Cyborg art
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://hdl.handle.net/10451/37533 |
Resumo: | The present dissertation aims to reflect on the effects of social networks in contemporary art, more precisely the experience of an artistic object through the camera / screen filter. To understand this phenomenon, caused by the arrival of the most outstanding technology of the 21th century – the internet - this text begins with a study on the state of contemporaneity, according to four terms that define it, the acceleration, the post-human, the post-truth, and the anthropocene, which were once applied to the mechanical age, gain now a new power over the digital age. Followed by an accompaniment of the history of art within the space of time from 1950 to 2000, studying the terms copy and multiple (Marcel Duchamp), dystopia (Nam June Paik), individualization of the spectator (James Turrell), and the acceptance of new platforms (Petra Cortright). After this contextualization is established the reflection on the human being after the "last man" (Nietzsche, 2015, p.32), as cyborg, based on its dependence on the machine. Highlighting the cyborg's relationship to screen objects, and their addictedness on them, as well as the consequences on the way they view the image, after being exposed to thousands of copies daily. Regarding the artistic level, it is necessary to revolutionize the terms by which contemporary art is characterized in order to understand cyborg art, through the text of Hito Steyerl "A Poor Image" that analyzes the themes proposed by Benjamin, comparing the imagistic crisis of the mechanical era of post-photography and the post-internet digital era. This is followed by an analysis of some contemporary artists and works relevant to these themes, such as Camile Henrot, Hennessy Yougman, Jon Rafman, Mariana Silva, MoMAR, Mumtazz, Pedro Barateiro and Tobias Rehberger. Finally, it closes with the accompaniment of the artistic work that emerged the realization of this dissertation, titled "The Hive" |
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Cyborg artuma Reflexão Sobre o Impacto Das Redes Sociais na Arte ContemporâneaCiberarteInternetRedes sociaisArte MultimédiaAudiovisuaisThe present dissertation aims to reflect on the effects of social networks in contemporary art, more precisely the experience of an artistic object through the camera / screen filter. To understand this phenomenon, caused by the arrival of the most outstanding technology of the 21th century – the internet - this text begins with a study on the state of contemporaneity, according to four terms that define it, the acceleration, the post-human, the post-truth, and the anthropocene, which were once applied to the mechanical age, gain now a new power over the digital age. Followed by an accompaniment of the history of art within the space of time from 1950 to 2000, studying the terms copy and multiple (Marcel Duchamp), dystopia (Nam June Paik), individualization of the spectator (James Turrell), and the acceptance of new platforms (Petra Cortright). After this contextualization is established the reflection on the human being after the "last man" (Nietzsche, 2015, p.32), as cyborg, based on its dependence on the machine. Highlighting the cyborg's relationship to screen objects, and their addictedness on them, as well as the consequences on the way they view the image, after being exposed to thousands of copies daily. Regarding the artistic level, it is necessary to revolutionize the terms by which contemporary art is characterized in order to understand cyborg art, through the text of Hito Steyerl "A Poor Image" that analyzes the themes proposed by Benjamin, comparing the imagistic crisis of the mechanical era of post-photography and the post-internet digital era. This is followed by an analysis of some contemporary artists and works relevant to these themes, such as Camile Henrot, Hennessy Yougman, Jon Rafman, Mariana Silva, MoMAR, Mumtazz, Pedro Barateiro and Tobias Rehberger. Finally, it closes with the accompaniment of the artistic work that emerged the realization of this dissertation, titled "The Hive"Queiroz, João Paulo, 1966-Repositório da Universidade de LisboaPinto, Francisco José Sêco2019-03-14T19:01:03Z2019-03-142019-03-142019-03-14T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisimage/jpegapplication/pdfhttp://hdl.handle.net/10451/37533TID:202191206porinfo:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2023-11-08T16:34:43Zoai:repositorio.ul.pt:10451/37533Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T21:51:32.376370Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Cyborg art uma Reflexão Sobre o Impacto Das Redes Sociais na Arte Contemporânea |
title |
Cyborg art |
spellingShingle |
Cyborg art Pinto, Francisco José Sêco Ciberarte Internet Redes sociais Arte Multimédia Audiovisuais |
title_short |
Cyborg art |
title_full |
Cyborg art |
title_fullStr |
Cyborg art |
title_full_unstemmed |
Cyborg art |
title_sort |
Cyborg art |
author |
Pinto, Francisco José Sêco |
author_facet |
Pinto, Francisco José Sêco |
author_role |
author |
dc.contributor.none.fl_str_mv |
Queiroz, João Paulo, 1966- Repositório da Universidade de Lisboa |
dc.contributor.author.fl_str_mv |
Pinto, Francisco José Sêco |
dc.subject.por.fl_str_mv |
Ciberarte Internet Redes sociais Arte Multimédia Audiovisuais |
topic |
Ciberarte Internet Redes sociais Arte Multimédia Audiovisuais |
description |
The present dissertation aims to reflect on the effects of social networks in contemporary art, more precisely the experience of an artistic object through the camera / screen filter. To understand this phenomenon, caused by the arrival of the most outstanding technology of the 21th century – the internet - this text begins with a study on the state of contemporaneity, according to four terms that define it, the acceleration, the post-human, the post-truth, and the anthropocene, which were once applied to the mechanical age, gain now a new power over the digital age. Followed by an accompaniment of the history of art within the space of time from 1950 to 2000, studying the terms copy and multiple (Marcel Duchamp), dystopia (Nam June Paik), individualization of the spectator (James Turrell), and the acceptance of new platforms (Petra Cortright). After this contextualization is established the reflection on the human being after the "last man" (Nietzsche, 2015, p.32), as cyborg, based on its dependence on the machine. Highlighting the cyborg's relationship to screen objects, and their addictedness on them, as well as the consequences on the way they view the image, after being exposed to thousands of copies daily. Regarding the artistic level, it is necessary to revolutionize the terms by which contemporary art is characterized in order to understand cyborg art, through the text of Hito Steyerl "A Poor Image" that analyzes the themes proposed by Benjamin, comparing the imagistic crisis of the mechanical era of post-photography and the post-internet digital era. This is followed by an analysis of some contemporary artists and works relevant to these themes, such as Camile Henrot, Hennessy Yougman, Jon Rafman, Mariana Silva, MoMAR, Mumtazz, Pedro Barateiro and Tobias Rehberger. Finally, it closes with the accompaniment of the artistic work that emerged the realization of this dissertation, titled "The Hive" |
publishDate |
2019 |
dc.date.none.fl_str_mv |
2019-03-14T19:01:03Z 2019-03-14 2019-03-14 2019-03-14T00:00:00Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/10451/37533 TID:202191206 |
url |
http://hdl.handle.net/10451/37533 |
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TID:202191206 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
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openAccess |
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image/jpeg application/pdf |
dc.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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