Proposal for CERN

JUAN CORTÉS February 2018

COLLISION | PROPOSAL FOR CERN

c for all images: Juan Cortés |2012 - 2018

JUAN CORTÉS ( Bogotá, Colombia 1989.)

Bachelor degree: Master in Media Arts. Universidad de los Andes 2012 SOLO EXHIBITIONS • The map is not the territory. Otros 360 grados Gallery. October 2016 • Uncertainty Principle. Nohra Haime Gallery, Cartagena de Indias. August 2016 • Natural Order. Valenzuela Klenner Gallery. April 2016 • Transmission. Valenzuela Klenner Gallery. October 2013 • Magnetic Landscapes. Espacio Alterno Gallery. February 2012 GROUP EXHIBITIONS •Les faits du hasard, at centre 104, Paris France december 2017 • Sluice, International art fair, London England September 2017 •Intervalo, Cigarreras Cultural Center, Alicante Spain July 2017 •Art Lima, Main Selection. April 2017.

• Feria del Millón, Contemporary Art Fair, Mentorship program. October 2016 • Odeon, Contemporary Art Fair. October 2016 • La Garza, Claustro de la Congregación de Nuestra Señora del Rosario. October 2016 • Aparato, Casa Hoffman Gallery, April 2016 • Art Salon, Creative Tech Week NYC, April 2016 • Artecámara, Artbo, Contemporary Art Fair, Bogotá. October 2015 • Vide o Art House Madrid, CMA Center for the arts, Madrid España. 2013 • Sin/Fonías. Project Room, Universidad de los Andes. 2011 • La Otra Contemporary Art Fair, Bogotá. 2011 SELECTED CONCERTS • Is This for Everyone Design for the common good. MoMA Museum of Modern Art. NYC. Noviembre 2015 • A ras de tierra, C T-SWaM concert series. Fridman Gallery. NYC. Noviembre 2015 • Origin. Mutek Festival. Bogotá. September 2015.- with David Vélez• Origin. Radar Festival. Bogotá. October 2015.

• Electromagnetic Variations. Festival of the image (Manizales, Col) April 2015 -with David VélezWORKSHOPS AND CLASSES • Hybrid. MoMA Museum of Modern Art. NYC. November 2015 • Non-Linear Narratives. Invited professor. Undergraduate course of Universidad de los Andes. July- December 2016.

• Electromagnetic Workshop. Odeon Contemporary Space, Bogotá. August 2016.

• SATÉLITE sound art workshops. Valenzuela Klenner Gallery. Bogotá 2014 PUBLICATIONS • Intersections, Clave Magazine, Universidad de los Andes, ISSN 2011-401X.

5.MAGNETIC LANDSCAPES The visualization of intangible forces, starting from electroacoustic translation, in which electrical energy is converted into acoustic energy, allows us to obtain new sources of material for plastic exploration. Magnetic Landscapes is composed of works presented in various media that, through the translation of latent electromagnetic forces, creates new static and dynamic contents. During the tour of the exhibition, the works presented an electric landscape of the city of Bogotรก, obtained from visualizations and representations of data.

Alberto D. Restrepo Art Manager Istituto europeo di design (IED) Firenze-Rome

(Previous page) Earth. Land detail: sculptures with magnets and neodymium that create dynamic magnetic landscapes with rusty lands and iron filings. Variable dimensions (Below) Earth. Sculptures with magnets and neodymium that create dynamic magnetic landscapes with rusty lands and iron filings. Variable dimensions

(Previous page) Horizon. Visualization of the electromagnetic spectrum of the center of Bogotá, Colombia. They toured the city for two years with electromagnetic sensors in hand. All data collected were used as variables for this visualization made by an algorithm and a pencil drawing on Hahnemühle paper. 400cm x 26cm (Below) Horizon. Details of the visualization made by an algorithm and a pencil drawing on Hahnemühle paper. 400cm x 26cm (Next page, above) Magnetic Landscape I. Visualization of the electromagnetic spectrum of the center of Bogotá, Colombia. They toured the city for two years with electromagnetic sensors in hand. All data collected were used as variables for this visualization made by an algorithm and a pencil drawing on Hahnemühle paper.

100cm x 70cm (Next page, below) Magnetic Landscape II. Visualization of the electromagnetic spectrum of the center of Bogotá, Colombia. They toured the city for two years with electromagnetic sensors in hand. All data collected were used as variables for this visualization made by an algorithm and a pencil drawing on Hahnemühle paper. 100cm x 70cm <

3.SWARM Swarm is an audiovisual performance that reflects on the complexity of the communication structures of bee through the sampling of swarm sound, AR models, performance, lasers and sensors that activate visual interactions in real time.

An AR APP called Swarm AR Experience was created for the performance. Swarm is a project I created and directed for an interdisciplinary group I work with in Bogotรก called Atractor.

For the performance we had to develop our own laser projectors and an special software to create complex light structures with the lasers.

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Patterns for polinization Still from the performance - generated live Max MSP| Jitter

Atractor AR Experience

Exangable Cards with AR tags, each one contains a different animation and information about ways of communication in bees.

On the next page stills from our AR App available on the playstore and the appstore (the AR experience is unveiled throught the app)

James L Gould discovered that wild bees have sophisticated powers of deduction and can come to a conclusion based on patterns built on past experiences. Such abilities can hardly be explained with the current definitions of consciousness and language in animals (or the interdependence of both). The isolated mental capacity of a single bee can not support such complexity. In order to find some linguistic structure it is necessary to approach the behavior of swarms and not the study of individuals.

