalize, I want to make clear a point that traverses every stratum of this thesis and that respond to the naturalization of the the validation of the error and the imperfection as a rastrow human. In the world, that today, that today, currently, isle-articile, and the perfection digital purgla of the north, my work with the book instrument and the code Python revindica what I call the technology sentient. My code is perfect, has the glitch, has a failure, has a failure, has a lightricide of Caracas, but it's precisely that falla where resides the truth of my investigation. As I've got to think and to express it in my conference, classes, and tutorials, if my tambour sooo sounds socio, is because the history that I'm with the story that I'm being caught upropegiant. If my code is complex, is because I'm A Methodology in the Abundance Symbolica, My Puck Instrumento is not a battery a mal-armed, it's an architecture of the supervivency. Investigation shows that we need the permission of Silicon Valley to program our faith. or the permission of the galleries of Artes of New York to validate our HET. This work is the proof of the artist and investigator of the Sur, has been a object of study to power. My sovereignty not a title did a title, me gave a lineage of the Arvelace, the fury of Walcaipur, and the capacity to understand that in the self, that in the denomina the ecology of Sabres. My investigation not despise the technology modern. What is to negation that that technology is the only know-savir. At the same mesa, the pulse ancestral of Puraner of Unare with the programmation digital. I'm replying the thoughtingal, that says that the magia not is science. As a Walter Mignolo, I amperating from a thought of a frontier between the rito and the BIT. No, I'm looking that the Academy European me appreve. I'm exercing a disobedience epistemical. The Puck Instrument is my tool to say that our knowes, the ACHE, the memory of Waikaipur, the mysticism of the Arvelades, not are passed, are a present technological sovereign. This work is my support of a justice that not only is social, but cognitive. We are rescatering the know that were declared inexistent, and we do not from the case, but the praxis of who knows that its lineage is Fuego and its future is code. Utilization of the founties. In the first and second part, I used the names of Estrato 1, the Apparato Semiotic and the Encanation of the Sentitone, and the Encanation of the Stectonics, and the Sterecton, about specifically of the Furiawai-Pura, as sediment, and the Sur, as horizontal. In the methodological, me focus on the Strato 3, Methodologies and Nenography of the H, using Martyrus and Narvaez to validate precisely these titles. In the Part 3 and 4, Entre-de-enon in the Stato 4, the pook instrument, organo-vivo, and sculptura percutive. In the Stato 5, Tribaltec, the Co-Evergencese of the Codew-Segrae, where include the Pytton, Phon, Phonopeper, and the Sovereignistet. In the Part 5 and 6, serrata of the Cells, The Stratus, and the Stratus, and in the Stratus, etc., connecting with the Category of the Reincarnation and the Justice Epistetemic. In this exposition, you can see that there is an aperture with a context political, cartographies, and methodology, the pook instrument and the transmateriality, that the concept that I Code of Neignography and Sovereignography, Autoenography, and Stories of Life, Allas, and Cierrez, and, and, and, for you present, a series of authors, with which I'm working, and, Marvell, Narvaez and Carmona, Enigraphy, Nenegovina, Pernus, and Inhani, Pekh, and, Pekh, and, Kijan, Dusel, Kirste, Kov, Kavre, Kavre, here is the manual of phonopaper, Sadin, Hernandez, Bernaness, Bordoff, Wash, Lopez Cano, various of my cites of my, of my, of my, of my, texts, Acosta Saines, Silva, Archivos Familiares of interviews…