Computer Art Congress 3
PostDigital Art

November 26-28 @, Paris, France


Day 1 - Monday, Nov/26
Main Track

15:45 Brief Reflection on the Anonymity
(Breve Reflexión sobre el anonimato - Spanish version)
(30 min) Marcos Salazar Delfino

Abstract. -

This paper ponders on the identity and its technological manipulation, through the
use of the fingerprint.

Same, is voiced with the help of a software (Photosong 1.04fm) that converts
in sound the gray values ​​corresponding to the green matrix taken from a fingerprint photography, performed at 8 bits color depth.

This manipulation featured as a result in the work of artist Marcos
Salazar Delfino, contributes as an argument to postulate the need to strengthen
attention practices in the academic processes of teaching art, with the purpose of
contributing to an atmosphere of peace, of the anonymity´s dissolution and to the
making of stronger active participation.

Keywords. -

Fingerprint - anonymity - attention - art - peace.

1     Brief Reflection on the Anonymity

The fingerprint as a pedagogic resource, in the understanding that the preparation
of any instrument conceived for teaching is a creative fact, essentially proposes 
a way that draws itself in the passage of a question:

What shall be the meaning of all making or doing product, that links us to the notion
of ourselves as feeling?

The answer is in the didactics and is none other than the practice of the autognosis or, in the same sense, "of art".

The fingerprint is one of the recourses that identifies us as "unique in the

As original creation.

As deployment of constructive rhythms that are modeled in the mother´s womb in order to accommodate a new code of life
that expresses itself and is kept registered in time as an imprint, as witness.

Thus, a picture of this fingerprint is translated into a grid of grays that becomes a
score of gray values that are converted into sounds.

The identity is translated, is transferred, is transduced, is recorded, is transformed and it turns into unique and alike sound.

Foreign but loaded of soul.

It is an inter-generative experience that only serves for the very moment, to valorize
itself in its own scarcity, in its proper sense that transforms a pause in remembrance and
question. Just as the moment of art.

A simple matrix of numbers between 0 and 255, the result of a reading of a picture
taken at an 8 bits depth, translates the fingerprint into a repertoire of values ​​to be
rhythmic and nonrhythmical interpreted as a sound experience. 

90 seconds of recurrent coldness unfold as from a preconceived randomness basis
taken to sounds played on FM.

In the certainty that promotes the ignorance in front of the technological fact; alien.

Divested of precepts

Of scruples

Of academic postures

The apparent interactivity promoted in the inter-generative art, is nothing but
an alienating power game that we authors make over the users who come in the search
for new questions, and are seduced and trapped.

I make your view mine

Mine your desire

I reconceive you wish  

And I seize your attention

Your anger

Your memory

Only a host of voices aloof from any participation resound for you, as a result of
your graphic contribution, of your fingerprint, of your absence.

It is an empty time

Where you're not longer there

That's the eternal beholder´s agony

The outrageous and delusional apathy that suspends the courage and promotes the anonymity in front of the technological fact

I live behind a picture, a footprint, behind the uproar that suspends the wisdom in the
trade that is prompted from the aesthetic experience. 

Is the promotion of the anonymity that installs inside the viewer; that
separates her/him from her/himself.

I know a form with name and imprint.

But it is in the fact that saves where the hope lies and resides the doorway from
the maze of impressions.

In the shock itself of that that is shaken. 

The arts education in schools and universities should be
permanently aimed at drawing the attention on this matter.

To raise attention towards the fact itself of what thrills beyond the
mere trade that is established as from the permanent flow of impressions.

Practicing the autognosis conceived as a training for the concentration of
the attention upon the bodily sensations in front of the work of art, is an exercise that
promotes peace, and in its praxis it should accompany all the academic apparatus that has been
built around the teaching of art.

2     The technological art

In art, the optical-luminous and spatiality have been until now the
fundament of almost all the composition issue.

However, in recent years, largely thanks to the development of
technology, the very notion of spatiality and distance, as well as the use and
conceptualization of space in art, begins to transcend that traditionally visual,
to other notions supported in audio and tactile expressions, not only through
the use of technical tools, but by the instituting of new interaction and participation dynamics.

In addition thereto, the use of media in contemporary art allows us to
establish a systemic perspective in which the language of art is no longer
exclusively confined to the relationship of a thematic axis and the significant
values ranked in its environment for building up a speech, but that the technological means used in the processing of
audio-visual information are profiled as significant themselves, acquiring in some cases an absolutely central value in
the discourse´s built up. In this regard, it is necessary to reflect on the possible transdisciplinary dynamics in art leading us
to the encounter of a synergy that, just as Mayz puts it:

"... since it is not simply optical-luminous, it not only overcomes the mind´s gambling nature...
but at the same time, that of the subject as a simple spectator of the otherness.

Reciprocally - instead of being a mere spectacle looked at, contemplated or seen

by it - the otherness becomes deed or workmanship caused by the active dialogical intervention
of the synesthesic system of the soma or body thereof ".

