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Abstract(s)
A presente dissertação de doutoramento propõe-se a analisar criticamente a noção de obra de arte participativa, traduzida pela designação de obra “faça-você- -mesmo”, que apela à participação ativa e ao agenciamento do público que se tornam parte integrante do processo criativo engendrado pela obra. A nossa reflexão sobre a obra “faça-você-mesmo” insere-se no contexto da “cultura da participação” e da expansão dos media sociais e tem como principal objeto de estudo a obra participativa nas artes digitais. Esta tese postula uma análise das práticas participativas nas artes digitais à luz de uma genealogia artística e crítica que atravessa o século XX e é marcada pela experimentação com a ativação do público e a abertura da obra, traduzindo-se numa instabilização de limites entre arte, quotidiano e sociedade. A nossa abordagem metodológica enraíza-se numa tradição de pensamento crítico e interdisciplinar próprio das humanidades sendo que recorremos à articulação entre teoria crítica e análise de casos concretos. Assim, de modo a compreender a experiência do público com a obra participativa, elaborámos um conjunto de conceitos que nos permitem conceber uma estética da participação nas artes digitais. Paralelamente, de forma a conhecermos o universo temático das práticas participativas nas artes digitais, criámos uma proposta de três linhas temáticas no âmbito das quais analisámos múltiplas obras concretas, colocando-as em relação com os seus contextos sociais, culturais e políticos. As obras “faça-você-mesmo”, descritas nesta dissertação, tendem a situar-se numa posição intermédia entre os dois extremos das práticas artísticas autónomas “auto- -reflexivas” e dos projetos artísticos comunitários, que visam facilitar discussões e sugerir soluções para problemas concretos. Algumas das obras participativas discutidas neste estudo possuem caraterísticas em comum com a atitude “faça-você-mesmo” preconizada por determinadas formas de ativismo político, nomeadamente, a organização não-hierárquica, a autonomia e a participação direta dos voluntários. Ao convocar a participação do público, a obra “faça-você-mesmo” constitui-se como um projeto dialógico de experimentação criativa que se pode articular com uma dimensão política. Porém, este estudo salienta que a obra de arte participativa deve ser vista à luz de uma tensão entre disrupção e incorporação, liberdade e controlo que carateriza a dinâmica das redes digitais e do capitalismo contemporâneo. A presente dissertação propõe de modo fundamentado três linhas de investigação futura. Primeiramente, a exploração do campo das práticas curatoriais e museológicas em ambientes participativos. Seguidamente, a análise do modo como o campo da arte contemporânea e a condição do artista vão evoluir sob a influência do acesso generalizado aos meios de produção e distribuição artística nomeadamente através da World Wide Web. Por fim, o estudo dos novos regimes de interação e expressividade das imagens nas redes digitais.
ABSTRACT: This PhD thesis proposes a critical analysis of the notion of participatory artwork, translated in the designation of “do-it-yourself” work, which calls for the active participation and the agency of the public that become an integral part of the creative process engendered by the work. Our reflection on the “do-it-yourself” work falls within the context of the “culture of participation” and the expansion of social media and has as its main object of study the participatory work in digital arts. This thesis posits an analysis of participatory practices in digital arts in the light of an artistic and critical genealogy that runs through the twentieth century and is marked by experimentation with the activation of the public and the opening of the work, resulting in an unstableness of boundaries between art, everyday life and society. Our methodological approach is grounded in a tradition of critical and interdisciplinary thinking in the humanities, being that we recurred to the articulation between critical theory and analysis of actual cases. Thus, in order to understand the experience of the audience with the participatory work, we developed a set of concepts that allow us to conceive an aesthetic of the participation in the digital arts. At the same time, in order to know the thematic universe of participatory practices in digital arts, we have created a proposal of three thematic areas within which we examined multiple concrete works, placing them in relation to their social, cultural and political contexts. The “do-it-yourself” works, described in this thesis, tend to be in an intermediate position between the two extremes of the autonomous artistic “self-reflexive” practices and community art projects aimed at facilitating discussions and suggest solutions to concrete problems. Some of the participatory works discussed in this study have features in common with the “do-it-yourself” attitude advocated by certain forms of political activism, namely non-hierarchical organization, autonomy and direct participation of volunteers. In calling for public participation, the “do-it-yourself” work constitutes itself as a dialogical project of creative experimentation that can be articulated with a political dimension. However, this study emphasizes that the participatory artwork must be seen in light of a tension between disruption and incorporation, freedom and control, that characterizes the dynamics of digital networks and contemporary capitalism. This dissertation proposes three grounded lines of future research. First, the exploration of the field of curatorial and museum practices in participatory environments. Next, the analysis of how the field of contemporary art and the condition of the artist will evolve under the influence of widespread access to means of artistic production and distribution, namely through the World Wide Web. Finally, the study of new patterns of interaction and expressiveness of images in digital networks.
ABSTRACT: This PhD thesis proposes a critical analysis of the notion of participatory artwork, translated in the designation of “do-it-yourself” work, which calls for the active participation and the agency of the public that become an integral part of the creative process engendered by the work. Our reflection on the “do-it-yourself” work falls within the context of the “culture of participation” and the expansion of social media and has as its main object of study the participatory work in digital arts. This thesis posits an analysis of participatory practices in digital arts in the light of an artistic and critical genealogy that runs through the twentieth century and is marked by experimentation with the activation of the public and the opening of the work, resulting in an unstableness of boundaries between art, everyday life and society. Our methodological approach is grounded in a tradition of critical and interdisciplinary thinking in the humanities, being that we recurred to the articulation between critical theory and analysis of actual cases. Thus, in order to understand the experience of the audience with the participatory work, we developed a set of concepts that allow us to conceive an aesthetic of the participation in the digital arts. At the same time, in order to know the thematic universe of participatory practices in digital arts, we have created a proposal of three thematic areas within which we examined multiple concrete works, placing them in relation to their social, cultural and political contexts. The “do-it-yourself” works, described in this thesis, tend to be in an intermediate position between the two extremes of the autonomous artistic “self-reflexive” practices and community art projects aimed at facilitating discussions and suggest solutions to concrete problems. Some of the participatory works discussed in this study have features in common with the “do-it-yourself” attitude advocated by certain forms of political activism, namely non-hierarchical organization, autonomy and direct participation of volunteers. In calling for public participation, the “do-it-yourself” work constitutes itself as a dialogical project of creative experimentation that can be articulated with a political dimension. However, this study emphasizes that the participatory artwork must be seen in light of a tension between disruption and incorporation, freedom and control, that characterizes the dynamics of digital networks and contemporary capitalism. This dissertation proposes three grounded lines of future research. First, the exploration of the field of curatorial and museum practices in participatory environments. Next, the analysis of how the field of contemporary art and the condition of the artist will evolve under the influence of widespread access to means of artistic production and distribution, namely through the World Wide Web. Finally, the study of new patterns of interaction and expressiveness of images in digital networks.
Description
Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutoramento em Doutoramento em Ciências da Comunicação: Comunicação e Artes
Keywords
Obra de arte participativa Obra “faça-você-mesmo” Arte digital Arte contemporânea Estética da participação Cultura de participação Media digitais Media sociais Participatory artwork Do-it-yourself - work Digital arts Contemporary art Aesthetics of participation Culture of participation Digital media Social media
Citation
Carvalho, Margarida Ribeiro Ferreira de - A obra “Faça-você-mesmo”: estética da participação nas artes digitais. Lisboa: Universidade Nova, Faculdade de Ciências Sociais e Humanas, 2014. Tese de Doutoramento.
Publisher
Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa