Exposición "Reencarnación y Descolonización: Un Arte desde el Sur" Nahu Padilla 12/2/26-UNEARTE -S3 by @nahupuku on 3Speak
▶️ Watch on 3Speak --- Exposición "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 ...
Tags: #alienarthive #videoart #hive #art #arte #digitalart #experimental #generativeart #spanish #venezuela
Well, this work is an approximation, a percentage of 80% more or less, of my thesis of specialization, that the title is Reincarnation and Colonization, an art from the South, that is the dimension of practices artistic and cultural. My idea, when I entered to these studies superior, was to do you but I found about the process and on the marches, that the other two eslones are very necessary for me, to form me, to form me, as creator, and to canalize all the years, from, from, I imagine, from, from, from, from, other generations that are interested in generate some result similar to my, but at the same time, that also, can also can channelize all my enfoque, of a way theoretical, in this thesis of specialization, more than to create theories and categories new, I'm documenting, some type of creation, unique, original, from the South, and that can also generate processes of reflection and sanations of heredas, because, uh, the sculpture, the instrument, or the practices artistic that I realize, I'm doing voice to entities that were invisibilized. either of my own ancestors or of the community, of the territory. So, in base to this, I've prepared a text that I'm not going to read, but I'm going to do some concepts, clear and pointuales, that I want to that is that, that's, that's, that's, that's, that's In the first, I have a definition of the Puku Instrumento. What is the Puck Instrument, is my battery, Puckoo, Puckoo, which is how I'm called I, because the word Puku is a word of Sumeria, Babylonia, Mesopotam, is a word antigo, that is the first name that they're given to the tambour, the Puckoo. And the Miku, yes, and the Miku is the Maraca. That's where the God Henkeh, and he gave those names. So you're Pukuist. Basically, well, no, for that would be a tambourista, it would be like the Puckoo Instrumento was what I constructed with my hands. It's a, it's a, not a battery, as well, a sculpture, an installation, ludic. You can't play with it, you can intervene, and you can make sounds. What the soundities... With K? K? Puckoo? Yes, yes. Those sonorities create works of art plastic. because I built a software, I had to study language in programation, and create a code Python for I generate a mechanism that of what primitive, the ancestral, the tribal, of the sound, mediates, through the bits or the bytes, one constructs a process digital, a work, that's imprimed and so reintervien, but the material is the sound. For that I'm based on painting the sound. One of my referents is Andre Tarkowski, that's a cineaster Russo, that he was about sculpting the time. So when I heard that, I said, God, me, this is, this is, this is I'm, but at a level musical. So, my investigation was profound, because I, me, me, I was investigating how was the process of Tarkowski and to create the soundtracks, the band sonora of the music. was created with a synthesizer that was the ANS. That synthesizer is Russo, he was a scientific Russian of the years 50, and that created some sonorities that for the films of him, that are like, it's like a one or is like a series of 2001 of Kubrick, but a version Rusk, Stalker is one, that those soundtracks were spectacular, cosmicos, mystic, a And from there, some young, well, Alexander, that he is of the university, he is Russo, of the University of Kremlin, from there of Moscow, he generated, this, yeah, but he's just a student, right, in that university, at distance, no, for that. Of that university, he created the same application, but in virtual, it's a app. And I use that app for sound and imprimed it and plasmoder it. That app, what I did for a moment? Alexander, well, here is the app. But, see that that that comes in the process creative of a statisticator digital that's created in the years 50, that, in the years, that, in the years, when was the Leningrad, in the museum, there was one of the The important is how I got all these referents, and I'm going to, first, generate, um, how do you, um, a method, I want to use that word, I want to generate a method of expression, primaria, ancestral, and I generate totems, those totems that can be achas, because are referentes that, for at least, semiotically, and symbolically, the filo of the achas, rompe the colonial, that is a context, an interpretation that can't give. But, for other side, it's a, for me, it's a symbol of protection, not only for me, but for the collective. For that I'm using what I denomino my body, territory, and my maps of cartography of the city, because I live in Caracas, and I'm here, generate and open a portal, because is what my ancestors me say. So, here I want to connect the first concept, that is, this, ah, well, right, I'll read the concept of the instrument, but this is a much