ANIAV - Revista de Investigación en Artes Visuales- No 15 (2024)

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Editorial

Editorial nº 15

Artículos científicos

De Eugène Delacroix a Miquel Barceló: la interpretación visual del Fausto de Goethe
Memoria enterrada: el pasado en una fosa
Cigüeñas y grullas: un intento de comprender una etología propia mediante el concepto de la filopatría
Anatomía de una pintura: el museo como espacio de debate y reflexión feminista
RESONANCIA EN JUEGO: determinación teórica de recomendaciones de diseño para audiojuegos que emplean la ecolocalización
Buena nueva: memoria, recuperación y visibilización
La tecnopoética y sublimidad: una investigación de procesos fotográficos de carácter híbrido
Future[past]: poéticas artificiales especulativas a través de modelos generativos IA
Moda y Stasis: el impacto fotográfico de Shoichi Aoki
Máquinas ópticas: divertimento para la cultura popular, divulgación científica para la midcult y creación artística para la highcult

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/209826

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Mostrando 1 - 11 de 11

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Máquinas ópticas: divertimento para la cultura popular, divulgación científica para la midcult y creación artística para la highcult
(Universitat Politècnica de València, 2024-09-30) Mayo Vega, Luis; Pérez González, Carmen
[EN] This article explores the various functions of optical illusions in Western culture, focusing on the magic lantern as a paradigmatic example. In academic circles, this optical device is linked to ontological research and scientific theory, empirically demonstrating the ability of reason to discern beyond sensory deceptions. It is used in popular settings to generate terrifying experiences, similar to a haunted house in an amusement park. On the other hand, in folk culture, the same magic lantern takes on a playful character associated with festivities, laughter, and mockery. Despite their age, magic lanterns remain relevant in the 21st century, integrating into the digital era and finding their place in both academic research and visual art appreciation. The continued importance of magic lanterns in contemporary projection is highlighted, influencing techniques such as interactive projections and architectural mapping in art. The article explores how these practices have expanded creative and entertainment possibilities, reaching both artistic environments and popular celebrations. Additionally, it delves into the connection of contemporary artists with the tradition of visual projection, especially in the field of animation, where shadow projections are used to tell stories in an innovative way. The continuous dialogue between historical optical machines and current forms of projection reveals an essential connection in visual narrative and creativity over time.
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Moda y Stasis: el impacto fotográfico de Shoichi Aoki
(Universitat Politècnica de València, 2024-09-30) Torres Jurado, Juan Jesús
[EN] On 26th April 2023, Japanese photographer Shoichi Aoki (Tokyo, 1955) launched in digital format an English version of the first issue of Fruits magazine, originally published in Japan on 23th June 1997. That first issue, a mere 85 pages with colour photographs, featured a selection of the street fashion characteristic of Tokyo's Harajuku district. The pages of that first issue of Fruits were a parade of young people dressed in eye-catching outfits designed by luxury brands such as Comme des Garçons and Vivienne Westwood, combined with designs by local brands such as Harajuku Milkboy. The following 269 issues of Fruits magazine made it a benchmark for fashion photography at the turn of the millennium. The launch of the English version in digital format of that first issue can be understood, of course, as an offering to an essential magazine, but also as something intrinsic to Shoichi Aoki's entire oeuvre: as an apology for fashion photography as an indispensable document for understanding the urban aesthetics of a globalised and hyperconnected 21st century.
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Future[past]: poéticas artificiales especulativas a través de modelos generativos IA
(Universitat Politècnica de València, 2024-09-30) Rangil Gallardo, Miguel; Departamento de Escultura; Grupo de Laboratorio de Luz; Fundación Española para la Ciencia y la Tecnología
[EN] The situation we are currently going through is continually exceptional. Armed conflicts broadcasted via streaming, accelerated resource extraction, regimes replaced by terrorist organizations, extreme weather events with dire consequences for the planet. The frequency of these catastrophic events is increasingly shortening. We are getting used to disaster, to a continuous state of exception. In the face of this critical horizon, this communication proposes a specific strategy through working with algorithmic visual models: generating speculative artificial poetics that lead us to think not only of other possible futures beyond the present but to dissolve the unalterable, rigid, and stoic historical conception of the events that have made us what we are. This communication aims to show the potential relationship between artificial visuality, latent spaces, and speculation as an artistic methodology through audiovisual artistic production: Future[past]. This project was born as a simulation device capable of dismantling that rigid past, that History with a capital H, through a system of visual prediction of speculative futures. By using the NextFrame Prediction Pix2Pix generative video model, Future[past] dissolves the event and proposes an alternative event, from the visual material captured preceding the given event. AI, in an exercise of algorithmic prediction, imagines multiple new future-pasts, events that only occur in the visual simulation presented to us, but which become images that threaten to become reality. This artistic production was presented at the Ars Electronica Festival 2023 - Who owns the truth? and PAM! 2022 and is part of the predoctoral research "Contra la visual[ia]dad. Ensayos algoritmos en la era de la inteligencia artificial".
