ANIAV - Revista de Investigación en Artes Visuales- No 03 (2018)
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Editorial
- Editorial
Ensayos visuales
- 90 movimientos sobre Technogym G6508D: el gimnasio como espacio para la práctica artística
Artículos originales de investigación
- La construcción fragmentaria como método de creación en la historia del arte
- DIY y producción audiovisual amateur. Tensiones en la construcción de las visualidades contemporáneas
- Del Transe de Kahlo, pasando por el Transito de Obregón, hasta llegar a lo Transitorio de Do Amaral
- Los diagramas como materialización de la investigación en arte y diseño
- Cuatro estrategias didácticas basadas en arte contemporáneo: El proceso educativo como obra de arte a través de Metodologías Artísticas de Enseñanza-Aprendizaje
- La imagen caleidoscópica como primera forma de abstracción en los inicios del arte moderno
- Investigación Estética
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Now showing 1 - 5 of 9
- PublicationInvestigación Estética(Universitat Politècnica de València, 2018-09-25) Vilar, Gerard[EN] Some artists prefer to use the expression 'aesthetic research' instead of the usual 'artistic research'. In what sense can this distinction be made? To answer this issue previously it is unavoidable to clarify what is meant by the word 'aesthetics' and briefly revisit the relationship between art and aesthetics, an old problem of theory and practice of art in the second half of the last century. Once this clarification is made, it seems logical to conclude that aesthetic research is a subclass among the many types of artistic research that is distinguished by being focused on those areas in which the aesthetic dimension of the project becomes crucial for the generation of spaces of intelligibility, meaning or sense. There are examples of this type of research in projects on perception of space and / or time. My favorite example would be the Arquitectures of Embodiement project by the Catalan-German artist Alex Arteaga, a research on the ways in which sound interacts with architectural space to generate meaning. The analysis of this example shows that it is important to be able to distinguish aesthetic research from other kinds of artistic research because it deals with the original phenomenon of the generation of intelligibility through the experience of a body.
- PublicationLa imagen caleidoscópica como primera forma de abstracción en los inicios del arte moderno(Universitat Politècnica de València, 2018-09-25) Vergara Vázquez, Mari Nieves[EN] This paper proposes a different discourse from the predominant one, allowing the creation of a new paradigm associated with kaleidoscopic methodologies of artistic creation that culminated in postmodernity. This fact is evidenced through the research on the presence that kaleidoscopic image has had in the beginnings of modern art, presenting the critical position of Baudelaire, Proust, Marx, Engels and Benjamin regarding the kaleidoscope. After this brief contextualization and also by analysing the position that the infinite notion had in “the way of seeing” of society in 19th century, the kaleidoscopic image would be categorized into the context of the Eugenio Trías’ aesthetic constellations. This proposal is due to the simultaneous correlation between the apparent beauty and at the same time the sinister side hidden in the kaleidoscopic image –dualities reality/fiction and original/copy–. The kaleidoscope influenced different creation areas –visual arts (painting, photography, film), architecture or literature– during the beginnings of modernity. Therefore, different artistic proposals that have a kaleidoscopic background are analysed and presented as the first abstract representations in modern art –made between 19th century and early 20th century–. Except in some cases, these abstractions were produced thanks to the influence given by the invention of the kaleidoscope in 1815 and its impact in the artworks of different artists. It also happened due to the performance of the artistic subject as medium, mainly in relation to the creation of kaleidoscopic images. In both cases, it is shown an authorship that is different from the traditional one, as well as the production of new artistic proposals that have connections with the kaleidoscopic perspective.
- PublicationCuatro estrategias didácticas basadas en arte contemporáneo: El proceso educativo como obra de arte a través de Metodologías Artísticas de Enseñanza-Aprendizaje(Universitat Politècnica de València, 2018-09-25) Rubio Fernández, Andrea[EN] Firstly, these four teaching strategies that we used are methods of investigation, both means of expression and visual languages. From these, a research proposal is constructed based on Arts- Based Teaching/ Learning Methods. Secondly, a new teaching method is produced based on artistic methodology in which the teaching strategies use art workshops as a means of teaching and learning. The Arts- Based Teaching/ Learning Methods are the basis of this investigation and with it we obtain concrete proposals along with teaching developments. We propose and suggest one to reflect about educational and artistic questions through the use of structural teaching concepts with the intention of giving way to new teaching strategies, new reflections, and new ways to teach using arts- based methodology. If our objective is to teach art without losing its essence, and we are looking to generate a conscious type of knowledge acquisition, perhaps it is necessary to adjust the pedagogic processes accurately to the artistic process in order to allow for a new educational experience. Therefore, in this article we propose a series of didactic strategies with respect to artistic education in which the educational experience is revised and made evident. These teaching strategies were used with different families in the community of Asturias under the Artistic Education project title, "Lainopia."
- PublicationLos diagramas como materialización de la investigación en arte y diseño(Universitat Politècnica de València, 2018-09-25) Rowan, Jaron; Camps, Marta[EN] The academic world suffers from more creative methods of research capable of linking and understanding increasingly complex societies, new digital realities and contemporaneous aesthetics. Art and design as research disciplines are not alien to this reality. In the following article we will defend the need to define our own research methods to face our present and possible futures. To do this, some of these practices are explored in research in art and design, underlining the need to develop strategies and practices in which the materiality of objects and tools coexist with the abstract, the symbolic and the intangible. In this article we will explore the potential of the diagram as a research tool and delve into its philosophical implications with the help of Deleuze and Guattari's work. We will speculate about the potential of diagrams as a learning method and knowledge creation. This article wants to give an account of the importance of creating spaces where art, design, philosophy and research come together to create strange and extraordinary artifacts that can help us to better understand the world and its different materialities.
- PublicationDel Transe de Kahlo, pasando por el Transito de Obregón, hasta llegar a lo Transitorio de Do Amaral(Universitat Politècnica de València, 2018-09-25) Ramírez Peña, Natalia Vanessa[EN] This article looks in broad strokes, give reason for some of the thematic axes addressed in the master's research entitled Tarsila Do Amaral and Frida Kahlo: Perceptions of Latin American Surrealism, held at the Federal University of Mato Grosso do Sul (Brazil) and whose development allows us to discern closely the way in which Latin American painters usually react to pictorial changes; in form and content, with the aim of generating some kind of contribution to local and / or continental aesthetics. For this, it became indispensable to generate reflections from the texts included in the book Visual Arts in Latin America: do transe ao Transitório; key theoretical elements to understand the terms proposed by the Brazilian Frederico Morais (Transe, Transito and Transitory) with the purpose of collecting the representative features of Latin American painting, without implying a totalization or hierarchization of them. In order to exemplify these scoops are brought works by Frida Kahlo, Tarsila do Amaral and Alejandro Obregón, taking into account their styles and variations over time.