Pub Date : 2024-04-17DOI: 10.7238/artnodes.v0i34.424477
Amador Vega
The Armenia Archive is the account of an unfinished inquiry. Centring on a reading of the Vita Coaetanea by the Majorcan philosopher, poet and mystic Ramon Llull (1232-1316), my aim in what follows is to perform a mode of thought at the crossroads between scientific treatise, autobiography, historical document and literary fiction. The archival model of The Armenia Archive refers to a compilation and a process of compiling in which historical, philosophical and poetic lines of inquiry cross one another in changing combinations. This article is the first instalment in a larger work in progress.
{"title":"The Armenia archive. A Ramon Llull project","authors":"Amador Vega","doi":"10.7238/artnodes.v0i34.424477","DOIUrl":"https://doi.org/10.7238/artnodes.v0i34.424477","url":null,"abstract":"The Armenia Archive is the account of an unfinished inquiry. Centring on a reading of the Vita Coaetanea by the Majorcan philosopher, poet and mystic Ramon Llull (1232-1316), my aim in what follows is to perform a mode of thought at the crossroads between scientific treatise, autobiography, historical document and literary fiction. The archival model of The Armenia Archive refers to a compilation and a process of compiling in which historical, philosophical and poetic lines of inquiry cross one another in changing combinations. This article is the first instalment in a larger work in progress.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140691661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-04DOI: 10.7238/artnodes.v0i34.422950
David Link
In September 2021, a novel, experimental exhibition took place at Crone Gallery in Vienna, Austria. The artworks shown here were all generated by a precursor of today’s Artificial Intelligence: the text generator Poetry Machine, which David Link has been actively developing since 2001. The article details the texts produced and shows some examples of the artworks in the exhibition. The article thereby practically demonstrates a new approach to curating exhibitions and organizing the workflow between curators, artists and machines.
{"title":"Carnival Carnivore","authors":"David Link","doi":"10.7238/artnodes.v0i34.422950","DOIUrl":"https://doi.org/10.7238/artnodes.v0i34.422950","url":null,"abstract":"In September 2021, a novel, experimental exhibition took place at Crone Gallery in Vienna, Austria. The artworks shown here were all generated by a precursor of today’s Artificial Intelligence: the text generator Poetry Machine, which David Link has been actively developing since 2001. The article details the texts produced and shows some examples of the artworks in the exhibition. The article thereby practically demonstrates a new approach to curating exhibitions and organizing the workflow between curators, artists and machines.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140744391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-15DOI: 10.7238/artnodes.v0i33.416009
Elena Martín-Serra, Fátima Gigirey, Luis Palma-Martos
Frente a la arcaica visión de entender las distintas disciplinas desde el aislamiento más radical, este estudio busca aproximarse a la película Viridiana (Buñuel 1961) utilizando herramientas propias de la ciencia económica, combinando el arte y la economía. Se pretende abordar la película desde un enfoque racional y lógico de las decisiones que en ella se toman para complementar los estudios ya existentes desde el campo audiovisual. La metodología de análisis sigue el modelo de sanción de Cournot-Nash, característico de la teoría de juegos, en el que se presenta el problema de decisión al que deben enfrentarse distintos participantes con los distintos criterios para tomar una decisión. Para ello, primero se plantea el pacto desde el enfoque de la teoría del consumidor y, a continuación, se procede a analizar el sentido que guarda el incumplimiento de este, materializado en la celebración del banquete que en la película acontece. También se completa el análisis añadiendo los papeles que la probabilidad y la curva de aprendizaje juegan en la toma de decisiones. Finalmente, se presentan los resultados de dicha decisión, concluyendo que las decisiones narrativas que acontecen en la película guardan sentido económico. Con ello, se ha contribuido al estudio económico del contenido de obras culturales, ampliando esta línea de investigación interdisciplinar para lograr un enfoque más integrador e interdisciplinar.
{"title":"Una aproximación a Viridiana (1961) desde el enfoque económico","authors":"Elena Martín-Serra, Fátima Gigirey, Luis Palma-Martos","doi":"10.7238/artnodes.v0i33.416009","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.416009","url":null,"abstract":"Frente a la arcaica visión de entender las distintas disciplinas desde el aislamiento más radical, este estudio busca aproximarse a la película Viridiana (Buñuel 1961) utilizando herramientas propias de la ciencia económica, combinando el arte y la economía. Se pretende abordar la película desde un enfoque racional y lógico de las decisiones que en ella se toman para complementar los estudios ya existentes desde el campo audiovisual. La metodología de análisis sigue el modelo de sanción de Cournot-Nash, característico de la teoría de juegos, en el que se presenta el problema de decisión al que deben enfrentarse distintos participantes con los distintos criterios para tomar una decisión. Para ello, primero se plantea el pacto desde el enfoque de la teoría del consumidor y, a continuación, se procede a analizar el sentido que guarda el incumplimiento de este, materializado en la celebración del banquete que en la película acontece. También se completa el análisis añadiendo los papeles que la probabilidad y la curva de aprendizaje juegan en la toma de decisiones. Finalmente, se presentan los resultados de dicha decisión, concluyendo que las decisiones narrativas que acontecen en la película guardan sentido económico. Con ello, se ha contribuido al estudio económico del contenido de obras culturales, ampliando esta línea de investigación interdisciplinar para lograr un enfoque más integrador e interdisciplinar.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140508128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-15DOI: 10.7238/artnodes.v0i33.414417
Miguel Ángel Roque
Media Artivism refers to the use of digital and technological media to raise awareness and facilitate social and political transformation. Paglen’s artistic endeavors represent a powerful activist dimension epitomized in particular in his work Invisible Images (Your Pictures Are Looking at You). In this work, Paglen demonstrates how technology corporations exploit the images of viewers. Consequently, his work urges people to better understand how privacy works in the contemporary digital landscape, thus demanding more transparency and accountability from these corporations. The work of Trevor Paglen serves as an excellent example of the interplay between art, science and technology, underscoring the significance of Media Artivism as a means of raising awareness and promoting social transformation. Paglen’s work offers a model for artists to employ digital and technological tools to engage with pressing political and social concerns and also to interrogate the role of technology in contemporary society. His artistic practise underscores the potential of media artivism as a conduit for critically examining the relationship between art, science and technology, and its potential to effect change in society.
{"title":"Exploring the intersection of art, technology, and social issues on Paglen’s work","authors":"Miguel Ángel Roque","doi":"10.7238/artnodes.v0i33.414417","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.414417","url":null,"abstract":"Media Artivism refers to the use of digital and technological media to raise awareness and facilitate social and political transformation. Paglen’s artistic endeavors represent a powerful activist dimension epitomized in particular in his work Invisible Images (Your Pictures Are Looking at You). In this work, Paglen demonstrates how technology corporations exploit the images of viewers. Consequently, his work urges people to better understand how privacy works in the contemporary digital landscape, thus demanding more transparency and accountability from these corporations. The work of Trevor Paglen serves as an excellent example of the interplay between art, science and technology, underscoring the significance of Media Artivism as a means of raising awareness and promoting social transformation. Paglen’s work offers a model for artists to employ digital and technological tools to engage with pressing political and social concerns and also to interrogate the role of technology in contemporary society. His artistic practise underscores the potential of media artivism as a conduit for critically examining the relationship between art, science and technology, and its potential to effect change in society.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140508523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-15DOI: 10.7238/artnodes.v0i33.417696
Stanislav V. Milovidov
This article employs a case‐study method to investigate the artivism neural network community concentrated on Twitter (since renamed X), which has been ideologically influenced by the content policy and limitations of OpenAI. Today, many young artists using machine learning technologies in their artworks (Midjourney, Stable Diffusion, Kandinsky) note that despite significant progress in the field of neural network generators of image through prompts present in museums and exhibitions of contemporary digital art, a significant number of artworks are still made chiefly using outdated text-to-image algorithms created in 2021. These neural networks continue to be popular in art to this day. The reasons for the sustainability of such practices can be found in the soft ideological conflict between artists and OpenAI in 2021. At that time, neural networks had not yet become mainstream, and the dominant theme was deep fakes, which became the basis for a comprehensive discussion about the possibilities and consequences of implementing AI algorithms in modern society. A series of scandals related to the work of neural networks alerted businesses, which feared the reputational costs of neural network errors and biases. At the same time, the existing discourse on freedom of speech, thought, and self-expression in contemporary art has led to ideological conflict, as the creators have introduced constraints on tools of artistic expression. Previously, the actions of artists were not moderated by technical means. Thus, the community did not accept this state of affairs, and as a result of cooperation and “collective intelligence” created, on the GitHub and Google Colab platforms, their own algorithms with open code, with which everyone could carry out their visual experiments. Artists face the ideological question of fighting globalism and anti-progress in art to be outside the system but to riot against it. This process led to a division of artistic practises in neural network art, outlined by media artist Ryan Murdock as a gateway to text-guided visual art by the hacker effort of 2021 or the modern generation of algorithm text-to-images (after 2022).
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Pub Date : 2024-01-15DOI: 10.7238/artnodes.v0i33.416516
Daniel Barba Rodríguez
El análisis de La Fura dels Baus nos muestra hasta qué punto la superación de una metodología neovanguardista en favor del espectáculo audiovisual de gran formato es una actualización que busca dar respuesta a los intereses estéticos de la sociedad del siglo XXI. Un nuevo espacio escénico protagonizado por la imagen que combina multitud de formatos, tanto físicos como digitales. La Fura ejemplifica cómo una idea de espacio va más allá de una simple distribución de elementos y debe entenderse como parte integral de la creación artística. Si a esto le añadimos un empleo coherente de tecnología, se logra un modo de relación entre el público y la acción dramática acorde a la estética de su momento. En el caso de La Fura, desde su origen en Cataluña en torno a 1978, se debe hablar de tres etapas vitales diferentes (agrupación callejera, gremio y compañía de teatro), cada una con su propia idea de espacio acorde: el espacio comunitario de la calle, el espacio compartido de las performances y el espacio visual del espectáculo contemporáneo. Gracias a La Fura dels Baus podemos entender mejor el papel de los espectáculos audiovisuales en la estética contemporánea.
对《La Fura dels Baus》的分析向我们展示了在多大程度上克服了新先锋派的方法论，转而采用大型视听奇观，是为了回应 21 世纪社会的审美趣味而进行的更新。一个由图像主演的新场景空间结合了多种形式，既有实体形式，也有数字形式。La Fura 体现了空间概念如何超越了简单的元素分布，而必须被理解为艺术创作不可分割的一部分。如果再加上对技术的连贯运用，我们就能根据当时的审美观，在观众和戏剧动作之间建立起一种关系模式。就 La Fura 而言，自 1978 年左右在加泰罗尼亚创立以来，它经历了三个不同的重要阶段（街头团体、行会和剧团），每个阶段都有自己的空间理念：街头的公共空间、表演的共享空间和当代奇观的视觉空间。多亏了 La Fura dels Baus，我们才能更好地理解视听表演在当代美学中的作用。
{"title":"La digitalización del espacio escenográfico en la Fura dels Baus. De la calle al espectáculo digital","authors":"Daniel Barba Rodríguez","doi":"10.7238/artnodes.v0i33.416516","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.416516","url":null,"abstract":"El análisis de La Fura dels Baus nos muestra hasta qué punto la superación de una metodología neovanguardista en favor del espectáculo audiovisual de gran formato es una actualización que busca dar respuesta a los intereses estéticos de la sociedad del siglo XXI. Un nuevo espacio escénico protagonizado por la imagen que combina multitud de formatos, tanto físicos como digitales. La Fura ejemplifica cómo una idea de espacio va más allá de una simple distribución de elementos y debe entenderse como parte integral de la creación artística. Si a esto le añadimos un empleo coherente de tecnología, se logra un modo de relación entre el público y la acción dramática acorde a la estética de su momento. En el caso de La Fura, desde su origen en Cataluña en torno a 1978, se debe hablar de tres etapas vitales diferentes (agrupación callejera, gremio y compañía de teatro), cada una con su propia idea de espacio acorde: el espacio comunitario de la calle, el espacio compartido de las performances y el espacio visual del espectáculo contemporáneo. Gracias a La Fura dels Baus podemos entender mejor el papel de los espectáculos audiovisuales en la estética contemporánea.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140506732","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El artivismo mediático, como forma de producción de conocimiento, no solo permite recuperar y reflexionar en torno a la información a través de una amplia diversidad de manifestaciones y prácticas artísticas, sino que, además, ejerce un impacto en el público global. Por ello, esta tendencia artística, la primera del siglo XXI, sirve de plataforma para que mujeres y minorías proyecten su voz desde la resistencia, evidenciando intereses activistas con el fin de propiciar una transformación en la sociedad. Precisamente, la artista surcoreana Siren Eun Young Jung es un reconocido ejemplo en Corea del Sur que, a través del videoarte y la performance, sigue dando continuidad a su propósito más longevo: Yeoseong Gukgeuk Project (2008-actualidad). Este trabajo explora el valor de la intrahistoria gracias a los recuerdos de actrices que ponen en tela de juicio los roles de género. El presente artículo examina este proyecto de artivismo mediático desde la perspectiva de género, tomando como eje su investigación en torno al Yeoseong Gukgeuk, un estilo músico-teatral que ofrece un mensaje subversivo sobre las mujeres, las minorías, la normatividad y la tradición, gracias al canto, el baile y un estricto entrenamiento. Jung, que recurre a la «tecnología de la imaginación» siendo consciente de la ausencia, en muchas ocasiones, de la imagen, compila materiales de archivo que han visto la luz a través de las obras que aglutina este proyecto.
{"title":"Artivismo mediático y subversión de género en Corea del Sur: la «tecnología de la imaginación» de Siren Eun Young Jung","authors":"Sonia Sonia, Natalia Martínez Pérez, Bárbara Sarmentera","doi":"10.7238/artnodes.v0i33.417845","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.417845","url":null,"abstract":"El artivismo mediático, como forma de producción de conocimiento, no solo permite recuperar y reflexionar en torno a la información a través de una amplia diversidad de manifestaciones y prácticas artísticas, sino que, además, ejerce un impacto en el público global. Por ello, esta tendencia artística, la primera del siglo XXI, sirve de plataforma para que mujeres y minorías proyecten su voz desde la resistencia, evidenciando intereses activistas con el fin de propiciar una transformación en la sociedad. Precisamente, la artista surcoreana Siren Eun Young Jung es un reconocido ejemplo en Corea del Sur que, a través del videoarte y la performance, sigue dando continuidad a su propósito más longevo: Yeoseong Gukgeuk Project (2008-actualidad). Este trabajo explora el valor de la intrahistoria gracias a los recuerdos de actrices que ponen en tela de juicio los roles de género. El presente artículo examina este proyecto de artivismo mediático desde la perspectiva de género, tomando como eje su investigación en torno al Yeoseong Gukgeuk, un estilo músico-teatral que ofrece un mensaje subversivo sobre las mujeres, las minorías, la normatividad y la tradición, gracias al canto, el baile y un estricto entrenamiento. Jung, que recurre a la «tecnología de la imaginación» siendo consciente de la ausencia, en muchas ocasiones, de la imagen, compila materiales de archivo que han visto la luz a través de las obras que aglutina este proyecto.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140508375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-15DOI: 10.7238/artnodes.v0i33.415780
Sara Calvete-Lorenzo, Andrés Rozados-Lorenzo, Rocío del Pilar Sosa-Fernández
The history of cinema has never shied away from the representation of the future, and beyond the abstract nature of the contemporary concept and its temporal fluctuations, the sheer profusion of scenarios and their different links to the very concept of the real have generated a wide range of futuristic film references, especially those conceptually linked to the dystopian. This article presents a case study of Don’t Worry Darling, directed by Olivia Wilde in 2022. It is a contemporary science fiction film proposal that condenses retro aestheticism and the American Way of Life with the historical proposals of science fiction and its forecasts about humanity’s connection or disconnection with sensory reality and the birth of virtuality. The analytical methodology, which links patriarchal dystopia, virtual reality and gender studies, is based on the analysis of differentiating elements that provide signs with which to question the reality of the experiences of the film’s main character and the environment that surrounds her. This research employs a qualitative analysis by means of case analysis with a dual approach: the audiovisual language and signs of gaps in the filmic reality created. Firstly, the audiovisual language will be analysed through the use of the decoupage technique and, secondly, the sequences that generate gaps in the filmic fiction and lead the spectator to realize that he or she is facing a simulation of reality will be organized. The anomalies identified and inferred have been subdivided for analysis into: unrealistic space/time (synchronizations and repetitions, duplications, spatial incongruities, logical errors and perfections), mediated reality and the eye metaphor and, finally, diegetic technological analysis.
