Publication: Lo sublime en la era postdigital. La obra tecnológica en el contexto del arte experencial
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2018-10-19
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Universidad Complutense de Madrid
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Abstract
Esta tesis, basada en la praxis, la producción y el modelo de art research, es una investigación sobre sublime y el formato tecnológico, el cual resulta el más apropiado para representar dicha categoría estética en la era postdigital. Lo que estoy planteando, aparte de suponer un reto práctico, es que la tecnología y su abanico de herramientas como: el código abierto, sistemas reactivos o interactivos, experiencias inmersivas, audiovisuales, sonoras, performativas... se perfilan como un medio de expresión directo que me acerca de lleno y de manera directa a la representación y experiencia de aquello que denoto: objeto sublime e inmaterial. A su vez, esta tesis doctoral adopta el modelo de síntesis postulado por G.W.F Hegel; donde el pensador alemán reconcilia la dicotomía clásica infinito/finito al introducir el concepto filosóficamente más elevado, el del Absoluto {A} en su obra Fenomenología del Espíritu: "Aquello que es real y que reconcilia lo desligado e inaccesible de la realidad, es decir, la unión de todas las dimensiones de lo real, entre ellas la dicotomía clásica infinito/finito. Una dualidad sin sentido ya que un infinito que excluye un finito se transforma en algo con limitaciones... ". Este Absoluto {A}, es lo que yo denoto Universo de Discurso {U} y está formado por el conjunto infinito {∞}, el cual, contiene el vacío Ø entre sus elementos. Un Universo de Discurso {U} cuyo objetivo principal es la reconciliación de lo determinista e indeterminista y así alcanzar un concepto de obra tecnológica más elevada y sin limitaciones como muestro a lo largo de la tesis doctoral, mediante numerosas producciones. Concluyendo, vivimos en la era postdigital y eso significa que el arte tecnológico, es decir, aquel que comprende: sistemas reactivos o interactivos, experiencias inmersivas, audiovisuales, sonoras, performativas, etc. se postula como el medio más adecuado a la hora de representar y reflejar el objeto sublime e inmaterial, es decir, su experiencia directa. Esta hipótesis, que suena categórica, es lo que he demostrado a lo largo de esta tesis doctoral mediante un modelo de art research compuesto de tres estrategias metodológicas: investigación de biblioteca/teórica, realización y producción. Este método/praxis que se retro-alimenta, me ha llevado a generar tanto obra plástica como tecnológica y a su vez un discurso que fomenta y defiende la creación libre mediante el uso de patent-free, software libre y código abierto. Donde herramientas matemáticas como la teoría de conjuntos, han resultado fundamentales para armar la estructura conceptual de este cuerpo de conocimiento. Gracias a todo este desarrollo práctico y teórico, mi percepción y comprensión de lo sublime ha mutado y se ha reconfigurado tanto teórica como conceptualmente. Un resultado latente en las diferentes prácticas a lo largo del doctorado y los posteriores análisis. Donde he logrado trascender el objeto plástico hacia una creación esencialmente etérea. Esto supone un auténtico renacer del pensamiento y la práctica Renacentista, donde el ser humano deja de ser el centro del Universo, el ego se diluye y a su vez la complejidad, el caos y los sistemas emergentes resultan ser el campo de exploración o Terra Incógnita donde lo sublime reside en este joven siglo XXI. Y cuyo medio de expresión por excelencia es la instalación multisensorial.