more interesting, because it's an example practical of two authors that we know well, Adventure of Sauta, Sousa, pardon, and Walter Mignol. The first concept is the ecology of Sabres, and the other is the practicement of frontierism. that is, me, me, I think that are relevant. Okay, I want to understand the pook instrument and my code in Python. Python is the language of programmation. Why is it important that I know it, for the rebelia. If we're in a blocker, if we're in a sanctions, more than 182 medias coerciatives unilaterals, the artists that we're here, we have to look at the new modes, the new type, the new way to create, and how we do we do with the with the creativity, without quehes. More well, is, it's, loggenolitioner, basically, and reformular. So, when I talk in my conferences, in the... And I, for the most, if I don't have oil, I paint with an aquarelas of the market that is an example very, very, very extensive. But in the case of the Python, as I don't get a software that existed, that for that my methodology is the technography, that I'm going to talk about that, because I work with the international that me at the reds, when I do those experiments to YouTube, that, also is a system collective virtual international, because it's the internet, me mandan songs that I fund with the instrument, so, that's a, is a universe. But, this, what I wanted to say is that I, as I, as I'm not getting a software, I'm so I'm being, so I'm being, so I'm being This thesis or this guide is a two -passes, for that anyone can do it. I'm also, even in the pages, the code Python, for that anyone, exactly. So, first, yeah, but, it's part. So, this first, exactly, the first part, and is the process esthetic, that me helped me help us, being in the Biennale of the South. Pelear, to be there, not for a but to dispone my work and constructively on the marcha, as a totem, sacred of protection, at the last of the artists international. But I'm just the right of the artists that Russian who came. So, I'm in the Salas 3, but to go to that, photographia, in the context, to give to a whole sense, me, in the annexos, that not are called annexed, in this thesis, I'm going to say how they're going to say, well, are to show the process creative from the camera, to my referenters, and even because that work is created. But, also, I also have to talk of other thing. I desiento, and here, justly, I'm just to what I said, what's conversed before, because I'm not using a lineage Basque, that I'm from the to say that is like a tio-a -a-o-a-o-a-o-o-o -a-oel, was a chaman, of the area carinae, of the area of Unare, of the area of Oriental, that has that has to be Sarasa, with all that world, and loco tejo, with the family, the other part of my family materna, that is Timote Chihuahari, of Merida. So, I have two referenters, marked, serios, contextualized, of the indigenous. I'm taking the attribution, but with property, that I'm doing voice to that, for a legado that I have to continue. It's a voice internal that I want to do well, and what I want to do by this other academy, this other new university. It's not to have a title of the Central, with this, this is all in the Central, and to let it go by agrano in a I'm also in the thesis about, for the most, Juan Arvelades, which is this ancestor that I have, that I've done, in periodicals in the time, he had the archives familiarary, he sanable with the barrigue. So I do those comparisons of the voice of the rabbi that me comes to the I took the concept of the platas, platas tectonics, but I've got to my thesis in a way different, not they're not called capitals, but it's not called stratos, because I, with the hands or with the juna, I'm reventing and romping the earth, and are strato of the we're going to say, various stadiums of the mind, that are in practice, these revelations, or these allysgos. One of my alligues is convert the sound in plastic. Those impressions, I pick, I recortes, and generate totems new, that are from the technology. But then the technology is, it's functioning as a paper very, very important, because it's I'm going to the same. Not necessarily, the tribal, has to be only a flauta primitive. So, it's a new category that's crea, that's called the tribal tech, or the technology tribal. So there is present, a new category, decolonial, that me not desprecrecia the technology modern. What is negation to that that technology is, that is the only know valid, because I'm cotecheting, not that science or the reincarnation not are valid, but they're so valid as, because this is what is the ecology of the sabres. I'm not being that thought that magic not is science. In my case, magic and science, can convivine, and conviv, on my investigation. And in Walter Mignolo, Because I'm, because I'm operating from a point of fronterizo, because it's a border between the rito and the beat, but when I'm I'm talking, I'm doing music tribal, I'm generating a ritual, because I talk, it's a prended a tabacco, some manifestations ritualistic in my home, I'm not