In the introduction to the book Hipercubo/ok/: arte, ciencia y tecnología en contextos próximos [Hypercube/ok/: Art, Science, and Technology in Neighboring Contexts],Andrés Burbano (b. 1973) explains his attempt to produce a “synopsis” of contemporary and pioneer artistic practices that focus on the problems involved in using knowledge and management of technology in Latin America. The goal was to provide greater access to information and democratize its use as a platform for understanding the current status of art in Colombia. This book is one of the few local attempts to analyze the new media.
Hernando Barragán (b. 1974) is a unique figure in Colombian art circles. A systems engineer, artist, and teacher, he is interested in the relationship between contemporary art and new technology. This essay is important because it reveals the author’s interest in “digital matters” that he analyzes from a contemporary perspective based on the same code and algorithms used in computer programming.
It is interesting to note the connection that Barragán makes in his essay between computer code?which he sees as a “high-level alphabet” that is capable of constant communication that in turn generates new modes of expression?and the new digital, automatic, and computerized media. He manages this without losing sight of his historical links to video art. In Barragán’s view, computer code (the basis of programming) is endowed with possibilities in terms of both aesthetics and form; this suggests, without a doubt, the potential for new interdisciplinary objectives that are closely related to an exploration of artistic environments.