Publication: Pintura y bits. Interacciones entre pintura y cultura digital en la nueva sociedad del conocimiento
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2018-10-19
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Universidad Complutense de Madrid
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Abstract
La investigación realizada se trata de un análisis descriptivo sobre cómo se articulan las prácticas artísticas tradicionales, concretamente la Pintura, con el mundo de las nuevas tecnologías, que se han venido desarrollando de forma exponencial durante los últimos 15 años. Esa relación propicia unos modos y formas de trabajar, es decir aparecen nuevas metodologías que conforman y amplían la propia concepción de la práctica pictórica. En la primera parte se analizan todos los procesos que han hecho desarrollarse a la Cultura Digital en su conjunto, es decir, que se describen muchas de las características a modo de relación contextual, describiendo aspectos fundamentales de los artefactos creativos y sus posibilidades técnicas, a lo metodológico y a la nueva configuración de dispositivos de conocimiento, los cuales han hecho desarrollarse a las Humanidades Digitales en su conjunto. La segunda describe las interacciones entre la Pintura y dicho mapeo inicial, para ello se revelan varias metodologías y estrategias de ensanchamiento del propio concepto de pintura, adoptando la deriva de la misma en cuanto a su desarrollo en torno a lo digital. Se ha huído constantemente en esta tesis de los discursos de obsolescencia en cuanto a técnicas, tanto es así que lo que se ha propuesto como descripción metodológica ha sido un recorrido de identificación de las estrategias que la pintura adopta en relación a lo digital, ya sea, por ejemplo, ampliando sus retóricas o utilizando el propio código informático como “paleta”. La constelación de lo digital aplicada a la creación pictórica ha sido analizada desde la propia experiencia de trabajo con el colectivo Laramascoto. Este análisis se ha hecho desde las diferentes posibilidades creativas dentro de dicho mapeo general. En él se comprenden descripciones tanto de las prácticas artísticas, como de los diferentes dispositivos de conocimiento y herramientas que aparecen como consecuencia del desarrollo de nuevas metodologías, ya sea desde el punto de vista del trabajo colaborativo, del uso del prototipado, uso del software libre, etc. Esta descripción parte como consecuencia de las propias estrategias de la pintura para ampliar su espectro en su multitud de relaciones con lo digital...
This research work comprises a descriptive analysis of how traditional artistic practices, namely Painting, may be linked to the sphere of new technologies that have developed exponentially over the last 15 years. This relationship fosters novel modes and ways of working; that is to say, new methodologies emerge that shape and expand the very conception of pictorial practice. The first part of this thesis analyses all the processes that have enabled the development of Digital Culture as a whole. Many of the features are described by way of contextual relationships, describing fundamental aspects of the artefacts, technical possibilities, methodologies and new configuration of knowledge devices, which have enabled the development of the Digital Humanities as a whole. The second part of the thesis describes the interactions between Painting and the aforementioned initial mapping. For this purpose, various methodologies and strategies that broaden the concept of painting are reported, while focussing specifically on how they may be developed in the digital environment. This thesis persistently avoids obsolescent discourses in terms of techniques. So much so that what is proposed here as a methodological description has constituted a journey of identifying the strategies that painting adopts in relation to the digital sphere, whether, for example, expanding its rhetoric or using computer code itself as a “palette”. The constellation of the digital sphere in relation to pictorial creation is analysed from the experience of working with the Laramascoto group. This analysis has been carried out from the standpoint of different creative possibilities within this general mapping. The descriptions comprise artistic practices as well as the different knowledge devices and tools that have emerged as a result of the development of new methodologies, from the point of view of collaborative work, the use of prototyping, the use of free software, etc. This description is based on the actual strategies of painting to expand its scope with respect to its multiple relations with the digital sphere...
This research work comprises a descriptive analysis of how traditional artistic practices, namely Painting, may be linked to the sphere of new technologies that have developed exponentially over the last 15 years. This relationship fosters novel modes and ways of working; that is to say, new methodologies emerge that shape and expand the very conception of pictorial practice. The first part of this thesis analyses all the processes that have enabled the development of Digital Culture as a whole. Many of the features are described by way of contextual relationships, describing fundamental aspects of the artefacts, technical possibilities, methodologies and new configuration of knowledge devices, which have enabled the development of the Digital Humanities as a whole. The second part of the thesis describes the interactions between Painting and the aforementioned initial mapping. For this purpose, various methodologies and strategies that broaden the concept of painting are reported, while focussing specifically on how they may be developed in the digital environment. This thesis persistently avoids obsolescent discourses in terms of techniques. So much so that what is proposed here as a methodological description has constituted a journey of identifying the strategies that painting adopts in relation to the digital sphere, whether, for example, expanding its rhetoric or using computer code itself as a “palette”. The constellation of the digital sphere in relation to pictorial creation is analysed from the experience of working with the Laramascoto group. This analysis has been carried out from the standpoint of different creative possibilities within this general mapping. The descriptions comprise artistic practices as well as the different knowledge devices and tools that have emerged as a result of the development of new methodologies, from the point of view of collaborative work, the use of prototyping, the use of free software, etc. This description is based on the actual strategies of painting to expand its scope with respect to its multiple relations with the digital sphere...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 6 de marzo de 2017; presidente, Antonio Muñoz Carrión.