FAR
Francisco Alarcon is an artist and engineer immersed in visual digital culture.
Photo Finish
PHOTO FINISH explores the impact of technological progress, in concrete AI, and its influence on visual culture, featuring the horse as a central symbol. The artwork references its historical significance in the work of Eadweard Muybridge, where the horse served as an object for capturing the passage of time with photography and ultimately led to the development of motion pictures.
More info about the project
SOLIDS
Metaverse/web3, 2022
Generative Architecture Project for the Metaverse.
solids.live
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As the Metaverse is becoming more ubiquitous, we are seeing many different examples of virtual worlds emerging. Immersive virtual worlds are not something novel; however, blockchain technology adds a more tangible layer to our virtual experience, which extends the material world.
In this context of expansion into the Metasphere, Architecture is needed to shape the habitat of the Virtual Realm. This is where SOLIDS was born, as an essential response to the needs for buildings in the established and upcoming Digital Environments.
Infinites AI+IRL
web3, 2021Infinites AI+IRL is a body of work of unique artworks generated at the time of the minting in the Ethereum blockchain. At the time of its creation, Infinites AI+IRL were done on Ethereum, but now, they are stored on-chain on Bitcoin using the Ordinals protocol.
Infinites AI
Infinites IRL
Infinites was created with the idea of overlapping the work of a Generative Adversarial Network (GAN), with an on-chain Generative operation. The intersection of the two processes is resolved in an engaging simulation diluting an AI-generated image into a digital canvas.
https://www.infinites.ai/
Ocean Amplification
Ocean Amplification is a video montage that offers visualizations and simulations of ocean waves, waves whose heights are growing in some parts of the Southern Hemisphere owing to the effects of climate change, which include intensified storms and latitudinal shifts in wind patterns.
In collaboration with Stefan Helmreich.
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Ars Electronica Garden of … Knowledge for Humanity
CURATORIAL A(I)GENTS metaLAB (at) HARVARD
Ocean Amplification, 2020
With Stefan Helmreich
Digital Video 9:29
Ocean Amplification is a video montage that offers visualizations and simulations of ocean waves, waves whose heights are growing in some parts of the Southern Hemisphere owing to the effects of climate change, which include intensified storms and latitudinal shifts in wind patterns. Developed by cultural anthropologist Stefan Helmreich and artist Francisco Alarcon, the video frames increasing wave heights in the Oceanic South as avatars of changing human-inhuman political ecologies.
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04052020_CCMCFDrev6
, 2020
Installation. Custom Software, Video, Sound, IGTV and your mobile device
On view on IGTV during lockdown due to the SARS-CoV-2 outbreak link︎
Rough Surface I
Rough Surface, 2019
Software, Custom Built Computer, and TV Screen
Other projects
Crashing the High Dynamic Range (Back to the Truman Show), 2019, Custom Hardware, Video Loop
Crashing the High Dynamic Range (Back to the Truman Show), 2019, detail from MICROLOGIES. Exhibition Curated by DXIX, Los Angeles in collaboration with Scharaun, Berlin. ︎ See pdf
20191006_WoodonWood.nc, 2019,
Carved Wood Panel, 50x40cm
20191006_AlsoWoodonWood.nc, 2019, Acrylic Spray Paint on Carved Wood Panel,50x40cm
20191007_WoodonWood.nc, 2019, Carved Wood Panel, 50x40cm
The Last Wave, 2019
Aluminum, 18x44in
Rough Surface II, 2019
Installation, Boston University
La Piscina de Barragan (Casa Prieto. Ciudad de Mexico), 2019
Inkjet ink on Photographic Paper, 44x64 in
La Piscina de Barragan (Casa Prieto. Ciudad de Mexico)
(detail)
Immersion, 2019
Video Installation, ArtLab, Harvard University, MA
BOSS Wave, 2019
High-density polyethylene, 24x12x4in
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.
20191007_DefinetlynotWoodonWood.nc, 2019, Acrylic Paint on Acrylic Panel, 50x40cm
Picking Up The Pieces
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.
︎ 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.
︎ Go to ArcheologyOfWater.com
Selection _pre2018
Go to Archive to see more Paintings →
Steel, Plastics, Sausages and Lap Dances, 2016, Installation at Graduate School of Design, Harvard University
Goldberg & Solovy Foods Inc, 2016, Inkjet ink on paper, 91.5x44 in
Decentralized Autonomous Kunstverein (DAK)
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.
︎ http://dak.international
Parallax Island
Artificial Artificial Intelligence
AAI (Artificial Artificial Intelligence), 2017, Poems
Human-as-a-Service, 2017, Video
$AMZHQ2, Architecture, 2018
Proposal for Amazon Head Quarters 2, Long Island, New York
Momentos en La Long Beach
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
Innerscapes, 2011
Digital Video with Sound
Duration 4:04
16:9 Ratio NTSC
Innerscapes, 2014, Installation, Digitalfile (curated by SPECTRA), H&R Block Artspace Kansas City Art Institute, Kansas City, MO
Chapuzon in Owens Lake, 2014, Latex Print on Mylar
Presa, 2013, Inkjet Print on Canvas
