This thesis takes the approach of an hermeneutic analysis of the techniques
and the aesthetic experience of performance art since the origin of western
technoscientific culture, because we want to find the answers which guide
us towards understanding “what is performance art?” “what is its meaning?”
and “why does it arise in the postmodernist time of contemporary art?” And
so, finally, we want to acheive the code of the logic meaning which moves
the many and various forms of the performance art´s syntax.
If, since the presence of body and of human action new creation techniques
and new media for sculpture production in perspective of real time
daily reality are established; if, the performer uses and handles -with the
sensibility and intuition of his know-how of usable techniques- concepts that
are creative tools; if in the aestetic game of collage of his actions he produces
an open syntax, indeterministic and diffuse, provoking multiple meanings
in the viewer’s imagination; the fuzzy logic appears to be a structure of the
formalization of contemporary correlative thinking and useful to understand,
describe and propose creative space for performance art, procuring in a better
way than the rationalistic method.
Indeed, the system of the fuzzy logic allows to analyze, identify and integrate
into its formal structure, among other things, the complexity of the
creative process which develops from subjectivity, sensibility and intuition
the momentum of performance art.
Synthesis in which, in that sense, it is finally validated that the know-how
techniques for performance art are part of the science; and it describes an
essential part of the nature of art which is related to the intuitive, sensible
and poetic perception of the potential of the artist´s genius.