Rough Surface, Software, Custom Built Computer, and TV Screen, 2019



Francisco Alarcon is an artist and engineer, whose research interests lie at the intersection of visual arts and technology, with a focus on cultural techniques.

His practice engages with the public and social realm, both physical and virtual, stimulating cultural and political imagination as tools for social change. 


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Crispy Hard Crispy Fat


Crispy Hard Crispy Fat, is a project that expands theoretical research on the technical specificity of post-photographic image production into the art studio practice, more precisely into “painting culture”. It questions artistic research practice, the art object, and institutions, in dialog with science and technology.  




Installation Images at Carpenter Center for the Visual Arts, Harvard University, 2018



Paintings 2019




Shaped Paintings, 2019
Acrylic on PVC, Wood and Cardboard

Dust






Dust is an immersive installation, where I am interested in positioning the viewer as the subject in the polluted atmosphere. The installation is a set of layered techniques from disciplines across science, engineering, and art towards the realization of a presentation of the atmosphere we will live on.





Dust, Software, Custom Computer, Installation, 2018
Installation Images at Carpenter Center for the Visual Arts, Harvard University, 2018








Water Games, An Archeology of the Representation of Water in Video Games.


Website: ArcheologyOfWater.com



Computer-generated imagery (CGI)erupted with the development of software and hardware. CGI is ubiquitous in our contemporary culture, and its history is relatively short, compared to other traditions such as art, film, or photography. However, the field of CGI interacts with the precedent fields, blurring the disciplines. 

The approach to computer graphics in this paper is made in material terms: computer power and processes. The evolution of CGI is intrinsically attached to the development of computing power.

For instance, the growth of Graphics Processing Units (GPUs) transformed CGI. After the year 2000, the advancement of the technology supporting the GPUs happened at an exponential pace. During the early 2000s, the rendering rate, measured in pixels per second, has doubled every six months. The incorporation of GPUs to computational systems has allowed a degree of flexibility as well as increased performance in the processing of graphics.


Water has always been present in video games. We might often see a realistic simulation of water in contemporary video games; however, the development of its representation can be traced to the early days of gaming, from the 8-bit programs through to the birth of 3D graphics. The representation of water is one of the hardest things to be done in a game, especially if the aim is to be realistic
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Go to ArcheologyOfWater.com →








The Decentralized Autonomous Kunstverein (DAK) is an art association inspired by developments in blockchain technology and the unique Kunstverein tradition of non-profit art associations in Germany. 


Being a Decentralized Autonomous Organization (DAO), the DAK will be a net-based organization that is directed and funded by its members on a voluntary basis, without a permanent space or home jurisdiction, initiating projects however and wherever on the globe its members decide.  The organization’s mission is to promote experimental approaches to creating and curating contemporary art, exploring the potential of decentralized collective work within the context of contemporary art and technology.  To fulfill this purpose, the members of the DAK will collectively work to finance and curate exhibitions, screenings, performances and related programming.




Parallax Island









AAI



AAI (Artificial Artificial Intelligence), Poems, 2017


Momentos en La Long Beach


Momentos en La Long Beach, 2015
132"x149"
Inkjet Print on Wall Paper, Acrylic Paint and Acrylic Paint on Wood Panels
Installation at 5790 Year 1. Center For the Arts in Eagle Rock, CA




Innerscapes




Digital Video with Sound, 2011
Duration 4:04
16:9 Ratio NTSC




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Mark