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La tecnopoética y sublimidad: una investigación de procesos fotográficos de carácter híbrido
(Universitat Politècnica de València, 2024-09-30) de Araújo Santos, Eriel
[EN] This text establishes a discussion based on transversal theoretical-practical research on the presence of the sublime in contemporary artistic processes, with special attention to those related to technopoetic procedures and hybrid art. Many of these procedures and technologies, adopted by artists, are created from questions about the human condition, including social, physical and psychological vulnerability, religious systems, scientism, geopolitical situations, cultural coexistence, among many others. Something complex and multi-referential that brings together states of sublimity and the subjectivities inherent to people who are constantly adapting to emerging realities. For this, the concept of sublime was studied, from the first approaches, developed by Longino, as well as by Edmund Burke, Immanuel Kant, Jean-Fraçois Lyotard, Friedrich Schiller, among others, who debated and updated this concept in the light of artistic productions. developed at different moments in the history of art. In 2010, Simon Morley, British art historian and artist, brought together a set of reflections and documents to highlight the presence of the sublime in works created in the most diverse languages: video, photography, performance, painting, installations, interventions, among others. Thus, the analysis of these primary documents and studies carried out in the laboratories and libraries of the University of the Arts London UAL, added to the activities developed in the workshop, contributed to expanding the discussions on the sublime, taking as reference the work Ctividade , an artistic installation with photographs in mineral oxides and gunpowder on fiber cement plates, encapsulated with optical resin.
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Buena nueva: memoria, recuperación y visibilización
(Universitat Politècnica de València, 2024-09-30) Artime Pinilla, Joaquín
[EN] Buena nueva (Good News) is the artwork that won the Acquisition Prize of the public art edition of Biennal de Mislata Miquel Navarro 2022. In this article we carry out a theoretical-creative analysis of this art intervention that takes a phrase from the Spanish writer Juan Gil-Albert to construct signs that make visible the essence of all LGTBIQA+ demands. In 1955, during Franco s dictatorship, Juan Gil-Albert (1904-1994) wrote what is considered to be the first essay on homosexuality in Spain. Heraclés. Sobre una manera de ser (Haraclés. About a way of being, 1975) was not published until twenty years later, after the death of the dictator. One sentence from the volume, "No se lava, no se cura, no desaparece" (It doesn't wash off, it doesn't heal, it doesn't disappear), is chosen as the writer's reflection on his condition outside heterosexuality. If historically homosexuality has been seen as an un-natural situation, Gil-Albert turns it into a pro-natural substance with this operation.  Buena nueva takes these words to exhibit them in three art interventions in different streets of the city of Mislata. Each sign is made with hydraulic tiles, a typical element of Valencian identity, generating a series of displacements in which the following play an important role: colour, rhythm, thickness, hardness, private-public space relationship, location, the inverted triangle, margin, the stumble, detour, diversity and ambiguity. The phrase is open-ended, like a riddle that keeps the subject hidden, but which forcefully points out the key words for which queer subjectivities have struggled. Through the study of the figure of Juan Gil-Albert and his essay, we observe the ways in which the revision and recovery of referents from the past can provide us with clarity about the present and the future.
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RESONANCIA EN JUEGO: determinación teórica de recomendaciones de diseño para audiojuegos que emplean la ecolocalización
(Universitat Politècnica de València, 2024-09-30) Müller Bravo, Nicolás
[EN] Despite the continued growth in the ambit of accessibility to video-ludic experiences focused on people afflicted with visual impairments, they still strive with limitations that make their relationship with videogames difficult. In this context, audiogames present a relevant ludic typology that could provide a more universal and inclusive experiential frame. Through analysis, comparison and theoretical complementation of references, an investigation centered in the study of design lineaments and recommendations for audiogames based specifically in the use of echolocation, as a playability strategy, is presented, in consideration of the potential of this resource as a tool for special perception and navigation, and the current relevance that immersive experiences, virtual environments and augmented reality have, with the intention of formulating a list of strategies to engage the development of audio-ludic experiences based in this type of audio-location, of identifying problems specific with their design, and to contribute to the bibliography centered in the development of audiogames related to specific game mechanics.
