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Imagética contemporânea e pós-imagem : a marca do software e o uso de ferramentas borderline no caso uturn
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Advisor(s)
Abstract(s)
Esta investigação debruça-se sobre a imagética contemporânea. O
processo mediador das imagens em meio computacional tem sido analisado
à luz da convergência cultural dos media, algo que cada vez mais
associamos a termos como multidisciplinaridade e hibridização. Abordo,
nesta investigação, algumas características que inserem a componente
computacional no seio da imagem: aglutinação e justaposição com outros
media, inteligência artificial e parceria homem-máquina na produção e/ou
fruição (Prossumers/Gatekeepers). Classifico como pós-imagens os objetos
digitais que simulam a superfície original da fotografia, mas são constituídos
por zeros e uns — a camada realizada pelo software, cujo papel
como medium altera a sua materialidade. Enquadro os atos imagéticos,
os aspectos de condução e geração destas pós-imagens, as alterações
que têm percorrido, o nexo evolutivo, bem como algumas das suas características.
O modelo metodológico seguiu caminhos levantados em processos
de investigação definidos por Schön, Routio, Irwin e Marcos,
Branco e Zagalo. Através dele, observamos a investigação, concepção,
processo criativo e desenvolvimento de uma instalação (“uTurn”). A pesquisa
incluiu a exploração de ferramentas “borderline” (Quartz Composer,
QR Code, Videomapping, Social hacking, voto digital), formadas a partir
de uma ideia de Irwin (2012), bem como a programação de software para
solucionar problemas encontrados. A exploração artística desta ideia foi
orientada para a experimentação de variados media, usando o software
como condutor, de modo a dar abrigo à recolha interdisciplinar, à divulgação
e debate do tema, ao alargar de parcerias com outros artistas, culminando
na produção de uma instalação de Média-Arte interativa colaborativa
“in situ” no congresso de artes digitais Artech 2015 (Óbidos, Portugal).
This research focuses on contemporary imagery. The mediation process of images has been associated with cultural convergence, increasingly tied to concepts such as “multidisciplinarity” and “hybridization”. In this research, I address the existence of the computational component within the concept of images: agglutination and juxtaposition with other media, artificial intelligence and man-machine partnership in production and/or fruition (Prossumers/Gatekeepers). I classify as Post-images the digital objects that simulate the original surface of the image, but are really formed by zeros and ones — a layer established by software, whose role as medium changes the materiality of images. I start by framing the imagetic acts, aspects of generation and traffic of these post-images, the changes that they have gone through, the evolutionary nexus, as well as some of its characteristics. The methodological model followed paths raised in research processes defined by Marcos, Branco and Zagalo, Schön, Routio and Irwin. Through it, we observe the investigation, design, creative process and development of an instalation ("uTurn"). The research included the exploration of “borderline tools“ (Quartz Composer, QR Code, Videomapping, Social hacking, digital vote), following Irwin’s theoretical model (2012), as well as software programming to address the found questions. The artistic exploration of this idea was oriented to the experimentation of various media, using software as conductor, in order to house an interdisciplinary collection, to the diffusion and debate of the subject, extending partnerships to other artists, culminating in the production of a collaborative interactive Media-Art installation "in situ" at Artech 2015 Digital Arts Congress (Óbidos, Portugal).
This research focuses on contemporary imagery. The mediation process of images has been associated with cultural convergence, increasingly tied to concepts such as “multidisciplinarity” and “hybridization”. In this research, I address the existence of the computational component within the concept of images: agglutination and juxtaposition with other media, artificial intelligence and man-machine partnership in production and/or fruition (Prossumers/Gatekeepers). I classify as Post-images the digital objects that simulate the original surface of the image, but are really formed by zeros and ones — a layer established by software, whose role as medium changes the materiality of images. I start by framing the imagetic acts, aspects of generation and traffic of these post-images, the changes that they have gone through, the evolutionary nexus, as well as some of its characteristics. The methodological model followed paths raised in research processes defined by Marcos, Branco and Zagalo, Schön, Routio and Irwin. Through it, we observe the investigation, design, creative process and development of an instalation ("uTurn"). The research included the exploration of “borderline tools“ (Quartz Composer, QR Code, Videomapping, Social hacking, digital vote), following Irwin’s theoretical model (2012), as well as software programming to address the found questions. The artistic exploration of this idea was oriented to the experimentation of various media, using software as conductor, in order to house an interdisciplinary collection, to the diffusion and debate of the subject, extending partnerships to other artists, culminating in the production of a collaborative interactive Media-Art installation "in situ" at Artech 2015 Digital Arts Congress (Óbidos, Portugal).
Description
Keywords
Imagética Imagem Software Pós-imagem Instalações Média-arte digital Post-image Quartz Composer Videomapping Media arts Artech
Citation
Pinheiro, José Alberto Raposo - Imagética contemporânea e pós-imagem [Em linha]: a marca do software e o uso de ferramentas borderline no caso uturn. [S.l.]: [s.n.], 2018. 233 p.