The movements in the waggle dance can be considered as "bits" of a larger logic residing in corporal patterns interpreted through dance and similar in structure to the capacity of human speech. In other words, although the dance of a bee is not comparable to the complex discourse of a human individual, perhaps the interactive vocal pattern of the hive is and can be considered as evidence of a comparable mental structure. Isolating and studying only the individual's calls is analogous to focusing only on the separate phonemes of human language and not on its grammar.

Swarm is an audiovisual performance that reflects on the complexity of the communication structures of bee through the sampling of swarm sound, AR models, performance, lasers and sensors that activate visual interactions in real time.

Card 4 - Swarm Behavior Swarming is the natural means of reproduction of honey bee colonies. In the swarming process, the original colony is reproduced in two or more colonies. In a typical colony, there may be some 50,000 workers looking for food, regulating the hiveâ&#x20AC;&#x2122;s temperature, caring for the colony, attending to the breeding, or feeding each other. The queen is busy laying eggs, producing more workers and finally drones.

Throughout this activity, something very important is happening: communication through 'pheromones'. Pheromones are produced by workers, drones and the queen. The pheromone is transmitted through "food exchange": members of the colony feed each other, transmitting the pheromone.In the act of feeding, the bees are also communicating with each other. This is known as 'trophallaxis'.

The queen bee produces the "pheromone queen". This pheromone attracts the workers towards it and encourages them to build the comb, the forage and care for the young. The entire colony knows that it must have a queen for its continued survival, this induces in

Card 2 - Hexagonal Honeycombs Another less obvious way that bees communicate is with their feet. Recent studies have shown that bees can detect and respond to these impulses throughout the hive. This is one reason why beekeepers are in favor of organic honeycombs and not those designed by humans which lack the natural oneâ&#x20AC;&#x2122;s structural qualities.

Although the shape of a hiveâ&#x20AC;&#x2122;s structure can vary widely, the common feature in all honeycomb structures is a network of thin-walled hollow cells that are often hexagonal and columnar. Honeycomb structures allow the minimization of materials to save both weight and cost during the design process.

Composite honeycomb structures have been used in numerous engineering and scientific applications over the past centuries, from architectural constructions and sound engineering to aerospace construction.

Card 3 - Location and solar reference Bees uses the sun as a point of reference in navigation and communication. Experiments have shown that bees create an internal visualization of the sunâ&#x20AC;&#x2122;s movement through the sky and suggest that this representation is innate but adapts to the experience. Experiments limiting the hours of the day when bees can see the sun indicate that bees â&#x20AC;&#x153;knowâ&#x20AC;?' where the sun is, even when they have never seen it.

To convey the direction of a food source, the bee varies the angle it makes in the dance with an imaginary line that extends up and down. If a line connecting the hive and the food source is drawn, and another line connecting the hive and the point on the horizon just below the sun, the angle formed by the two lines is the same as the angle of the ripple in the dance of the bees. Bees, it seems, are able to triangulate in the same way that a civil engineer does.

Act I

Act II

1.Natural Sign Visualization of climatic data made in deserts and stopped in Colombia. For 12 hours several climatic sensors collect environmental data that become variable through an algorithm that processes them and converts them into images. The change in color and lines depends on the variations of the data.

The untimely changes of the environment and errors in the measurement (insects, water that falls on the sensors etc) are a fundamental part of the work.

2.HYBRID Hybrid was a project commissioned by MOMA as part of the exhibition "Is this for everyone? Design for the common good "inspired by a cybernetic study that takes elements from the perception of Colombian animals and turns them into technological (prosthetic) developments that extend the human senses.

Project: Juan Cortés Design: A New Cross Programming: Santiago Cortés Special Thanks: Juan Camilo Quiñones, David Vélez, Karolina Ladino, Andrés Luján y Valentina Osorio

(Pagina anteriro)Orígen III. Visualización de corrientes acuáticas del pacífico Colombiano. Impresión sobre metal (aluminio). 67.5cm x 120cm (Arriba)Orígen IV. Visualización de corrientes acuáticas del pacífico Colombiano. Impresión sobre metal (aluminio). 67.5cm x 120cm (Derecha) Guante. Detalles del guante con elsensor electromagnético diseñado a partir de el Ampullae Delorenzini (órgano sensor de los tiburones).

4.CUENCO DE CERA | CREA Cuenco de Cera is a pedagogical project of laboratories and creation of technologies based on the ancestral knowledge of the Pira Paranรก del Vaupes community in Colombia. I am an advisor to this project and I work doing workshops with the communities.

Crea is a project promoted by the Ministry of Culture of Colombia, the secretary of education and the district secretary: through the electronic arts a program is woven to strengthen education in vulnerable communities. Technology, recycling and empowerment are staged in a pilot plan that is expected to circulate nationally. I am an artist who is a trainer of this project, I work directly with communities and I am helping to build the pedagogical plan that will become a public policy to make pedagogy from the electronic art in Colombia.

CREA They are adequate spaces for the development of sensitivity, the enjoyment of aesthetic experience, creative thinking and symbolic expression. In them, through the different artistic areas you develop your sensitivity and creative thinking, while enjoying collective artistic practices in the workshops of Electronic Arts

“Maloka an the feather box are time machines, objects that signal and cause an alteration between light and dark or day and night. The alternating periods of the day and night are also like the sequence of life and death, something that makes malice, feather box and feather ornament potent but also highly ambiguous, a quality that caraná also shares: the roof makes maloka life possible but hidden amongst the caraná are blemishes of clayey earth and singing crickets, the harbingers of death.”

— Stephen Hugh-jones, antropólogo