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Anatomía de una pintura: el museo como espacio de debate y reflexión feminista
(Universitat Politècnica de València, 2024-09-30) Vega, Elo
[EN] In 2023, the author launched, from the scope of her artistic practice, a project of critical re-reading of the most emblematic and famous work of the Museum of Malaga, An Autopsy, made by Enrique Simonet in 1890. The painting is popularly known by the title of And she had a heart! Museums are spaces of knowledge. Nevertheless, as well as feminist artists and historians pointed out long ago, they are powerful ideological instruments for legitimizing hierarchies of male domination too. In the context of the ongoing cultural wars where, in the midst of the typical banal consumerism of spectacles, some reactions emerge seeking to perpetuate a patriarchal order now in crisis Museum faces the challenge of reestablishing its role as a tool linked to public instruction in a project of citizen emancipation. The project is developed on a double level, starting whit the insertion of a new artwork into the museum and through a seminar, where a group of creators and researchers approach the topic of the female body representation in the Western tradition to carry out a sharp dissection of this subject from diverse points of view, never forgetting its situated condition in the local context.
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Cigüeñas y grullas: un intento de comprender una etología propia mediante el concepto de la filopatría
(Universitat Politècnica de València, 2024-09-30) del Junco González, Juan José
[EN] This article analyzes the artistic research developed in the project Some efforts to understand the concept of philopatry (or that quality according to which some animals continually return to their place of origin). This research is carried out through a transdisciplinary production methodology that merges the praxis of the artistic project and field ornithology. Taking into account that transdicisplinarity offers the maximum gradient in crossover methodologies, the results of the research are extremely contaminated by both disciplines, generating highly miscible statements that generate a singular art-science dialectic with its consequent co-optation appointments. The project, exhibited in a Madrid Art Gallery in 2022, belongs to a group of works that, in a systematic way, attends to conceptual and procedural constants such as the quotation to the representational models of the science that studies birds, the return to the codes and languages of a past ornithology, the approach to the statements of conceptual art of the late 60's and early 70's, the zone of confluence between ornithology and orthodox conceptual art through the use of the signs of the editorial product or the staging of the archival model. In the specific case of the project we are analyzing, some supposed scientific studies on two bird species the White Stork (Ciconia ciconia) and the Common Crane (Grus grus) are presented, allegorizing their philopatric behavior in nesting and migration in order to express, in a controlled transposition, subjective aspects of the author in his continuous return to several themes and work constants. In this way it could be affirmed that, by trying to understand the ethology of birds, he glimpses an understanding of his own.
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Memoria enterrada: el pasado en una fosa
(Universitat Politècnica de València, 2024-09-30) Pérez García, Juan Carlos
[EN] This paper analyzes and compares some contemporary art projects about the memory of the mass graves of the Spanish Civil War and the Franco dictatorship, in the Spanish context (2000-2024) of the cultural battle for historical memory. They are works carried out since the first decade of the 21st century to document the exhumation of mass graves, in the wake of the technical works of the Association for the Recovery of Historical Memory (ARMH), by artists such as Montserrat Soto, Francesc Torres or Clemente Bernard, among others. More recent artistic works use allegorical strategies of fiction, through action or installation (Eugenio Merino) or the non-fiction graphic novel (Paco Roca and Rodrigo Terrasa).
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De Eugène Delacroix a Miquel Barceló: la interpretación visual del Fausto de Goethe
(Universitat Politècnica de València, 2024-09-30) Miró Moína, Aránzazu
[EN] The myth of Faust originates from the text that Johann Wolfgang von Goethe published in 1808; before the second part appeared, and still in the writer's lifetime, his work is already famous and a wide range of versions begins, which focus fundamentally on the musical and stage fields. Eugène Delacroix (France, 1798-1863) turned it into a visual work in 1828 with the publication of the artist's book where he interpreted the scenes that most interested him in 17 lithographs. Miquel Barceló (Felanitx, 1957) undertakes the same challenge in 2018. He makes 72 watercolors that, after a comparative visual reading, reflect the emotional or spiritual coincidences of both creators, something that is manifested in the marked parallelism that their trajectories maintain. The comparative reading of both visual proposals allows us to conclude how their different artistic approaches combine and complement each other.
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Editorial nº 15
(Universitat Politècnica de València, 2024-09-30) Perez-Garcia, Elias-Miguel; Martínez Arroyo, Emilio José; Silva dos Santos, Fabiane Cristina; Departamento de Escultura; Facultad de Bellas Artes; Grupo de Laboratorio de Creaciones Intermedia. LCI; Grupo de Laboratorio de Luz
[ES] Editorial del número 15 de la revista ANIAV, septiembre de 2024

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