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Double-bind Information Systems in the Work of Teresa Burga

  • Elisa Arca und José-Carlos Mariátegui
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Retracing Political Dimensions
Ein Kapitel aus dem Buch Retracing Political Dimensions

Abstract

Teresa Burga (Iquitos, 1935) has pioneered conceptual art since the sixties. However, her work has only been studied in depth in the last decade from a perspective that highlights her contribution to issues related to media, information and politics. Burga has resorted to technology based on organizing information into complex mind maps and structures. In her works, Burga anticipated the massive use of information processing and analysis tools for studying personal data. This article aims to analyze Burga’s practice by focusing on two of her main projects, i.e. Autorretrato. Estructura. Informe. 9.6.72. (1972) and Perfil de la mujer peruana (1980-1981). These installations were based on collected personal data (recognition systems) and collective data (census), respectively, which were subjects of reflection and ambiguous criticism. The paradox lies in the fact that, subsequently, Burga worked for the Government of Peru in developing information systems that laid down the foundations for creating one of the first computer systems for a government entity in Peru. As Peru’s administration increasingly adopted computerized systems, Burga’s initiatives anticipated concerns associated with representation and control mechanisms through the organization and management of personal information.

Abstract

Teresa Burga (Iquitos, 1935) has pioneered conceptual art since the sixties. However, her work has only been studied in depth in the last decade from a perspective that highlights her contribution to issues related to media, information and politics. Burga has resorted to technology based on organizing information into complex mind maps and structures. In her works, Burga anticipated the massive use of information processing and analysis tools for studying personal data. This article aims to analyze Burga’s practice by focusing on two of her main projects, i.e. Autorretrato. Estructura. Informe. 9.6.72. (1972) and Perfil de la mujer peruana (1980-1981). These installations were based on collected personal data (recognition systems) and collective data (census), respectively, which were subjects of reflection and ambiguous criticism. The paradox lies in the fact that, subsequently, Burga worked for the Government of Peru in developing information systems that laid down the foundations for creating one of the first computer systems for a government entity in Peru. As Peru’s administration increasingly adopted computerized systems, Burga’s initiatives anticipated concerns associated with representation and control mechanisms through the organization and management of personal information.

Kapitel in diesem Buch

  1. Frontmatter 1
  2. Contents 5
  3. Introduction 9
  4. Part I: Political Dimensions in Digital Imagery
  5. Image-Transaction 19
  6. Digital Art’s Political Impact 34
  7. Part II: “Freedom Act” Aestheticization of Surveillance, Counterveillance, and Participatory Agendas
  8. Coping with Uncertainty 55
  9. Cultural Politics of Games 78
  10. Artistic Research and Technocratic Consciousness 87
  11. Part III: Touching Communication Strategies
  12. Social Broadcasting 105
  13. From Celestial Maneuvers to Atmospheric Turmoil 126
  14. When Are We? 140
  15. Part IV: Technopolitics and Artistic Agency Global Ecology in New Media Art
  16. Physical Computing and the Political Economy of Machines 161
  17. Countering Capitulation 173
  18. Capitalocene Art 194
  19. Part V: Machine Learning, Data Visualizations, and Architecture The (In)visible Infrastructures of Information Systems
  20. Double-bind Information Systems in the Work of Teresa Burga 213
  21. Entangled Realities 228
  22. Facebook’s MPK 20 Headquarters designed by Frank Gehry 242
  23. Authors 257
  24. Illustrations Credits 264
https://doi.org/10.1515/9783110670981-013

Kapitel in diesem Buch

  1. Frontmatter 1
  2. Contents 5
  3. Introduction 9
  4. Part I: Political Dimensions in Digital Imagery
  5. Image-Transaction 19
  6. Digital Art’s Political Impact 34
  7. Part II: “Freedom Act” Aestheticization of Surveillance, Counterveillance, and Participatory Agendas
  8. Coping with Uncertainty 55
  9. Cultural Politics of Games 78
  10. Artistic Research and Technocratic Consciousness 87
  11. Part III: Touching Communication Strategies
  12. Social Broadcasting 105
  13. From Celestial Maneuvers to Atmospheric Turmoil 126
  14. When Are We? 140
  15. Part IV: Technopolitics and Artistic Agency Global Ecology in New Media Art
  16. Physical Computing and the Political Economy of Machines 161
  17. Countering Capitulation 173
  18. Capitalocene Art 194
  19. Part V: Machine Learning, Data Visualizations, and Architecture The (In)visible Infrastructures of Information Systems
  20. Double-bind Information Systems in the Work of Teresa Burga 213
  21. Entangled Realities 228
  22. Facebook’s MPK 20 Headquarters designed by Frank Gehry 242
  23. Authors 257
  24. Illustrations Credits 264
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Heruntergeladen am 22.9.2025 von https://www.degruyterbrill.com/document/doi/10.1515/9783110670981-013/html
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