I'm looking that the Academy European, but The Puku Instrument is my tool to say that our know is, the HEC, which is a concept that I am I trot in my thesis, because it's the power and that energy impulsora, the memory of Waikai Pura, and our brothers indigenous, and the mysticism of my own family, that my chaman, that's Harvelades, not a past, are a present, technological sovereign, for that is an ontology active, that is a ontology active, that is happening in the present, it's chamanism virtual, conceptual. So, there, there, and the concept of the instrument, that if I want to say, that me is relevant, is it defined as an installation percutive, sculptorica, and technologicalic, of character ludic, constituted as a device, ferventia, fictic, because it's this stetica to be, that there's this stetica to be, that's not only to talk the battery for a song, you can't create a language plastic and a whole proposal, based on a sculpture that me A difference at the instruments conventional of the modernity, my PUCU instrument, operates as an organo of reincarnation sonora, where the material, the matter, the madera, the metal, the parches, and the codes digital convergen to paint the sound. This is crucial because I'm here develing the colonial of my investigation. And, from the perspective of the investigation qualitative, of Martinez, because here I'm using, in my thesis, one of the authors that I'm using is, uh, is, uh, Miguel, Martinez, Migueles. and also, I'm using a Carmone and Narvaez in the article of ethnography and enganography, the investigation on the Imaginari, that was the book that the professor about methodologies sensible. There where I'm not doing the data, that I'm doing inquest, basically, because my investigation is based on the data that I'm sub to internet, that I share, and that I'm I'm diffunding a knowledge of colonial in the mechanisms colonial. That's for me, it's to have to hackiar the system, and I'll do in the thesis. And, well, basically, to start this concept, uh -huh, my instrument, it's a instrument of recollection of data sensibles. Why? Because it permits the investigator-creator, acceder stratos in the memory ancestral that the language is written, is basically as a ritual of yopo, but when I talk, when I execute the instrument that I'm doing, and I'm processing, and I'm editing, for me, it's a ritual chamanicotal, like if I'm, a chabon, with a chaman, Piach, and, you know, mamma, to front. For me, that's what you have to justify the, and the thesis, also, if it's know-officials in the entorno-contemporary, transforming the percussion in an act of disobedience epistemic. In essence, my instrument is a machinary of justice symbolic that permits the execution of a tribal tech, where in my pulse, and the cacique Waikypura, because I'm troc, but I'll develop in the thesis doctoral, that I use re -incarnation of Waikypura, they're actualized by the practice artistic and digital. And also, I have all those parts about what is the praxis for me. To start, this, because, well, for reasons of time, not because I want, this, I'm going to talk a little of the senderos. Basically, this, this is this is a document that I prepared just for the class of today, which are my words, is just a little more, not centred, but are the same, but more structured, and I'm going to pass to the professor for that they're in the extracts of investigation, the names, and, even I can respond questions or discuss a little about each one, because I've developed all these extracts. The first, and, for sure, there are an order, of the same way, that this is important to say it, only are only words. It's here. Oh, well, here are all the references that used. There's a context political, that is a blocker, that's even with materials of desecho, with carton, that in my case, Oriana, me helped to cut some tamboures that I then I then painted. Some tambourges, many are done from the music. There are a concept that here I treat, that is the transmateriality. That an object is not material, but that's much more than that. It's a whole a Well, code, nanography, and a sovereignty, that is for the life, because generally this music, also, although not is a process of sanation, with all the word, that implic the art of sanation, that's also a difference in the thesis, because that would be another thesis, would be a other way, but if it's an instrument, that's a sound. And in the, in the, in the in the methodology that I'm going to apply is histories of life and auto-technography. Here, there are, but it's going to be to develop much more in the other thesis, because me permit me, according my experience, to say, because when I was a I went to the chosa of an indigeness, I kept impressioned, and I've had some records, and some flashback very important, even, to the mountains of tegeria, where I was with 5, 6 years of age, and I've connections, all of that will be there as stories of life, and auto-technography, also, I'm going to delimited the path, so, the anthropology, other, that has to be exactly