In this respect and to conclude this brief overview of the topic
in question, it is essential to specify in a preliminarily manner the slopes
lining the notion of meta-technical logos, by incorporating an extract
of its creators work, Dr. Ernesto Mayz Vallenilla (1990), which shall help us
keeping in mind the concept of such logos:

"But within such meta-technical project (which theoretic foundations
so far have not been expressively stated with due rigor)
can be glimpsed at least three aspects or directions of a new mode
of technical operation in front of the otherness...

1. - There is a first aspect which expression is represented by a
set of instruments and devices that, as manmade artificial senses,
alter and transmute the inborn human sensory boundaries and functions
- and therefore, the man's original psychic-somatic constitution -
introducing radical changes in the apprehension,
organization and intelligibilization of the otherness in general.

By a similar procedure - as illustrated by the use of
radars, detectors and ultrasound viewfinders or thermal sensors that guide
the « vision » of certain missiles - the innate human body sight limits and functions are modified and extended
through the use (with optical purposes) of sonic waves or thermo-tactile stimuli. But, just as those mentioned above,
it is conceivable that for similar purposes other means or procedures can be used... widening in such a manner
the << vision >> spectrum, up to dimensions and substrates that result absolutely inaccessible for the possibilities of the human eye.

2. - A second meta-technical aspect is found represented by instruments or
apparatuses that - upon introducing changes or modifications to the layout, grades
and codes of man´s (or of other being´s) own somatic and psychic structures - alter their congenital or innate functioning,
creating or encouraging variations or innovations so much in its behavior, as well as in the deployment and
distribution of the energies thereof.

The meta-technical instruments, in this sense, build a new otherness...
which own ontic-ontological structure imposes concomitant variations so much
in its eventual epistemological objectification and intelligibilization, as well as in the field of its built and redesigned teleonomy.

3. - The third and final aspect - perhaps the most complex and recent of them all -
is constituted by instruments or devices that limitlessly transubstantiate the energy (and/or matter) trans-forming and
trans-muting the entities profile and the universe as a whole. Its ultimate plan is to progressively convert otherness
in general in a system or trans-finite energetic holos in a constant trans-mutating becoming.

Such apparently alchemical purpose - stripped of any irrational or magical
reminiscence - is the one chairing the powerful and very complex technical processes of the disintegration, conversion
and utilization of atomic or sub-atomic energy..., as a threshold or a prelude of that outlined guiding idea feeding this variant.

Each of these mentioned aspects - like, even more, their combination and
confluence - suppose an attitude where the progressive fading and parallel
overcoming of the anthropomorphic, anthropocentric and geocentric limits and characters of the traditional technique
is demonstrated. This all doesn´t come harmless or innocent. As we shall see in due course, their projections are critical
to understand the radical changes taking place at the ontology and epistemology level - and therefore,
on the human instituting in general - on a par with our own time.

It is in that progressive fading of the boundaries and anthropomorphic, anthropocentric and geocentric characters of
the traditional technique, where the cause reinforcing the anonymity is founded. But we no longer talk of the
anonymity in front of the otherness, of concealment of the face, of name, of whichever any identity form.

We speak of anonymity in front of the mind´s mirroring experience, as opposed to the “myself“.

It's like when you lose the time of the stroke, the craftsman´s accomplished doing,  
the violinist's instrument strike; this is when the aurous being´s fingerprint vanishes, is absent and the metanarrative
of the authorship and the identity loses its symbolic effectiveness.

3    Conclusions

90 seconds of recurrent coldness -

in the certainty that ignorance promotes -

in front of the technological fact -

aloof therefrom -

divested of precepts -

of scruples -

of academic postures -

just a pile of voices strange to all involvement -

delighted in its absence full of sounds -

in an empty time where the passing thereof only distances from poetry -

from the dying axiom ethics has condemned -

to agonize forever -

outrageously -

in the apathy´s clash that suspends wisdom -

that suspends courage -

and promotes the anonymity.

4    Acknowledgments

My thanks to:

Colegues from Universidad Nacional Experimental de las Artes.

Departamento de Diseño, Arquitectura y Artes Plásticas de la Universidad Simón Bolívar.

Sra. Isabella Delfino

Dra. Blanca Travieso

Prem Pal Sing Rawat (por revelar el sentido)

Profesora Mariana Lassiaille

Profesora Ana Maria Wangeman


Ernesto Mayz Vallenilla, Ratio  Technica. Caracas: Monte Ávila Editores,  1983.

Ernesto Mayz Vallenilla, Fundamentos de la Meta-Técnica. Caracas: Monte Ávila Editores,  1990.

Ernesto Mayz Vallenilla, El  problema de América. Caracas:  Universidad Central de Venezuela, 1959

José Ramón Ortega y Gasset, Meditación de la Técnica . Madrid, Ediciones de la Revista de Occidente, 1968.

Juán David García Bacca, Elogio de la Técnica. Caracas, Monte Ávila Editores, s.f.

Martín Heidegger, La Pregunta por la Técnica. Idec Digital.

Alfredo Vallota, Consideraciones acerca de la percepción sensorial en la Meta-Técnica.  Idec Digital.