ANIAV - Revista de Investigación en Artes Visuales- No 01 (2017)

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Artículos

¿Dónde está el ‘arte’ en la investigación artística?
Paisajes expandidas entre Brasil y España: intervenciones fotográficas introducidas en el espacio público
Santa María del Circo (Toscana, 1998) y Zócalo (Alÿs, 1999) como espacios de resignificación
Ecología global, sensibilidades locales. El rol de las humanidades ambientales frente a la crisis ecosocial contemporánea
Grupo Poéticas Digitais: Dialogo y Medio Ambiente
(a)topia(s). Una indagación artística sobre malestares deslocalizados y estrategias de invisibilidad
Visualizando la ciudad glocal. Modelos y paradigmas de una relación creativa entre el dato y su representación en el entorno arquitectónico
Inframedia: barreras infraestructurales y ecologías online en la Web 2.0
Performances mínimas en el espacio urbano y colaboraciones a distancia. Propuestas de “Acciones Desapercibidas” como experiencia entre lo local y lo translocal
Espacios de memoria virtual como laboratorios de investigación artística

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Now showing 1 - 11 of 11

¿Dónde está el ‘arte’ en la investigación artística?
(Universitat Politècnica de València, 2017-07-05) Vilar, Gerard
[EN] Frequently, visiting artistic research exhibitions, or seeing 'exhibitions' in the Journal of Artistic Research, one ends up wondering where art is in those projects, since perhaps they could have been done by historians, anthropologists or communicologists and exhibited their results in a history or ethnology museum, or a cultural center whatever, rather than in an artistic center. No doubt, they are usually true research, but where is the art? A satisfactory answer to the problem of where art is in artistic research is to be find in the difference between an informative presentation or display and an authentic device for reflection. Social scientists produce theory, information, and factual knowledge. Artists do not primarily produce factual knowledge, butrather create devices for the generation of knowledge. If this distinction is completely erased, the risk is to have bad science and/or bad art, or even have neither. To build a philosophical argumentation appropriate to the intuition that we have just formulated, it is possible to have recourse to Deleuze's theses about percepts as the kind of ideas that artists create, unlike the scientists who create functions and the philosophers who create concepts.
Paisajes expandidas entre Brasil y España: intervenciones fotográficas introducidas en el espacio público
(Universitat Politècnica de València, 2017-07-05) Santos Almeida Ribeiro, Maristela
[EN] This article proposes a reflection about the methods of creation of the image from two artistic projects: the first one consists of a series of works developed in Feira de Santana and Salvador de Bahía, in the Northeast of Brazil; And the second in anotherseries that took place in the districts of Benimaclet and Cabanyal, based in Valencia, on the Mediterranean coast of Spain, during a Doctoral Stay at the School of Fine Arts of the Polytechnic University of Valencia. These two "places" - in Brazil and Spain - form important pillars so that results can be assumed, inferred and analyzed. The two experiments are essential in the orientation of the work as a whole, with the delimitation of an epistemological corpus and the definition of the procedures adopted in their nature and validity.To develop the research contained in these projects, the methodology adopted sought support in science and the philosophy of creation that, according to Passeron aims at creative realization. The adopted approach focuses on the displacement of the photographic image from the private to the public, introduced in the urban space as artistic interventions, in large formats. The redefinition of space, through the photographic image, is constituted from the semantic load of the displaced images; Takes the architecture as a place, the street as a space for an artistic experience and the city as a poetic field. Therefore, artistic experience suggests different ways of talking about a particular place, its culture, its environment and its history, through images that have deviated from their original contexts.
Inframedia: barreras infraestructurales y ecologías online en la Web 2.0
(Universitat Politècnica de València, 2017-07-05) Sanchez Lopez, Jose
[EN] Collective Intelligence and our notion of glocalposition depend closely on the large existing media available on the Internet (search engines, social media, wikis...). Its digital origin and its dependency on computer science allow them to take different forms with specific relation to software design. That stated, it is important to underscore this situation encompasses our limited knowledge and phenomenological contact with the infrastructure that supports them.This presentation works as a snapshot of an ongoing personal research about networks and visibility, whose main goal is to provide a theoretical context for the future development of a new media artistic project. The whole idea revolves around some topics that focus on the notion of interface being the visible part of an infrastructure complex.The analysis is structured around four main themes: 1. Evaluation of the abstraction layers that techno-material “life” of the networks: architecture, protocols and algorithms are made of. 2. The dual meaning of “collective”, when it comes to online interaction: creation of contents by users and how this oscillate between the commons production and data collection. 3. Attention to the concept coined by James Bridle “New Aesthetics” and how the digital became autonomous in referring reality in its own terms. 4. The impact of this digital context on artistic contemporary strategies, from counter-design to complicity.
