Publication: Saber parcial / Sabor diagonal: imágenes del texto y producción de conocimiento desde el arte
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2016-09-20
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Universidad Complutense de Madrid
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Abstract
La presente tesis doctoral aborda el conflicto entre texto e imagen en la producción de conocimiento y más especialmente incide sobre la forma en la que tal conflicto opera dentro del ámbito de la investigación en arte y desde el arte. Se parte pues de la hipótesis de que hay un repertorio de imágenes de la materia escrita – como una suerte de imaginación textual desatendida – que es transversal a las humanidades y que a menudo se encuentra naturalizada como algo inerte o simplemente poco atractivo. Una estética insignificante del conocimiento académico que sin embargo sirve de puente entre las llamadas prácticas artísticas y las propiamente científicas y/o universitarias. Para dar lugar a una definición de esta plástica de lo textual – que sería distinta de la prosodia o la poética del texto más literario – la investigación se articula a través de una serie de casos de estudio cuyo eje no es aleatorio sino diagonal tal y como lo planteaba Roger Caillois a principios de los años 60. Así, las categorías de estudio de esta investigación parten de detalles inéditos, en tanto que apenas han sido enunciados con anterioridad, y atraviesan ámbitos que van desde la biología del camuflaje hasta la bibliografía, pasando por la epistemología, el discurso amateur y el diseño del espacio propio de una biblioteca. Estos hilos conductores aparentemente imprevistos tratan de revelar por contra ciertos principios consistentes del texto según se ensaya, se distribuye y se imagina a sí mismo, ejemplificando así los diferentes grados de contaminación – o dicho de otra forma más cercana a lo visual, los diferentes grados de montaje, revisión e instalación – a los que se somete habitualmente todo texto del conocimiento...
This doctoral dissertation addresses the conflict between text and image in the context of knowledge production and, more specifically, it centers on how this conflict operates within the scope of research in art and from artistic practice. The dissertation is grounded on the hypothesis that there is a repertoire of images in the textual material of any scholarly research - as a sort of unattended textual imagination - that is common to all the humanities and often naturalized as something inert, invisible, or simply unattractive. My aim will be to analyse this insignificant aesthetic academic knowledge, the “reality effect” associated with it, and how thise can be used as a bridge between artistic and scholarly practices. To lead to a definition of this plasticity of the textual – that means, to understand text as distinct from the prosody or the more poetic literary text – the following research is articulated through a series of case studies whose axis is not random but “diagonal”, following mythologist Roger Caillois’ epistemic terminology. Thus, the categories of study are defined on top of uncharted and minor details, in that they have been consistently overlooked by the artistic research debate, that span across biology, camouflage, literature, epistemology, amateur discourse or the spatial design of Aby Warburg’s library. These threads, apparently scattered, disclose nonetheless certain consistency of the text as essayistic matter, that is distributed and imagined by itself, thus exemplifying the different degrees of contamination - or put in artistic terms, the different degrees of assembly, revision and installation – that every text of institutional knowledge is subjected to...
This doctoral dissertation addresses the conflict between text and image in the context of knowledge production and, more specifically, it centers on how this conflict operates within the scope of research in art and from artistic practice. The dissertation is grounded on the hypothesis that there is a repertoire of images in the textual material of any scholarly research - as a sort of unattended textual imagination - that is common to all the humanities and often naturalized as something inert, invisible, or simply unattractive. My aim will be to analyse this insignificant aesthetic academic knowledge, the “reality effect” associated with it, and how thise can be used as a bridge between artistic and scholarly practices. To lead to a definition of this plasticity of the textual – that means, to understand text as distinct from the prosody or the more poetic literary text – the following research is articulated through a series of case studies whose axis is not random but “diagonal”, following mythologist Roger Caillois’ epistemic terminology. Thus, the categories of study are defined on top of uncharted and minor details, in that they have been consistently overlooked by the artistic research debate, that span across biology, camouflage, literature, epistemology, amateur discourse or the spatial design of Aby Warburg’s library. These threads, apparently scattered, disclose nonetheless certain consistency of the text as essayistic matter, that is distributed and imagined by itself, thus exemplifying the different degrees of contamination - or put in artistic terms, the different degrees of assembly, revision and installation – that every text of institutional knowledge is subjected to...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 4-02-2016