Birds are windy : experiência do corpo na construção do espaço quotidiano

• Autor(a) principal: Rodrigues, Miguel Novais Jasmins, 1978-
• Data de Publicação: 2018
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/39622
• topic: Hine, Lewis W., 1874-1940; Rodrigues, Miguel Novais Jasmins, 1978-; Ruscha, Edward, 1937-; Audiovisual; Fotografia; Instalação (Arte); Experiência imersiva; Corpo; Paisagem; Memória; Espaços; Lugares; Representação; Arte multimédia; Especialização em Audiovisuais

This dissertation refers to two problems in the visual representation of the landscape: the problem of reducing the multisensory stimulus to its visual representation, which leads to an isolation of the individual in relation to the representation and to a reduction of what can be represented in the space he is in, and the problem of the relation of an individual that is defined in the action of mapping with a culture of pre-existing maps. It supports the idea that landscape and linear perspective, in the way they have evolved together in the European culture, by giving rise to an image of the world on which they could operate experimentally, have also created a picture world, where experience and individual immersive and relational experience, hardly find representation. It stems from my practice with the medium of photography in the field of landscape, in particular urban landscape, and the growing frustration with the sense that the same medium that allows us to represent reality intervenes at the same time as a barrier to its experience, as a surface that imposes a separation between the subject who observes and the image placed before him, and invites us to a perception of the space of the landscape as something that is external to us and which, in this way, distances experience and experiential reflection , autobiographical, of the relation with space. For this purpose, the idea of window or screen is explored as an element that, at the same time, gives access to the representation of a reality out there, and confirms an insurmountable distance between that formal representation and the personal experience an individual has of it and the habits he repeats in its environment, and the routine that these habits constitute. In other words, between the formal experience of the representation of space and its personal, autobiographical experience. The practical work which the dissertation accompanies consists of an audiovisual installation composed of two videos, placed in front of one another so as to activate the presence of the spectator in the way he chooses and moves between the two videos and in the way he decides how long he watches each, and also in the way his attention shifts between the videos and his own presence in the room