Santa María del Circo (Toscana, 1998) y Zócalo (Alÿs, 1999) como espacios de resignificación
(Universitat Politècnica de València, 2017-07-05) Flores Flores, Nallely Natali
[EN] On this paper we develop a comparative approach between two art objects of different nature: first of them is film called Zócalo (Alÿs, 1999); and, second of them, is Santa María del Circo novel (Toscana, 1998). Comparison is possible due to these objecs contain some similar elements. On both of them, we find: these are transit spaces and these are ,also, symbolic registers, although novel is imaginary one and film is real one; irruption of characters on both spaces means perturbing; on both of them, we canuse semiosphere concept because they keep frontiers delimited ; and so on, more motives to comparison. Besides, spaces can be interpretated according with Focault’s concept of heterotopia. Also, these spaces are into other heterotopia: that is to say, Zócalo is into city of Mexico and Zócalo and any city could be read like this kind of nonplace. It is the same to Santa María del Circo, town which is into desert because desert could be a heterotopia too. So, in theory, been treated with a semiotics’ conceptallows to sum an anthropological interpretation. Analyzing with these concepts (semiosphere and heterotopia), allows us to talk about art’s representations of social reality in the nineties of twenty century. It is not just about a written and a visual discourse, it is about how a writer and an artist perceive their reality, how they take it and how they express it out.
Editorial
(Universitat Politècnica de València, 2017-07-05) Revista de Investigación en Artes Visuales, ANIAV
ANIAV. Revista de investigación en artes visuales, surge desde Asociación Nacional de Investigadores en Artes Visuales ANIAV a partir de la experiencia obtenida con la celebración de tres ediciones del Congreso Internacional de investigadores en Artes Visuales.
Grupo Poéticas Digitais: Dialogo y Medio Ambiente
(Universitat Politècnica de València, 2017-07-05) Prado, Gilbertto
[EN] The Poéticas Digitaisgroup was created in 2002 at the Visual Arts Department at Communication and Arts School at University of São Paulo as a multidisciplinary group to promote the development of experimental projects and a reflection on the impact of new technologies in the field of arts. The group is an unfolding of the wAwRwT project started by Gilbertto Prado in 1995 and its participants are artists, researchers and students, with vary in each project. The purpose of this paper is to present some recent projects developed by Gilbertto Prado and the Poéticas Digitais group related to the theme of environment and flow, visible and invisible forces, and how to dialog with the construction of the context, in which the public is part of a large collaborative system related to the environment. The discussed projects are: “Ø25 - Quarto Lago” (Ø25 - Fourth Lake), 2013) and “Caixa dos Horizontes Possíveis” (The Possible Horizons Box) from 2014
(a)topia(s). Una indagación artística sobre malestares deslocalizados y estrategias de invisibilidad
(Universitat Politècnica de València, 2017-07-05) Marín García, Teresa
[EN] (a)topia(s) is proposed as an Art-Based Research. It is a process of inquiry that through the artistic practice tries to reflect on real forms of dislocated discomfort of the current society. We use the concept of atopia as a metaphor of a hypersensitive reaction,which arises as a (social or individual) response to various environmental stimuli that characterize the context of globalization. The atopic is a nonspecific place, changing and difficult to locate, but whose reactions are embodied in concrete and particular situations.(a)topia(s) began in 2006 as a graphic and textual journal that explored diffuse territories between documentary and fiction in a playful, critical and reflective way. Subsequently, the means of visual experimentation are expanded: objectifying the texts, constructing objects and exploring the graphic images and audiovisual narratives. This process of practical experimentation develops in parallel with the research and definition of a glossary of key concepts. Thus, defining the globalizedsociety and whose common trait is its difficult location and invisibility, such as power, capitalism, precariousness, fear, vigilance, censorship, love, desire, freedom, knowledge.(a)topia(s) is thought as a critical experimentation of resistance, positioning itself from the making and assuming doubt, discontinuity and interference as key to the process. The materialization is conceived as part of the reflective process, paying attention to the near, not visible or undervalued, such as everyday objects, weak materials and minimal acts. The experimental process has been methodologically focused on the exploration of the media, the symbolic and narrative possibilities of the montage and the development of visual strategies of invisibilization as disruptive resources of discourse.
Performances mínimas en el espacio urbano y colaboraciones a distancia. Propuestas de “Acciones Desapercibidas” como experiencia entre lo local y lo translocal
(Universitat Politècnica de València, 2017-07-05) Torrecilla Patiño, Elia; Molina Alarcón, Miguel; Dpto. de Escultura; Facultad de Bellas Artes; Grupo de Laboratorio de Creaciones Intermedia. LCI
