Suchergebnisse

The lecture is about movement in contemporary art as well as the political effects and senses of art of action and performance. The text develops from the analysis of different cases, and mainly from two posters made by the Stenberg brothers for the film The Man with the Movie Camera and from a sequence from this film by Dziga Vertov. It is concluded that these works propose equivalence between the functional movement of machines and the automatism of acrobats or comedians. This equivalence is linked to Schiller's game theory. Finally the author will establish the differences between the critical and active treatment of movement in arts and the way the European dictatorships from the twentieth century proposed the passive contemplation of a show in which the mass movement is presented as live performance of a becoming community. ; La conferencia trata del movimiento en el arte contemporáneo y de los sentidos y efectos políticos del arte de la acción y la actuación. El texto se desarrolla a partir del análisis de diversos casos y fundamentalmente de dos carteles de los hermanos Stenberg para El hombre de la cámara y de una secuencia de esta película de Dziga Vertov. Se concluye que estas obras proponen una equivalencia entre el movimiento funcional de las máquinas y el automatismo de los acróbatas o de los cómicos, equivalencia que se vincula con la teoría del juego de Schiller. Finalmente se establecen las diferencias entre el tratamiento activo y crítico del movimiento en las artes y el modo en que las dictaduras europeas del s. XX propusieron la contemplación pasiva de un espectáculo en que el movimiento de la masa se presenta como actuación viva de una comunidad por venir.

This essay aims to analyze Brazilian manifestations of urban street art, seeking to identify the identity traits of artists, and the structures in which they are inserted in this context. The expansion of approaches and insertion spaces is a central theme of analysis here. Through art-action (political sphere of representation, negotiation and interlocution), public space is defined as the terrain of conflict and grammar by which disputes and antagonisms gain visibility, insofar as it establishes in social relations the terrain of the prerogative of word and that allows alternative repertoires of description of the world. ; This essay aims to analyze manifestations of urban street art in Brazil. It seeks to identify aspects that unify the artists and the structures in which they operate. The expansion of stylistic approaches and new areas of insertion/intervention is central to the analysis. Through art-action (defined as a politics of representation, negotiation and dialogue), the public space becomes a terrain of conflict where antagonisms can gain a crucial visibility. In this way, art-action mediates our social relations, transforms our prerogatives and allows for the emergence of alternative repertoires and world-views. ; O presente ensaio visa analisar manifestações brasileiras de arte de rua urbana, procurando identificar os traços identitários dos artistas, e as estruturas em que se inserem nesse contexto. A expansão das abordagens e dos espaços de inserção é um tema central aqui de análise. Através da art-action (esfera política de representação, negociação e interlocução), o espaço público define-se como terreno do conflito e da gramática pelos quais disputas e antagonismos ganham visibilidade, na medida em que estabelece nas relações sociais o terreno da prerrogativa da palavra e que permite repertórios alternativos de descrição do mundo.

Through its embrace of the "cultural turn" and the "practice turn" in cultural sociology, recent work in the subfield of arts sociology has helped to advance our understanding of the role of culture in social life through its focus on arts-in-action. Empirically, this focus grew out of earlier work in the production and consumption of the arts, while, theoretically, it resonates with traditions within ethnomethodology, cognitive sociology, and the sociology of science and technology. The authors describe how new work in arts sociology unearths and develops our understanding of aesthetic consciousness, the tacit and often embodied bases of action, cognition, and engagement with cultural forms. This recent emphasis on materials and actions in turn permits critique of rule-based and more overtly cognitive models of agency structure. It also leads some of its proponents into areas that would not normally be viewed as topics for the field.

