Papers by Paola Torres Núñez Del Prado
Centro del Sonido, 2021
Nudo se dice "khipu", y aquellos expertos que sabían manejar el sistema en la época Incaica se co... more Nudo se dice "khipu", y aquellos expertos que sabían manejar el sistema en la época Incaica se conocían como Khipukamayoqs, lo que significa algo así como especialista en nudos. Ellos eran los que se encargaban de codificar datos estadísticos relacionados a las poblaciones y sus tributos, artículos artistas galería eventos cronología podcasts contacto facebook instagram youtube
Paola Torres Núñez del Prado (PE/SE) explores the boundaries and connections in between tactility... more Paola Torres Núñez del Prado (PE/SE) explores the boundaries and connections in between tactility, the visual and audio related to the human voice, to nature, and to synthetic ones those whose listening is often considered less harmonious, such as machine or digital noises. Her work is complex: she explores the limits of the senses, examining the concepts of interpretation, translation and misrepresentation, so to reflect on mediated sensorial experiences while questioning the cultural hegemony within the history of Technology and the Arts.
ISEA Proceedings, 2023
The works included in the Symbios art exhibition spread through various disciplines and mediums: ... more The works included in the Symbios art exhibition spread through various disciplines and mediums: painting, weaving, interactivity, sculpture, Bio Art and even A.I. Its transdisciplinary condition does not originate in the multi-mediality of its constituents exclusively, but in the intentional implementation of an ecology of meanings once the pieces, characteristically polysemic, are made for and placed in the gallery. The physical division of the two rooms that conform the exhibition space becomes what defines the type of interaction that the art works included will deal with, each area taken as a subcategory of the general symbiotic relationships. I proceed to find a correspondence of the symbiotic process in the social realm, more specifically, in the cultural process known
as syncretism, that is also a distinctive aesthetic quality of the art works exhibited. Such a web of relational ontologies goes beyond the legacy of Conceptual art, now taken as a product of a Western paradigm that is based in dualism, classification, and exact definition. Instead, the show embraces the diverse narratives behind its components as a
net of meanings and diverse cultural references, so to achieve a complex yet holistic approach to art making and curating simultaneously.
Journal of Voice Studies, 2022
Human-computer interaction will soon be framed as a dialogue in-between two agents, rather than t... more Human-computer interaction will soon be framed as a dialogue in-between two agents, rather than the imposition of the needs and desires of the human entity over the inert machine. As the latter become seemingly more intelligent, we will witness how they reshape art, knowledge and society in general even more in the not-so-distant future. In this framework, decolonization of their algorithms becomes imperative so as not to reproduce the ethnic and cultural biases that prevail in contemporary human society. By using a pretrained transformer-based language model (GPT-2) (Radford et al. 2019a), retrained with poetry in Spanish, fine-tuned on examples of South American poetry recited by two different text-to-speech synthesis systems-the Tacotron 2 (Radford et al. 2019b) + Waveglow (Prenger et al. 2018)-coupled posteriorly using the ESPnet-TTS toolkit (Hayashi et al. 2020), trained on an Argentinean voice dataset fine-tuned on voice snippets of Peruvian poet Jorge Eduardo Eielson, I came up with a selection of spokenword poems in a distinctly Latin American voice that ended up presented as the El Tiempo del Hombre ('The Time of Man') album, printed on a set of four 7-inch lathecut stereo vinyl discs. This process turns into a self-reflecting gesture when the dataset used for training is based on South American Artistic Traditions of both the present and the past. KEYWORDS machine learning natural language processing text to speech synthesis art South America history 1. AIELSON: a neologism that mixes 'AI' with 'Eielson'. fer to intonation, accent or the use of short pauses or prolonged silences, even loudness and personal voice characteristics such as modulation, flatness or lack of speech clarity and mispronunciation.
is a transdisciplinary artist and doctoral researcher exploring textiles, embroidery, painting, s... more is a transdisciplinary artist and doctoral researcher exploring textiles, embroidery, painting, sound, digital media, interactive art, artificial intelligence, video and their interrelations. She investigates the boundaries between haptics, visuals, and sound related to the human voice, nature, and synthetic elements. A pioneer in developing DI Y textile controllers as sound interfaces since 2007, her work examines concepts like interpretation, translation, and misrepresentation, questioning cultural hegemonies in technology and the arts. She currently leads the Critical AI Working Group at Stockholm University of the Arts.