[EN] In this communication we show the experience gained from participating in an international project and its implementation at the local level.Starting from research on issues that address the relationship between body, city and technology, we begin to experience in the urban space the practice of a series of minimum performances inscribed in the realm of everyday life.After the discovery of a proposal developed in Holland, we deepen the use of the city as a laboratory and stage where we carry out our Unapproved Actions; So we began a series of collaborations with the organizers of the Unnoticed Art Festival, sometimes using the use of mobile devices. This is the case of Parallel Walks, a series of simultaneous parallel walks in which we wandered following the guidelines we send, from one city to another through instant messaging, creating a tour in a third city resulting from both.In this way, collective artistic practices become more accessible and allow us to experience new possibilities that include distance collaborations, translocation, simultaneity and the possibility of performing actions and moving through a hybrid city.
Visualizando la ciudad glocal. Modelos y paradigmas de una relación creativa entre el dato y su representación en el entorno arquitectónico
(Universitat Politècnica de València, 2017-07-05) Mañas Carbonell, Moisés; Martínez Cuenca, Raquel; Dpto. de Escultura; Facultad de Bellas Artes; Grupo de Laboratorio de Luz
[EN] Starting from understanding the city as a desire, as an exchange, as impossible cities, which ItaloCalvino pointed out in his text The Invisible Cities, and of the relation of aesthetization of the data in the contemporary city, through the eyes of Gilles Lipovetsky; This study intends to show a reflection on the relation of the data flow, its aesthetic and functional representations in the new technified architectural spaces that generate a new mediated glocal city. Reflect on the existing devices of mediation between the static of the architecture and the dynamism of the data and how this binomial, its relation, its technification through creative and playful proposals can become a new proposal of amplified urban route for the citizen-user contemporary.
Espacios de memoria virtual como laboratorios de investigación artística
(Universitat Politècnica de València, 2017-07-05) Veciana, Stella
[EN] This paper makes a theoretical reflection on artistic methodologies in the generation of ‘online memory environments’, the influence of cultural codes and values of sustainability in these spaces and exposes in particular two cases of dynamic archives within the context of scientific conferences for sustainability and a public library as examples of two typologies of laboratories of artistic-scientific research: the a/synchronic and the virtual.The classic analogue archive passes from the museum space to databank networks based on dynamic memory to new hybrid environments of mixed realities. How does themodern archive model differentiate as the on-site library of database from databank archive model? How do interactive database systems influence social memory? The ‘online memory environments’ transform the concept of the archive, which served to preservecultural heritage, becoming as well a laboratory of aesthetic-scientific production as in experiments of collective participation in ‘virtual monuments’ that activate processes of social memory.On the basis of this historical transformation and intercultural artistic-scientific methodological approaches, the purpose of this communication is to present the online dynamic memory space as future laboratories of artistic-scientific research.
Ecología global, sensibilidades locales. El rol de las humanidades ambientales frente a la crisis ecosocial contemporánea
(Universitat Politècnica de València, 2017-07-05) Albelda Raga, José; Sgaramella, Chiara; Dpto. de Escultura; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno; Grupo de Laboratorio de Creaciones Intermedia. LCI
[EN] The interdisciplinary research project entitled Environmental humanities. Strategies for ecological empathy and the transition towards sustainable societies investigates the role of ethics, visual arts and literature in the transformation process needed toimplement more eco-compatible cultural models. The ecological and social crisis we face forces us to rethink ourselves as human beings and as a society. Despite the significant techno-scientific advances in the field of energy efficiency and ecosystem restoration, a change in our world view and collective imagination is necessary in order to balance the powerful cultural inertia that characterizes the current paradigm. In this sense, humanities can play a relevant role in forging new values and imagining other forms of social coexistence. This paper analyzes some of the activities presented at the first international seminar carried out at the Polytechnic University of Valencia in November 2016 within the aforementioned research project. Different research methods in the field of humanities are taken into consideration to address the global and local dimension of the transition to sustainability. Firstly, an interdisciplinary approach is proposed for the study of global phenomena such as the energy and climate crisis. Moreover, creative workshops connected to citizen ecological initiatives are implemented to link academic research to local knowledge. Finally, we evaluate the influence and transformative potential of art projects exploring an expanded notionof site specific and adopting collaborative creation processes in dialogue with human communities, biotic and abiotic elements of the ecosystem.

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