Acceso usuarios
Susan Campos Fonseca
Se reflexiona sobre la intervención ciberfeminista Uncanny Valley Project en la X Sonora de la Bienal Centroamericana (2016). Se analiza desde una “proximidad crítica, corporal y feminista”, bajo la hipótesis del uncanny valley de Masahiro Mori, para exponer cómo ésta actúa sobre un presente en crisis, junto con la música electrónica en tanto vía para construer cuerpos de invención e innovación. Además, se explora la performatividad y la estética robótica practicadas por humanos dedicados a la música electrónica. El resultado permite identificar el fenómeno dentro de la música electrónica costarricense y darle visibilidad en el contexto centroamericano.
This article/testimony discusses a cyber-feminist intervention entitled Uncanny Valley Project, part of the 10th Biennial Centro-American celebration (2016). This intervention is analyzed from a critical close-up perspective of the “corporal” and “feminist”, categories proposed by Tamara Diaz; the hypothesis of Uncanny Valley as put forth by Masahiro Mori will also be utilized. The intent is to explore how these ideas/interventions together with electronic music, function in the current period of crisis as a means to construct bodies that invent and innovate; concepts of performance and robotic esthetics as practiced by people interested in electronic music will be considered. As a result of this investigation, we hope to position this intervention within the Costa Rican electronic music movement, shedding light on the larger Central American context, and highlighting the contributions of its creators.
