This is the artist Anna Barros’ post-doctoral thesis. It was published in the Records of the VI International Congress: Semiotics Bridging Nature and Culture organized by the International Association for Semiotic Studies held in Guadalajara, Mexico, July 13 – 18, 1997.
Barros’ “The Art Work in Real Space-Time and the Art Work in Cybernetic Time-Space: Different Perception Qualities” appeared in the Revista Interface (São Paulo: PUC SP, 1998). The Saci-si animation was shown at the Valu Galeria de Arte (São Paulo), at the MABE and in Virgin Territory, National Museum of Women in the Arts (Washington, D.C.).
Anna Barros is an author, a curator, and an artist. She lived and studied in Los Angeles where she was active in the Art of Perception movement. She used light as the driving force in her works, and has used it as non-material matter in her installations and computer animations since 1990.
[Regarding this subject, see the ICAA digital archive for the three articles by Walter Zanini: “Primeiros tempos da arte/tecnologia no Brasil” (doc. no. 1111029), “A arte de comunicação telemática, a interatividade no ciberespaço” (doc. no. 1111028), and “Vídeo-arte: uma poética aberta” (doc. no. 1110892); the five essays by Gilbertto Prado: “Cronologia de experiências artísticas nas redes de telecomunicações” (doc. no. 1111289), “Dispositivos interativos: imagens em redes telemáticas” (doc. no. 1111126), “Experimentações artísticas em redes telemáticas e web” (doc. no. 1111290), “Os sites de arte na rede internet” (doc. no. 1111124), and co-written with Luisa Paraguai Donati “Utilizações artísticas de imagens em direto na world wide web” (doc. no. 1111125); another article by Anna Barros: “Espaço em tempo presente” (doc. no. 1111418); and the essay by Rosangella Leote “Performances biocibernéticas: a relação do corpo com a máquina nas artes performáticas” (doc. no. 1111394)].