http://95.216.75.113:8080/xmlui/handle/123456789/182 Authors were invited to share publications other than their presentation as additional information. 2026-04-06T11:30:05Z http://95.216.75.113:8080/xmlui/handle/123456789/188 Uncanny Realm – The Extension of The Natural Beloff, Laura Taking the uncanny valley concept by M. Mori (Mori 1970) as a starting point, the paper will investigate how this concept fits into experiments that are intertwining biological and technological matter. The uncanny valley idea was developed by Mori in relation to robots and their resemblance to humans. It is a concept that is strongly connected to our perception of truth and to the moment when we are confronted with a question to judge if something is ‘real’. In the paper the uncanny valley concept is extended to experiments in the arts and the sciences that address intertwining of biology, nature, technology, and which disarrange our traditional understanding of natural, artificial and real. Published in 2017 within:Beloff, L. (2017). Uncanny Realm - The Extension of The Natural. In J. J. Arango, A. Bubarno, F. C. Londono, & G. M. Mejia (Eds.), ISEA - Proceedings of the 23rd International Symposium on Electronic Arts - BIO-CREATION AND PEACE (pp. 780–783). Manizales: Department of Visual Design, Universidad de Caldas, and ISEA International. 2017-06-01T00:00:00Z http://95.216.75.113:8080/xmlui/handle/123456789/187 Intertwining of the digital and the biological in the artistic practice Beloff, Laura In the recent two decades, we have witnessed a gradual shift observable in the works of artists working with technology. This shift can be characterized as moving from the digital and virtual realm towards the physical world, and more recently in terms of an inclusion of the biological realm into experiments and artworks that address a wide range of technological developments and their impact on society. Many of the artists working in this field – that is widely titled as art & science – have a background in digital arts. This article traces specifically the emerging inclusion of the biological realm into the technology-based arts as a trajectory towards which the field of digital art appears to be developing. This article is forthcoming in 2018: Beloff, L. (2018). Intertwining of the digital and the biological in the artistic practice. In Digital Dynamics, ed. Tanya Toft. Intellect Books. Forthcoming 2018… 2018-01-01T00:00:00Z http://95.216.75.113:8080/xmlui/handle/123456789/186 Art as a Playground for Evolution Beloff, Laura The article connects artistic activity with play activity and evolution, which are considered on two levels. On the first level, play activity and its beneficial role to evolution is introduced through various science scholars’ research. On the second level, artistic activity that engages with human enhancement and related topics is proposed as play activity for adults, which simultaneously experiments directly with ideas concerning evolution and human development. The author proposes that these kinds of experimental art projects support our mental adaptation to evolutionary changes. Article published in: Beloff, Laura. 2016. “Art as A Playground for Evolution.” In Acoustic Space; Open Fields - Art and Science Research Practices in The Network Society, edited by Rasa Smite, Raitis Smits, and Armin Medosch, n:o 15:158–64. Riga: RIXC. 2016-01-01T00:00:00Z http://95.216.75.113:8080/xmlui/handle/123456789/185 Uncovering information systems in the work of Teresa Burga Mariátegui, José-Carlos; Arca, Elisa Teresa Burga (Iquitos, 1935) has developed, since the sixties, a pioneering work in information-based arts. However, her work has only in the last decade been studied in depth from a perspective that has revalued her contribution to conceptual art and, to a lesser extent, her experiments in art and technology. This paper describes some of her most relevant artistic projects and examines the connections between Burga's conceptual and technological-based art and her former day-to-day work at the Customs office, in the context of the Peruvian state's computerization process. In most of the research about Teresa Burga’s art practice, her work at the Customs office is overlooked and only mentioned to justify her retirement from the Peruvian art scene since the early eighties. We argue that the work performed by Burga in the government, and in particular at the Customs office, serves as a fundamental source for understanding the strong but surreptitious link of her work with systems and technology, more specifically her interest on computing, organizations and society.