This thesis is based on praxis, production and the art research model. It´s key focus is the exploration and research of the sublime and immaterial via the technological medium, which in my opinion is the most appropriate format to represent this aesthetic category in the postdigital era. What I am proposing, apart from implying a practical challenge, is that technology and its range of tools such as: open source, reactive or interactive systems, immersive experiences, audiovisual, sound, performative... Are the most adecuate in order to bring the spectator to a direct experiential representation of what I denote the sublime and immaterial object. This PhD adopts the model of synthesis postulated by G.W.F Hegel; the German thinker reconciles the infinite/finite classic dichotomy by introducing a philosophically higher concept in his Phenomenology of the Spirit, known as the Absolute {A}: "That which is real and that reconciles the disconnected and inaccessible reality, that is, the union of all dimensions of the real, including the classical infinite/finite dichotomy. A meaningless duality since an infinite that excludes a finite is transformed into something with limitations... ". This Absolute {A}, is what I denote the Universe of Discourse {U} and is formed by the infinite set {∞}, which contains the void Ø amongst its elements. A Universe of Discourse {U} whose main objective is the reconciliation of the determinist and indeterminist views in order to achieve a concept of the technological work of art which is higher and without limitations, as proved throughout the numerous art praxis and productions in this thesis. We live in the postdigital era where the work of technological art, which includes: reactive or interactive systems, immersive experiences, audiovisual/sound/performative installations, etc... Are the most appropriate in order to represent the experiences of the sublime and immaterial objects. This hypothesis, which sounds categorical, is demonstrated throughout this PhD via an art research model formed by three methodological strategies: theoretical research, praxis and production. This method of praxis feedbacks on my production, hence leading to the creation of both plastic and technological ouvre. And in turn fosters and defends a discourse which orbits around free creation through the use of: patent-free, free software and open source languages; where mathematical tools such as set theory have been key instrumental in building the conceptual structure of this body of knowledge. As a result of these practical and theoretical developments as well as critical evaluations/analysis, my perception and understanding of the sublime has mutated and reconfigured itself both theoretically and conceptually. Resulting in the transcendence of the plastic object towards an essentially ethereal creation. This event heralds the rebirth of Renaissance thinking and practices, where the human being ceases to be in the center of the Universe, the ego is diluted and in turn complexity, chaos and emerging systems become the field of exploration and research -Terra Incognita- where the sublime resides in this early XXI century. At a time when the medium of multisensory installation becomes the ultimate expression of the sublime in art, science and technology practices.
This thesis is based on praxis, production and the art research model. It´s key focus is the exploration and research of the sublime and immaterial via the technological medium, which in my opinion is the most appropriate format to represent this aesthetic category in the postdigital era. What I am proposing, apart from implying a practical challenge, is that technology and its range of tools such as: open source, reactive or interactive systems, immersive experiences, audiovisual, sound, performative... Are the most adecuate in order to bring the spectator to a direct experiential representation of what I denote the sublime and immaterial object. This PhD adopts the model of synthesis postulated by G.W.F Hegel; the German thinker reconciles the infinite/finite classic dichotomy by introducing a philosophically higher concept in his Phenomenology of the Spirit, known as the Absolute {A}: "That which is real and that reconciles the disconnected and inaccessible reality, that is, the union of all dimensions of the real, including the classical infinite/finite dichotomy. A meaningless duality since an infinite that excludes a finite is transformed into something with limitations... ". This Absolute {A}, is what I denote the Universe of Discourse {U} and is formed by the infinite set {∞}, which contains the void Ø amongst its elements. A Universe of Discourse {U} whose main objective is the reconciliation of the determinist and indeterminist views in order to achieve a concept of the technological work of art which is higher and without limitations, as proved throughout the numerous art praxis and productions in this thesis. We live in the postdigital era where the work of technological art, which includes: reactive or interactive systems, immersive experiences, audiovisual/sound/performative installations, etc... Are the most appropriate in order to represent the experiences of the sublime and immaterial objects. This hypothesis, which sounds categorical, is demonstrated throughout this PhD via an art research model formed by three methodological strategies: theoretical research, praxis and production. This method of praxis feedbacks on my production, hence leading to the creation of both plastic and technological ouvre. And in turn fosters and defends a discourse which orbits around free creation through the use of: patent-free, free software and open source languages; where mathematical tools such as set theory have been key instrumental in building the conceptual structure of this body of knowledge. As a result of these practical and theoretical developments as well as critical evaluations/analysis, my perception and understanding of the sublime has mutated and reconfigured itself both theoretically and conceptually. Resulting in the transcendence of the plastic object towards an essentially ethereal creation. This event heralds the rebirth of Renaissance thinking and practices, where the human being ceases to be in the center of the Universe, the ego is diluted and in turn complexity, chaos and emerging systems become the field of exploration and research -Terra Incognita- where the sublime resides in this early XXI century. At a time when the medium of multisensory installation becomes the ultimate expression of the sublime in art, science and technology practices.
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 8 de junio de 2017; presidente, Josu Larrañaga Altuna.