The w(e)aves of complexity: Relational ontologies within the Symbios Art Exhibition
A Shift in Artistic Practices through Artificial Intelligence
Leonardo, Apr 2, 2024
arXiv (Cornell University), Jun 13, 2023
The explosion of content generated by Artificial Intelligence models has initiated a cultural shi... more The explosion of content generated by Artificial Intelligence models has initiated a cultural shift in arts, music, and media, where roles are changing, values are shifting, and conventions are challenged. The readily available, vast dataset of the internet has created an environment for AI models to be trained on any content on the web. With AI models shared openly, and used by many, globally, how does this new paradigm shift challenge the status quo in artistic practices? What kind of changes will AI technology bring into music, arts, and new media?
AIELSON: A neural spoken-word poetry generator with a distinct South American voice
Journal of Interdisciplinary Voice Studies
Human‐computer interaction will soon be framed as a dialogue in-between two agents, rather than t... more Human‐computer interaction will soon be framed as a dialogue in-between two agents, rather than the imposition of the needs and desires of the human entity over the inert machine. As the latter become seemingly more intelligent, we will witness how they reshape art, knowledge and society in general even more in the not-so-distant future. In this framework, decolonization of their algorithms becomes imperative so as not to reproduce the ethnic and cultural biases that prevail in contemporary human society. By using a pre-trained transformer-based language model (GPT-2) (Radford et al. 2019a), retrained with poetry in Spanish, fine-tuned on examples of South American poetry recited by two different text-to-speech synthesis systems ‐ the Tacotron 2 (Radford et al. 2019b) + Waveglow (Prenger et al. 2018) ‐ coupled posteriorly using the ESPnet-TTS toolkit (Hayashi et al. 2020), trained on an Argentinean voice dataset fine-tuned on voice snippets of Peruvian poet Jorge Eduardo Eielson, I ...
The Sonified Textiles within the Text(il)ura Performance: Cross-cultural Tangible Interfaces as Phenomenological Artifacts
VIS – Nordic Journal for Artistic Research, 2022
Paola Torres Núñez del Prado (PE/SE) explores the boundaries and connections in between tactility... more Paola Torres Núñez del Prado (PE/SE) explores the boundaries and connections in between tactility, the visual and audio related to the human voice, to nature, and to synthetic ones those whose listening is often considered less harmonious, such as machine or digital noises. Her work is complex: she explores the limits of the senses, examining the concepts of interpretation, translation and misrepresentation, so to reflect on mediated sensorial experiences while questioning the cultural hegemony within the history of Technology and the Arts.
Error: Glitch, Noise, and Jam in New Media Cultures de Mark Nunes. Continuum Books, Nueva York, 2011
Resena al libro Error: Glitch, Noise, and Jam in New Media Cultures (Continuum Books, 2011) de ... more Resena al libro Error: Glitch, Noise, and Jam in New Media Cultures (Continuum Books, 2011) de Mark Nunes.
Machine Intelligence is an innovation that is already reshaping art [1] and society in general [2... more Machine Intelligence is an innovation that is already reshaping art [1] and society in general [2], thus, the decolonization of its algorithms becomes imperative, so not to reproduce the ethnic and cultural biases that prevail in contemporary society. By using a pre-trained Transformerbased language model (GPT-2) retrained with poetry in Spanish, fine-tuned to examples of South American poetry, and then using this output to feed a text-to-speech synthesis system (Tacotron 2 + Waveglow, trained on an Argentinean voice data set and then on voice examples of Peruvian poet Jorge Eduardo Eielson) [3] I came up with a selection of spoken-word poems in a distinctly Latin American voice that ended up printed on a set of 4 7" lathe cut stereo vinyl albums.
