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Publication
A moda na era pós-digital
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Abstract(s)
O fenómeno moda surgiu intimamente ligado à modernidade, à cultura das massas, ao cinema.
A moda abraçou a evolução tecnológica da era digital e difundiu-se pela multiplicidade de ecrãs.
Com o capitalismo estético, enunciado por Gilles Lipovetsky, a moda hibridizou-se com outras
áreas artísticas e de consumo. A lógica de produção de moda, assente nos conceitos do novo, do
efémero e da sedução, apoderou-se e remodelou outros campos da sociedade contemporânea.
O surgimento de artefactos de moda no panorama da arte contemporânea floresce com a estética
pós-digital, ou seja aquela que se propõe para lá do domínio ou mesmo da subjugação
ao digital. Estes artefactos questionam e obrigam a repensar a forma como a moda é exposta
em galerias/museus, o seu lugar enquanto objeto artístico e a interação entre este e o público.
São objetos de desejo que se transformam em agentes indutores de pensamento crítico.
A investigação tem como ponto de partida os artefactos de moda pós-digitais, sendo
nosso objetivo investigar a convergência da moda com a média-arte digital, numa
perspetiva pós-digital, enquanto forma de crítica social e de expressão patrimonial,
através da análise, interpretação e criação de artefactos/instalações. Com esta tese conseguimos
demonstrar que a moda tem vindo a “evoluir” do digital para o pós-digital, e
que neste último domínio acentuou as dimensões de criação de desejo e de consciência
crítica, assim como em alguns casos recuperou a dimensão de expressão patrimonial.
No decorrer desta tese foram criadas seis artefactos/instalações, publicados vários artigos em
fóruns científicos e apresentadas comunicações.
The fashion phenomenon was closely linked to modernity, the masses’ culture and the cinema. The Fashion embraced technological evolution of the digital era and spread out through the multiplicity of screens. With the aesthetic capitalism, enunciated by Gille Lipovetsky, the fashion hybridized with other artistic areas and of consumption. The logic of fashion production, based on the concepts of the new, ephemeral and of seduction, seized and remodelled other fields of contemporary society. The emergence of fashion artefacts in the contemporary art scene develops with post- digital aesthetics, proposes beyond the importance or even the influence to digital. These artefacts question and compel to rethink the way fashion is exposed in galleries/ museums, its place as an artistic object and the interaction between this and the public. They are objects of desire, which become critical thinking inducers. The research has as a starting point the post-digital fashion artefacts; it is our goal to investigate the convergence of fashion with Media-Art, in a post-digital perspective, as a way of social criticism and patrimonial expression, through the analysis, interpretation and creation of artefacts/ installations. With this thesis we have been able to demonstrate that fashion has been “evolving” from digital for the post-digital, and that in the latter domain fashion has been develop from digital to post-digital emphasized the dimensions of creation of desire and critical awareness, as in some cases it has regained the dimension of patrimonial expression. In the course of this thesis six artefacts/installations were created, published several articles in scientific publications and presented Communications.
The fashion phenomenon was closely linked to modernity, the masses’ culture and the cinema. The Fashion embraced technological evolution of the digital era and spread out through the multiplicity of screens. With the aesthetic capitalism, enunciated by Gille Lipovetsky, the fashion hybridized with other artistic areas and of consumption. The logic of fashion production, based on the concepts of the new, ephemeral and of seduction, seized and remodelled other fields of contemporary society. The emergence of fashion artefacts in the contemporary art scene develops with post- digital aesthetics, proposes beyond the importance or even the influence to digital. These artefacts question and compel to rethink the way fashion is exposed in galleries/ museums, its place as an artistic object and the interaction between this and the public. They are objects of desire, which become critical thinking inducers. The research has as a starting point the post-digital fashion artefacts; it is our goal to investigate the convergence of fashion with Media-Art, in a post-digital perspective, as a way of social criticism and patrimonial expression, through the analysis, interpretation and creation of artefacts/ installations. With this thesis we have been able to demonstrate that fashion has been “evolving” from digital for the post-digital, and that in the latter domain fashion has been develop from digital to post-digital emphasized the dimensions of creation of desire and critical awareness, as in some cases it has regained the dimension of patrimonial expression. In the course of this thesis six artefacts/installations were created, published several articles in scientific publications and presented Communications.
Description
Keywords
Moda Arte Média-arte digital Pós-digital Artefactos Estética Instalações Fashion Post-digital Media-art Digital aesthetics/computational
Citation
Pereira, Selma - A moda na era pós-digital [Em linha]. [S.l.]: [s.n.], 2017. 2 vol.