Abstract- Yara Guasque, Sandra Fachinello, Silvia Guadagnini

Skipping Stages

Skipping stages searches for parameters that clarify the current production in art and technology and the formation of a specific audience in Brazil. Despite the peripheral countries’ difficulty in having access to cultural goods, the limited resources, and the precarious conditions of material production that hinder even more the development of modern artistic creation, the kinetic and minimalist anticipations of the Latin American artists are remarkable, especially those of the Brazilian Abraham Palatnik, and the investments that founded a Computer Art in Brazil undertaken by Waldemar Cordeiro. It is a fact that concrete poetry was on a par with the most avant-garde productions in the international scenario, overcoming the local technical difficulties. However, the experiences of constructivist architecture and the initiatives of the concrete and electric-acoustic music converged to the development of production in art and technology, and all of them were marked by a rationalism that coincided with the industrialisation period in the country. Since the 1950s, the role of formation has been played mainly by the Bienal, with its pedagogical project of taking the masses to the exhibitions, ensuring that the audience incorporates new languages, such as holographic art, video art, art and communication, etc. Some examples of recent initiatives focusing on the dissemination and formation of digital media audience are: VideoBrasil (1991), the International Festival of Electronic Language (2000), FILE, Itaúlab and its Emoção Art.ficial, Prêmio Cultural Sergio Motta de Arte e Tecnologia (2000), Canal Contemporâneo, FILE Rio, and Centro Cultural Telemar (2005), today Centro Cultural Oi futuro; and the countless theses and dissertations.