Through its embrace of the 'cultural turn' and the 'practice turn' in cultural sociology, recent work in the subfield of arts sociology has helped to advance our understanding of the role of culture in social life through its focus on arts-in-action. Empirically, this focus grew out of earlier work in the production and consumption of the arts, while, theoretically, it resonates with traditions within ethnomethodology, cognitive sociology, and the sociology of science and technology. The authors describe how new work in arts sociology unearths and develops our understanding of aesthetic consciousness, the tacit and often embodied bases of action, cognition, and engagement with cultural forms. This recent emphasis on materials and actions in turn permits critique of rule-based and more overtly cognitive models of agency structure. It also leads some of its proponents into areas that would not normally be viewed as topics for the field. [Reprinted by permission of Sage Publications Inc., copyright 2008 The American Academy of Political and Social Science.]

This paper discusses transformative research conducted from 2016 to 2021 that aimed to establish an alternative art practitioner paradigm: Art in Action Research (AiAR). This paradigm seeks to guide methodology creation for working on and through art in socio-cultural settings while considering the global turn. The 2021 study configures four baseline discourses (BD) that are needed to perform the global turn: The first BD concerns the diversity of art and the consequences of acknowledging that all art is related to traditions and histories (thus accepting the glocal rootings of art and thus the need to integrate diverse art notions). The second BD constructs an ideal-type model of canonization. The third BD addresses artistic research as a supranational, worldwide phenomenon and shows that increased awareness of the glocal rootings of art is essential for further developing artistic research. The fourth BD discusses the literature on practitioner research across disciplines. Finally, the study derives the principles for AiAR from the four BDs and further substantiates these principles. The study performs the global turn. It introduces an alternative paradigm, AiAR, which excludes limiting, paradigmatic assumptions about art from its research base, and issues a call to elicit project-relevant understandings of art. AiAR enables creating a methodology that serves reality-oriented, setting-specific, and people-centered art practitioner research aimed at co-creating livable futures.

Résumé L'action culturelle publique a progressivement fait droit à des conceptions divergentes de l'art et de la culture, l'une étant universaliste et reliant l'innovation à la démocratisation, l'autre étant différentialiste et relativiste et accréditant la pluralité non hiérarchisable des formes artistiques. Qu'advient-il de ces divergences dans l'action culturelle publique et dans la politisation de la sphère artistique ? L'une des apories principales de la politique culturelle publique concerne l'écart entre l'artiste novateur et la collectivité, tel qu'il peut être vu depuis les deux versants de la demande (fonction de démocratisation) et de l'offre (fonction de soutien à la création). Cet écart a fait l'objet soit d'une défense aristocratisante et pessimiste (la modernité baudelairienne), soit d'une rationalisation politico-esthétique (le principe d'avant-garde), mais pose dans les deux cas la question de la divergence entre dynamique de création et dynamique de consommation. Cet écart met en évidence l'un des paradoxes constants de l'identification de l'innovation avec l'émancipation socialement et politiquement progressiste : ce sont les classes supérieures qui fournissent les soutiens les plus constants à l'audace artistique, alors même que le mouvement en art a pour socle idéologique et politique l'opposition à la domination bourgeoise. La dualité de la valeur d'originalité en art - héroïsme aristocratique du novateur frondeur ou individualisme démocratique de l'artiste expressif - désigne deux postulations divergentes de la politisation de l'art, qui forment deux réponses aujourd'hui superposées à ce paradoxe.

