Publication: Interferencias: influencia de otros medios icónicos en la estética de la pintura
Loading...
Official URL
Full text at PDC
Publication Date
2016-04-15
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Universidad Complutense de Madrid
Citations
Exportar
Abstract
La pintura es una actividad que lleva acompañándonos desde el comienzo de la humanidad, como una expresión primordial que intermedia entre el individuo y la ‘realidad’, para establecer conexiones con ella, traducirla, comprenderla… Si observamos el vector que avanza desde esas primeras manifestaciones hasta las más actuales, resumiendo, podemos afirmar que ‘somos los mismos de Altamira pero con más medios’. De ahí la importancia que posee el medio, tanto icónico como en relación a las extensiones del ser humano, para la evolución de la praxis de la pintura y su concepto. Es por ello que, en función de mostrar cómo se ha producido ese desarrollo, se haya escogido hablar de los medios icónicos para comprobar cómo han afectado a los planteamientos estéticos de la pintura. En ese sentido podemos afirmar, junto con Walter Benjamin, que existe cierto determinismo tecnológico que nos condiciona y hace cambiar nuestra forma de acercarnos a las disciplinas, lo que acerca al arte de cada época a los modos de producción propios de ella. Observando el contexto actual nos vemos rodeados por dispositivos que generan una ingente cantidad de imágenes de manera instantánea. Todo ello establece un fuerte contraste que, necesariamente, nos lleva a reposicionar y re-articular el concepto y la práctica de la pintura, un arte que tradicionalmente se ha entendido como un proceso lento de producción icónica...
Painting is an activity that goes with us from the beginning of humanity, like a primary expression that intermediate between the person and the ‘reality’, in order to establish connections with it, to translate it, to understand it… If we look at the vector which advances from those first manifestations to them more present-day, summing up, we can affirm that ‘we are the same of Altamira but with more médiums’. Hence the importance that the medium have, so much iconic as in relation to the extensions of the human being, for the evolution of painting and its concept. It’s for this reason, in terms of showing how this development has taken place, it had been chosen talking about the iconic mediums to check how they have affected to the aesthetics proposals of painting. In that connection, we can affirm, along with Walter Benjamin, that exist certain technological determinism that conditions us and makes change our way to bring near disciplines, what approachs the art of every era to the production methods own of it. Look at the present-day context we are surrounded by devices that generate an enormous quantity of instantaneous way imagery. All of this establishes a loud contrast than, necessarily, leads us to reposition and to re-articulate the concept and the practice of painting, an art that traditionally has understood like a slow process of iconic production..
Painting is an activity that goes with us from the beginning of humanity, like a primary expression that intermediate between the person and the ‘reality’, in order to establish connections with it, to translate it, to understand it… If we look at the vector which advances from those first manifestations to them more present-day, summing up, we can affirm that ‘we are the same of Altamira but with more médiums’. Hence the importance that the medium have, so much iconic as in relation to the extensions of the human being, for the evolution of painting and its concept. It’s for this reason, in terms of showing how this development has taken place, it had been chosen talking about the iconic mediums to check how they have affected to the aesthetics proposals of painting. In that connection, we can affirm, along with Walter Benjamin, that exist certain technological determinism that conditions us and makes change our way to bring near disciplines, what approachs the art of every era to the production methods own of it. Look at the present-day context we are surrounded by devices that generate an enormous quantity of instantaneous way imagery. All of this establishes a loud contrast than, necessarily, leads us to reposition and to re-articulate the concept and the practice of painting, an art that traditionally has understood like a slow process of iconic production..
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Pintura, leída el 20-01-2016