ANIAV - Revista de Investigación en Artes Visuales- No 02 (2018)

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Artículos originales de investigación

Estéticas comunitarias y colaborativas y desarrollo a escala humana
Arte contemporáneo y señales visuales de la cotidianidad como paradigma de modelos globales de vida y de pensamiento
ZAWP Bilbao. Posproducción cultural en espacios de creación postindustriales
El canon are-bure-boke: una conexión contemporánea entre fotografía, arquitectura y filosofía; una conexión entre Japón y Francia
RECICLO Y PUNTO: una propuesta artística dinámica con desarrollo múltiple en las aulas y de aplicación efímera en el espacio público
Hacia una metodología del proceso creativo y su validación en el ámbito de investigación académico
Dale, dale, dale. La construcción de imaginarios híbridos y el desplazamiento de elementos locales en la práctica artística
Cargo Culte: La estética del Culto de cargo en el contexto urbano posindustrial de la Ciudad de México
EL TAG COMO CELDA DE VIGILANCIA. Una visión crítica de los metadatos y sistemas de reconocimiento facial a través de las prácticas artísticas
Estrategias culturales frente a la crisis ecosocial. Creación audiovisual y participación local en el proyecto Inner Nature Exhibition
Coherencia entre animación e “imagen real” (registro basado en realismo fotográfico): recursos presentes en el universo gráfico de Gumball
El invisible y la no-materialidad de las cosas de la isla

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Now showing 1 - 5 of 13

Editorial
(Universitat Politècnica de València, 2018-02-13) Revista de Investigación en Artes Visuales, ANIAV
Los números 1 y 2 de la revista contienen los trabajos evaluados positivamente y seleccionados por un comité científico internacional de entre los presentados al III CONGRESO INTERNACIONAL DE INVESTIGACIÓN EN ARTES VISUALES. ANIAV 2017. GLOCAL [codificar, mediar, transformar, vivir].
El invisible y la no-materialidad de las cosas de la isla
(Universitat Politècnica de València, 2018-02-13) Vieira Terra, Tatiana
[EN] An island located in the central plateau of Brazil turns into a gravitational space of an artistic journey of exploration. Landings and fluctuations alternate during the expedition. Being on the island also means being the focal point of a reversed telescope where the dialogue is constructed from the things that inhabit the near and infinite spaces, the flow of relationship between them and the subject in space. The visual narratives provided by the journey were made from the desires, confrontations and bewilderment which were all experienced during the pauses and communions invoked by the non-materiality of the things that live there. The text narrates the expedition to the island, it brings images produced from the experience that has been lived and invites a reflection on the silent voices of things in space, the invisible vision and the internal resonance of the subject as well.
Coherencia entre animación e “imagen real” (registro basado en realismo fotográfico): recursos presentes en el universo gráfico de Gumball
(Universitat Politècnica de València, 2018-02-13) Rodríguez González, Manuela Elizabeth
[EN] The present article will focus on an example of hybrid animation, The Amazing World of Gumball (2011), which is a television animation series created by Ben Bocquelet (1983). This series came to life when he proposed to Cartoon Network the idea of bringing together in a single production all the characters he had created and which had been rejected by animation studies over the years. Starting from this union of different elements (an explanation that is present in the basic idea, but not in the plot of the series), we will analyze the resources that are used to unite disparate aesthetic characters in a coherent 'graphic universe'. This concept of universe is defined by Raúl García in Actores del Lápiz (2000) as the unit of style (and movement) in which characters and design elements coexist within a television series, governed by rules that must be maintained throughout the creation to make it plausible for the spectator. Taking this concept into account, the analysis of these resources will be completed by the study of productions where the mixture of styles is consistent with the argument, or it is done for aesthetic experimentation. From Blackton's Lightning Sketches (1908) or Gertie, the Good Dinosaur, directed by McCay (1914), going through the animated characters that coexist with humans in Mary Poppins (1964), Who Framed Roger Rabbit? (1988) or Space Jam (1996), to the photographic backgrounds immersed in the experimental animation of The Tatami Galaxy (2010), directed by Masaaki Yuasa.
Estrategias culturales frente a la crisis ecosocial. Creación audiovisual y participación local en el proyecto Inner Nature Exhibition
(Universitat Politècnica de València, 2018-02-13) López de Frutos, Estela; Rodríguez Mattalía, Lorena; 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] INNER NATURE EXHIBITION is a non-profit cultural project that aims to propose a reflection on the eco-social crisis. It is a travelling video art show that interacts with other proposals organized by the different cultural centers that host it at national and international level, generating spaces of encounter, exchange and reflection. In its third edition, the project tries new formulas for relating local contexts to global problems. We urgently need cultural tools to make the ecological crisis visible and to deconstruct the dominant discourses that legitimize an unsustainable system. Issues such as peak-oil or climate change indicate the possibility of an unprecedented eco-social collapse. That is why it is essential to build alternative ways of working in the local contexts to rethink our sense of the common and to simultaneously cooperate with international institutions that can seek answers to shared problems. In this context, we explore the potential of video art as a tool to create awareness, while maintaining a critical viewpoint on the most technophilic discourses that tend to forget that technologies too are dependent on ecosystems. The experience of INNER NATURE EXHIBITION serves as a case study to analyze in practice the main contributions and possible limits of this type of cultural initiatives.
EL TAG COMO CELDA DE VIGILANCIA. Una visión crítica de los metadatos y sistemas de reconocimiento facial a través de las prácticas artísticas
(Universitat Politècnica de València, 2018-02-13) López-Cleries, Gloria; Porras Soriano, Álvaro
[EN] Nowadays, the expansion of social networks has made possible the emergence of a new, decentralized and diffused surveillance model. Web 2.0 and smartphone devices allow the circulation of private information available to users and public-private companies that are part of the new network economy. The daily use of applications with gps locator allows the storage of all kinds of activities and to carrying out the reconstruction of all our actions, desires and affections. In a context of hyper-exposure, of the hyper-connected 24/7 society, it is considered to be as a new model of more diffused surveillance, but maintaining the same effect of the Panopticon. This has an impact on user psychology creating a disciplinary power in the face of uncertainty of being under constant surveillance. The concept of Panopticon's isolation and surveillance cell is reflected today, not only in each personalized account in social networks, but in all the information that is recorded in the Google history associated with a personal email account, Paypal accounts and countless apps that register heart rate, fingerprints, sleep curves and blood sugar. These applications allow the total registration of all physical, biological and affective actions and movements. From Foucault’s perspective, social media is more than a vehicle for the exchange of information, it is a vehicle for the formation of identity and its control.

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