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Pub Date : 2024-01-15DOI: 10.7238/artnodes.v0i33.417086
Antonio Castro Balbuena
El objetivo de este artículo es dilucidar cómo narra el videojuego a partir de sus características narrativas e hipermediales, desde la presencia de materiales textuales, visuales y sonoros, gracias al avance tecnológico, hasta la relevancia que cada uno de los elementos narrativos posee en el videojuego de mundo abierto. Para ello, propongo un análisis del espacio (virtual) narrativo del videojuego basado en niveles interrelacionados y jerarquizados: nivel audiovisual (lo que vemos y oímos en el espacio virtual a partir de rasgos como el color y el sonido), nivel interactivo (movimiento e interacción con el espacio, de los que se desprende importante información narrativa) y nivel pragmático-narrativo (interpretación de nuestra experiencia de juego y creación de una narrativa interna única basada en la identidad del jugador, en sus experiencias y otros factores). El resultado final es la aprehensión de un espacio (virtual) narrativo que no depende solo del texto para contar una historia, sino también de la experiencia, interacción y creatividad del jugador.
{"title":"Narratividad e hipermedialidad en el videojuego de mundo abierto. Una propuesta de análisis del espacio (virtual) narrativo","authors":"Antonio Castro Balbuena","doi":"10.7238/artnodes.v0i33.417086","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.417086","url":null,"abstract":"El objetivo de este artículo es dilucidar cómo narra el videojuego a partir de sus características narrativas e hipermediales, desde la presencia de materiales textuales, visuales y sonoros, gracias al avance tecnológico, hasta la relevancia que cada uno de los elementos narrativos posee en el videojuego de mundo abierto. Para ello, propongo un análisis del espacio (virtual) narrativo del videojuego basado en niveles interrelacionados y jerarquizados: nivel audiovisual (lo que vemos y oímos en el espacio virtual a partir de rasgos como el color y el sonido), nivel interactivo (movimiento e interacción con el espacio, de los que se desprende importante información narrativa) y nivel pragmático-narrativo (interpretación de nuestra experiencia de juego y creación de una narrativa interna única basada en la identidad del jugador, en sus experiencias y otros factores). El resultado final es la aprehensión de un espacio (virtual) narrativo que no depende solo del texto para contar una historia, sino también de la experiencia, interacción y creatividad del jugador.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140507690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-15DOI: 10.7238/artnodes.v0i33.417689
Farshad Zahedi
La obra de Neshat, desde varias perspectivas teóricas, merece un estudio pormenorizado. Mi intención en este estudio es, a propósito de dos de sus videoinstalaciones, Zarin (2005) y Munis (2008) de la serie Mujeres sin hombres (Zanan bedun-e mardan, 2004-2009), examinar la visión de la artista al orientalismo y a las geometrías del poder. Forma parte del marco teórico de este estudio una relectura al contexto histórico del orientalismo, además de las teorías de los espacios generizados en una intersección con los estudios de la representación en las artes visuales. La pregunta principal de esta investigación es cómo la estética elegida por Neshat responde al potente imaginario orientalista, a la vez que a las coordenadas espaciales y arquitectónicas de la cultura de segregación. Se ha observado que la estética de los casos de estudio contiene un método latente de arqueología de medios, implicando desaterrar memorias y nociones del imaginario, a fin de provocar una nueva lectura y posición para el sujeto femenino que representa.
{"title":"La cultura de segregación en la videocreación orientalista: hacia la cuestión del cuerpo femenino y la geometría de poder en la obra de Shirin Neshat","authors":"Farshad Zahedi","doi":"10.7238/artnodes.v0i33.417689","DOIUrl":"https://doi.org/10.7238/artnodes.v0i33.417689","url":null,"abstract":"La obra de Neshat, desde varias perspectivas teóricas, merece un estudio pormenorizado. Mi intención en este estudio es, a propósito de dos de sus videoinstalaciones, Zarin (2005) y Munis (2008) de la serie Mujeres sin hombres (Zanan bedun-e mardan, 2004-2009), examinar la visión de la artista al orientalismo y a las geometrías del poder. Forma parte del marco teórico de este estudio una relectura al contexto histórico del orientalismo, además de las teorías de los espacios generizados en una intersección con los estudios de la representación en las artes visuales. La pregunta principal de esta investigación es cómo la estética elegida por Neshat responde al potente imaginario orientalista, a la vez que a las coordenadas espaciales y arquitectónicas de la cultura de segregación. Se ha observado que la estética de los casos de estudio contiene un método latente de arqueología de medios, implicando desaterrar memorias y nociones del imaginario, a fin de provocar una nueva lectura y posición para el sujeto femenino que representa.","PeriodicalId":42030,"journal":{"name":"Artnodes","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140506891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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