GLITCHET MAGAZINE, 2015
Above all else glitch art is the art of inducing error artifacts in visual or audio data. In fact... more Above all else glitch art is the art of inducing error artifacts in visual or audio data. In fact, the etymology of ‘glitch’ has as much to do with ‘failure’ as it has to do with ‘technical problems’ which may or may not be of a digital or electronic nature. Further, ‘glitch’ also has temporal implications; it is usually short in duration (a transgression of sorts) while other types of errors can hang around indefinitely or bring the whole system down. This is of course open to interpretation, since a glitch is fundamentally a type of error. Does Lima have a strong glitch scene? Is it part of the same glitch scene present in Europe or America? On that point, is it closer to the scene present on the internet? Further, what are we talking about when we say ‘glitch art’? Is it equivalent to the concept of the ‘error art’? Could we include glitch art as a subset of error art? Can glitch art be understood purely as a natural extension from the noise scene in the 80s?
This paper deals with a research-oriented design that contributes to the enhancement of both the ... more This paper deals with a research-oriented design that contributes to the enhancement of both the performer and the viewer's somaesthetical experience by the use of an “Augmented Soma Suit “ that changes color and sound simultaneously when used. Placed among HCI's (Human Computer Interaction) third paradigm [1], that of situated perspectives, following Kristina Höök's advices on designing interaction that builds on bodily movement [2] while mantaining proper dialogue of the design's parts (gestures and graphics, etc). In turn, my research question revolves around on how to effectively design a garment that will fulfill her postulates (timing of interaction ex. dealing with latency), link emotion with movement, color and sound, in a harmonious manner, so to achieve an enhanced somatic experience for both the user of the garment and the passive (or virtual) observer..
I have started by building my theoretical research on notions dealt within anthropology and human experience as a whole, especially by Richard Shusterman´s Somaesthetics Philosophy, defined here as the theoretical, empirical and practical disciplines related to the body as the indispensable medium for all perception.
Portfolio Paola Torres Nuñez del Prado (Selected works 2007-2017)
Revista Kaypunku Vol. 3 / Núm. 1 / junio 2016 by Paola Torres Núñez Del Prado
Indocumentado: la fotografía después del negativo, Jun 6, 2016
Para Mark Nunes la era de los bancos fallidos y mercados colapsados ha sido una época propicia pa... more Para Mark Nunes la era de los bancos fallidos y mercados colapsados ha sido una época propicia para editar el libro Error: Glitch, Noise, and Jam in New Media Cultures (Error: Atasco, Ruido y Falla en Las Culturas de Nuevos Medios) reuniendo ensayos tanto de autores establecidos como de voces emergentes en la crítica en Nuevos Medios. Partiendo del concepto del «error», Nunes analiza cómo las «ideologías de la información» estarían ahora definiendo y delimitando las estructuras sociales y culturales en nuestra dinámica sociedad en red, en donde el error y el ruido desestabilizan momentáneamente los sistemas que constantemente intentan capturar o exterminar dichas potenciales fallas, las que, a su vez, pueden minar el imperativo de la búsqueda de perfección y eficiencia.
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Papers by Paola Torres Núñez Del Prado
as syncretism, that is also a distinctive aesthetic quality of the art works exhibited. Such a web of relational ontologies goes beyond the legacy of Conceptual art, now taken as a product of a Western paradigm that is based in dualism, classification, and exact definition. Instead, the show embraces the diverse narratives behind its components as a
net of meanings and diverse cultural references, so to achieve a complex yet holistic approach to art making and curating simultaneously.
I have started by building my theoretical research on notions dealt within anthropology and human experience as a whole, especially by Richard Shusterman´s Somaesthetics Philosophy, defined here as the theoretical, empirical and practical disciplines related to the body as the indispensable medium for all perception.
Revista Kaypunku Vol. 3 / Núm. 1 / junio 2016 by Paola Torres Núñez Del Prado