Notes
01. Without going much further, when Senefelder set the bases for lithography, he did so while trying to figure out how to reproduce sheet music. In the hands of Goya. Delacroix. and Daumier was the task of capturing it artistically, expressing in this medium images that would not be resolved in the same manner in painting.

02. See COSTA, Mario: Estética Técnica tecnologías in Arte en la era electrónica perspectivas de una nueva estética. Giannetti, Claudia (coord.) Ed. ACC L' Angelot. Barcelona, 1997.
03. Regarding technique as a fundamental dimension of art, see also FORMAGGIO, Dino: Arte, Translation and prologue by José Francisco Ivárs. Editorial Labor. Barcelona, 1976. First edition: L'arte, Istituto Editoriale ISEDI. Milán. 1973,
04. See ROCHFORD, Desmond: Printmaking: technologies and the culture of the reproducible images. Grapheion No. 10, pp 6-7, Central Europe Gallery and Publishing House, Prague, 1999.
05. See BENJAMIN, Walter: The work of err in the age of its technical reproducibility in Discursos interrumpidos I, prologue, translatian and notes by José Aguirre. Taurus Editorial, Buenos Aires, 1989.
06. Sec BENJAMIN, Walter, Op, cit., p, 24. The philosopher defines it as the "manifestation of a distance that may not be repeated (as close as it play be)".
07. See Ramos, Francisco José: Naufragium fecit cun hem, navegavit (Towards a new understanding of the artistic experience), paper presented on May 1st, 1998 at the symposium entitled Contemporary Graphic Arts and the Digital Image, which was held at the " Centro de Estudios Avanzados de Puerto Rico y el Caribe" in San Juan, during the XII Biennial. Dr. Ramos analyzes the theological component of the concepts of "originality" and "creativity".
08. And when I speak of a matrix I think not only of the woodcut or etching plates, but also of a CD-ROM.
09. See GARCÍA CANCLINI, Néstor: Imagined Globalization ('La globalización imaginada') Paidós. Buenos Aires, 1999.
10. See MOSQUERA, Gerardo: Infinited Island: about art, globalization and cultures, ("Islas infinitas: sobre arte, globalización y cuhuras"). An Nexus 29. July-September, pp 64-67, Bogotá, Colombia. 1998.
11. See GOLDMAN, Shifra: "The Latinoamerication of the United States" (La latinoamericanización rte los Estados Unidos). Art Nexus 29. July-September, pp, 80-84. 1995. Bogotá, Colombia,
12. See YÚDICE, George: El impacto cultural del tratado de libre comerció norteamericano en Néstor García Canclini (coord.). Culturas en globalización. Nueva Sociedad. Caracas, 1996 and MATO. Daniel: The transnational making of representations of gender ethnicity and culture: indigenous peoples organizations tit the Smithsonian Institute's Festival. Cultural Studies, 12(2), 1998 quoted in García Canclini, Néstor: La globalización imaginada. Paidós. Buenos Aires, 1999
13, Generally it is believed that globalization is "circular" but, in fact, most see themselves involved in "tangent' globalizations that incorporate areas or interest limited to "territories or circuits that constitute a "digestible globalization" for each participant", Garcia Canclini. Nestor: Op. Cit., pp 12.13.
14. For example, the influence of many of the graphic arts shows held in countries that were part of the former Soviet Union accomplished the simple feat of showing the best of international graphic arts even three years. In the 60's, the organizers of these triennials were able to achieve something exceptional for the time: to generate and prompt the local artistic movement beyond the influence of the official vision of what art should be like. For many local artists, the print triennial was not only am important event, but in most cases, was the only one ever held and it offered a point of reference for their artistic activities outside of the aesthetic standards established by the systern.
15. To mention only a few examples, and without reaching any further, in 1998 for the XII Biennial in Puerto Rico it celebrated the Sympositum entitled "Latin American Graphic Arts and the Digital Image". During the presentation of papers, a simultaneous Internet broadcasting was introduced that disseminated what was being discussed and it allowed the virtual audience to interact via e-mail. In 1999, IMPACT, the mega-event held by the University of West England in Bristol, Great Britain, dedicated several panel discussions to this topic. Similarly, in Estonia, the organizers of the eleventh Tallinn Print Triennial prepared the show entitled Tangents, which - in its curators' own words - "attempts to define the frontiers of print, identify it tangents and its margins (...) with methods that may vary from the most ephemeral reproduction techniques to video and digital technology". The second edition of IMPACT took place in Helsinki in 2001 and, simultaneously in the same year, Tallinn held "Mutating Image" in its last edition.