The role of games in human social configuration has been widely researched: since the 1930s by Johan Huizinga and, later by Roger Callois in the 1950s and other authors till our days. As soon as computer science became a regular and useful tool for human endeavour, videogames appeared, playful devices created and mediated by digital technology. Ever since a group of MIT students created Spacewar in 1962, electronic gaming has been responsible for a development that has expanded in forms, technologies and purposes. Socially, videogames constitute a popular product which is used on a massive scale and a strong industry in continuous development. In addition, there is a great diversity of genres and platforms for serious games: from educational ones and those aimed at taking care of our health or our cognitive capacity, to strategy games which purpose is to train combat personnel or to improve productivity. In this article we will focus on the discursive and operative capabilities that net art pioneers saw in videogames, and how those operate in the art world and in social activism. We will analyse what are the traits that establish them in this scope of action, and some strategies they utilise. ; El papel del juego en la configuración social humana ha sido ampliamente estudiado: desde los años 30 del s.XX por Johan Huizinga y, posteriormente por Roger Callois en los años 50, hasta la actualidad. Cuando la informática deviene un instrumento útil y habitual en el quehacer humano, aparecen los videojuegos, aparatos lúdicos creados y mediados por tecnología digital. Desde que unos estudiantes del MIT crearan Spacewar en 1962, el juego electrónico ha protagonizado un desarrollo expandido en formas, tecnologías y objetivos. Socialmente, los videojuegos constituyen un producto popular, de uso masivo y cuentan con una fuerte industria en continuo desarrollo. Además, existe una amplia diversidad de géneros y plataformas para los juegos electrónicos serios o formativos (serious games): desde los pedagógicos y los que nos ayudan a cuidar nuestra salud o la capacidad cognitiva, hasta juegos de estrategia cuya finalidad es formar personal de combate o mejorar la productividad. En este artículo nos centraremos en la capacidad discursiva y operativa que los pioneros del net art vieron en los videojuegos, y en cómo éstos operan en el ámbito artístico y en el activismo social. Analizaremos cuáles son las características que lo sitúan en este ámbito de actuación, y algunas de las estrategias que utilizan. En la actualidad contamos con una amplia diversidad de géneros y plataformas para los juegos electrónicos, desde los pedagógicos y los que nos ayudan a cuidar nuestra salud o la capacidad cognitiva, hasta juegos de estrategia cuya finalidad es formar personal de combate o mejorar la productividad. Socialmente, los videojuegos constituyen un producto popular, de uso masivo y una fuerte industria en continuo desarrollo. En este artículo nos centraremos en la capacidad discursiva y operativa que los pioneros del net art vieron en los videojuegos, y en cómo éstos operan en el ámbito artístico y en el activismo social. Analizaremos cuáles son las características que lo sitúan en este ámbito de actuación, de qué estrategias se valen y hasta dónde alcanza su efectividad.

Abstract. The art sometimes includes in his creative process testimonies physical, sexual, personal and subjective / subjectifying of the artist, but also of the social subjects who oppose with their bodies at the social and cultural constructs imposed by biopower(s) hegemonic(s). This thesis presents an art bio-critic able to recognize the potential aesthetic and artistic testimonies and experiences abjects of the body as it integrates its plastic material bio criticism art. It aims to propose a theory and a method of deconstruction aesthetic to observe and make observable the aesthetic potential of corporality's and sexualities subjectivists considered "abjects" by the biopower as aesthetic and political action biocritics. To do this, the present work has highlighted the potential aesthetic autoeroticism / masturbation and orgasm / sexual pleasure, as actions biocritics conducted under "Work multiorgasmic collective." ; Résumé. L'art intègre parfois dans ses processus créatifs les témoignages corporels, sexuels, personnels et subjectifs/subjectivants de l'artiste, mais aussi de sujets sociaux qui s'opposent aux constructions sociales et culturelles imposées par le(s) biopouvoir(s) hégémonique(s). Cette thèse présente un art biocritique capable de reconnaître la potentialité esthétique et artistique des témoignages et des vécus qu'il intègre en tant que matériel plastique à sa biocritique artistique. Elle a pour objectif de proposer une théorie et une méthode de déconstruction esthétique permettant d'observer et de rendre observable les potentialités esthétiques des corporalités et sexualités subjectivantes considérées comme " abjectes " par le biopouvoir en tant qu'actions biocritiques esthético-politiques. Pour ce faire, le présent travail a mis en valeur la potentialité esthétique de l'autoérotisme et de l'orgasme, en tant qu'actions biocritiques menées dans le cadre de " l'Œuvre multiorgasmique collective ".