EShID2021 - II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio

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https://riunet.upv.es/handle/10251/180115

El II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio es un espacio de encuentro para las diferentes disciplinas implicadas en el estudio de los nuevos medios, los estudios visuales, la estética, la identidad y la teoría crítica, así como las estrategias de preservación del medio audiovisual.

Se trata de una iniciativa del Proyecto MICIU de I+D+i EShID: Estéticas híbridas de la imagen en movimiento. Videoarte español y dinámicas identitarias en el mapa global (2019-2021), centrado en las labores de investigación, transferencia y difusión de las obras audiovisuales realizadas en nuestro país del archivo ARES. Estéticas, identidades y prácticas audiovisuales en España; así como del grupo de investigación Visu@ls. Cultura visual y políticas de identidad. Tras la primera edición, celebrada en noviembre de 2020 en la Facultad de Filosofía de la Universidad de Salamanca y centrada en la temática de las migraciones, la globalización y la interculturalidad, en 2021 toma el relevo la Universitat Politècnica de València.

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Now showing 1 - 5 of 27

Preservation or reincarnation? At the crossroads of ethical values
(Editorial Universitat Politècnica de València, 2022-01-10) Serexhe, Bernard
[EN] For both the artist and the viewer, or user, digital technology has expanded creative possibilities and horizons, only to narrow them again at the same time. We have blindly embraced digitization, enjoying its promising benefits to which we have willingly adapted. The price we all pay for the tantalizing possibilities of virtual and augmented realities is the loss of immediate sensory contact with reality. It almost seems as if digitization has discredited the analog world as essentially inadequate. However, in an endless evolutionary process, humanity has developed sensory capabilities to interpret the analog world, whereas today we have become essentially dependent on machine processing and interpretation to understand and advance our world through digital data. In our consumer-driven economy of obsolescence, we have been overrun by this development without being able to protect ourselves.
(Des)cansar la Mirada: Un Acercamiento a las Políticas del Ver/Visionar en la Era Digital
(Editorial Universitat Politècnica de València, 2022-01-10) Jiménez-Donaire Martínez, Salvador
[EN] Today, the interruption, fragmentation and overlapping of activities configure our modus operandi in a culture of excess (of speed and data), shaped by the means of access to information and its perpetual virtual flow of images/words. The digitalization and overexposure to data-streams have generated a new optical model: the visionnavigation. Digital obsolescence and obsolescence of the gaze, now more than ever tired, outstripped by the myriad of visual information to which it is subjugated at full speed. In this state of things, many are the voices that imagine another (alterpolitical) time: a temporality that slips the hegemonic acceleration and allows seeing, thinking and restructuring those moments of observation-expectation in an unhurried way. In this regard, Arden Reed published Slow Art: The Experience of Looking, Sacred Images to James Turrell (2017), a kind of manifesto in which a new artistic category is advocated. In that regard, this text addresses video artworks created by Sam Taylor-Wood, Bill Viola and Christian Marclay. In their works, these artists suggest a long present and propose something as unusual and luxurious today as experiencing one's own time.
Creación Audiovisual Emergente y Colaboración: Presentación del Proyecto continuo
(Editorial Universitat Politècnica de València, 2022-01-10) Torres Iturrioz, Alicia
[EN] Emerging art, performativity, and collaboration networks. How collaboration is the starting point from which we often work, especially when we talk about emerging art, and how it conditions it, creating spaces of possibility, but also obstacles that are sometimes difficult to overcome. The opportunities and problems that also entail artistic practices based on performativity and live act as part of this collaboration. Also understanding creative processes as a perpetual direct that lasts as long as participation and dialogue are active. How the dialogical work of art requires strategies, which we can extrapolate from the living arts, to record, document, and preserve its integrity. As a practical example: continuo. Collective and association where we work with the living arts, more specifically in the audiovisual environment with live music and visuals. In its artistic project we focus on the organization of audiovisual sets of experimental electronic music and the curation of exhibitions, whose final objective is the dissemination —and participation— of emerging culture. The different individuals and groups that participate in the audiovisual presentations are bonded by their active involvement in current experimental creation and, in the context of continuo, they become a collective identity —or community— that accounts for a concrete reality, in a determined moment, through collaborative productions.
Estéticas de la inconsistencia en los espacios de la imagen digital
(Editorial Universitat Politècnica de València, 2022-01-10) Lozano Muñoz, Alejandro
[EN] This article explores the space in digital art. I start explaining the plasticity of digital image and the importance that artists have conveyed to spatial composition since the early stages of computer art. I focus on navigable, three-dimensional spaces, and more specifically on video games. Video game worlds are immersive simulations whose purpose is to surround the player in artificial universes through a series of mechanics. Game worlds are designed intentionally so that the player engages with their attractions. During the decade of 2010, a growing number of video games have experimented with the creation of environments that deviate from conventional relationships between the subject and space, thus creating aesthetics of inconsistency in at least two ways. The first roots in exploiting the tension between materiality (the environment enable attractions for the user) and immateriality (once the user stops paying attention the attractions are no longer active) of interactive components. The second is related to the impossibility of using routine strategies to explore and take control of space, which leads to the possibility of creating experiences of vulnerability and uncertainty.
Translations, un poema audiovisual
(Editorial Universitat Politècnica de València, 2022-01-10) Kim, Ji Yeon; Rodríguez Arias, Ángel Manuel; Departamento de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] Translation, in English, is a term that defines, on the one hand, the act of translating from one language to another, and on the other, the act of moving from one place to another. Weaving a game with the double meaning of this expression, the synthesis of this audiovisual essay is based within an introspective dynamic, in defining the link between two cultures, and two places; Galicia and Korea, through an intimate look in which the subaltern subject is compensated. Starting from the East-West construct, as Edward Said explains, the East is seen as an amalgam in which the mystical and the exotic are observed with desire, always from a superior position. The term is in itself a way of reaffirming himself; the, white, European, Christian and endocentric man, in front of the rest. Taking these concepts as a way of understanding the subjective identity of a migrant woman, the structure of this experimentation is based on a series of interventions in the landscape, in different territories. In this way, a portable and removable structure is placed in a forest, a stream or a lake. These spaces hide places where people once settled, but today they remain forgotten. The color white and its meanings in the folklore of both cultures; purity, life, fragility or death, will ultimately serve as a backbone that gives meaning to the sequence of images and sounds, which are interrelated through this comparative analysis.

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