with this case. Okay, so, I'm going to read the titles of the stratos. The Apparato Semiotic, and the Reincarnation of the Sentence, Cartography of the Stectonics, the Strathe, Metrographia of the Che, as the Power, Strato 4, the Pucethrmentment as Organo V, which is exactly this concept, the Estrato 5, the technology tribal, the convergence between the Code of the Sagra, the Code of Programmation, Estrato 6, allayagos in the Selva of Two Tempos. I nombring in what would be the chamanism urban, like a chamanism urban, as a cellva of two times. Because there is a time rapid and a time when one has convivied in communities indigenous, the time is lento. But, no concept, it's an abstraction. The time is not a time. The day-a-day and the respiral, I think that the latido of the heart, that I do not my investigation, in general, is the beat of the chaman. The chaman, every time that's the timbre, is the latido of the heart soning. So, that bea-se, that metaphor, that analogy. So, well, there are categories emergentes, the re -encaration, the use as a category of analysis of colonial. for the same that I say, the science, the science academia occidental, not valid, or not validate the fact of that I create in the reincarnation. All the contrary, because it sustenta that these, these, these appartes of creation artistic, is generated for something, for someone. At least, for me myself, has five, six thousand years, or a little more recent. And to start the Stratus 7, to a university of Saber is others, where I talk, that this thesis is a guide, abiered, for that others can recontestualize to his, to his, uh, inquietude and to his instruments, because that's, that grava sound. I create an instrument that with the, with a, uh, with a, uh, with a microphone, you let's images, pictures, colors, colors, you, you'll change the values in Photoshop. So, how is, the universe is infinite of creation with this instrument, that I considerer that is an apport to the Cultures of the South, basically. And, as, as, as, I mean, I said, because I did a montage of my person with the Because I think that if I'm generating, or I'm generating, a justice epistemic, so necessary, for these times, in this sovereignty, other. So, well, thank you. Thank you. I've been working, he has worked much the philosophy of the Thierras-Bas, the philosophy of Amazonic. Ah, perfect. So, you know the concept of the Perpectivism Masonic. Tell me it, for me, I know, I'm just, I'm just, I'm just, I'm just, let, tell me. That's a, well, that's an, well, that's a a Brazilian, a pair of Brazileans, that systematisan simply what one's be there. So, that's, for example, you, you're asking to Rofino, you're found, how in the Cerever? Yeah, and what's, what, and what's the tiger in the Cerever? Yeah, and what's the tiger in the world, and I say, you're people, and I say, you're people, and then we're people, and then we're If the Tigre not is person, if the tiger, if the attack, no person. And they have a spirit of a dark, probably. Enviated by a marie. A man, a man. A man, a man, a man, more than a man. Ah, yeah, yeah, depending on the people that people, no, exactly. Exactly. So, the thing is that, that, that all, that all, that's the people of the ravenity. The people of the people of the roanita, the people of the people of the So, they're anthropomorphically. With their chaman, his chaman, and sub-oaniformically. No, it's like, it's like a human. So, the tiger, when the tiger you attack, what you're seeing, what you're seeing, you're not as human, it's not like danta, you're seeing, like, like, as a preza. Or, if it's a gnawal, that's a human, that's a human, that's attack, you know. So, so, there's that possibility of transformation, so I say Fidel. Something like, could be going to be passing with the GIA. I could that... I'm here, I critiqued to, because they're in fact of sensibility and a lack of creation, of process creative. But, something like, like, something like, something could be applied with the AI and with the technology in general. So, so, we'd say that, perfectly, we'd have to start to think, or to suppose that there are agency in these technologies, no? agencies, agencied, agencies, conscienties, not in the sense of the intelligence artificial, necessarily. I mean, that's talking, Denis Nasmanovich, you say, that not so natural, not artificial, or not so intelligent, that there are other way in all this, right? There are other. There, there's other, there's other, there's other, there's that could be from the optics of the perfectism, masonic, you, you do you, you're in with the machine, you're in with the Python, they link you, do those codeos abiertos, but those codes are also, they're also to have, also, they're also to function, to, to have agency, they're, they're to have agency, you know, to dialogue with them, not as if, like, Well, that phenomenon is important. There's people, see, I don't use Chachapet, I don't like, and there are people who are people who are who are their psychologists, and that they are…