Antecedentes da arte eletrônica

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aula expositiva para a disciplina de Arte Eletrônica, do curso de Artes Visuais da Universidade de Brasília.

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  • KAPROW: The audience were given programs and three stapled cards, which provided instructions for their participation: ‹The performance is divided into six parts...Each part contains three happenings which occur at once. The beginning and end of each will be signaled by a bell. At the end of the performance two strokes of the bell will be heard...There will be no applause after each set, but you may applaud after the sixth set if you wish.› These instructions also stipulated when audience members were required to change seats and move to the next of the three rooms into which the gallery was divided.
  • Wavelength consists of almost no action, and what action does occur is largely elided. If the film could be said to have a conventional plot, this would presumably refer to the four "character" scenes. Snow's intent for the film was "a summation of my nervous system, religious inklings and aesthetic ideas," he said of the 45-minute-long zoom–which nonetheless contains edits–that incorporates in its time frame four human events, including a man's death.[8] In the first scene, a woman in a fur coat enters the room accompanied by two men carrying a bookshelf or cabinet. The woman instructs the men where to place this piece of furniture and they all leave. Later, the same woman returns with a female friend, they drink the beverages they brought, and listen to "Strawberry Fields Forever" on the radio. Long after they leave, what sounds like breaking glass is heard. At this point, a man (played by filmmaker Hollis Frampton) enters and inexplicably collapses on the floor. Later, the woman in the fur coat reappears and makes a phone call, speaking, with strange calm, about the dead man in her apartment whom she has never seen before.
  • Electronic Dé-coll/age The environment is made up of 6 TV sets equipped with auxiliary electromotors that move objects over the glass-strewn floor. Slides showing earlier happenings and works by Vostell are sometimes projected on the walls. According to Vostell, the room contains 'Multi multilayer mixed layers, superimpositions and events mobile collages and dé-coll/ages.' The environment was displayed at the 1968 Venice Biennale.
  • Objective: To demonstrate (for the first time), that several performing artists, all of whom would be separated by oceans and geography, could appear and perform together in the same live image (The image as place). Everyone would see themselves all together, standing next to each other, able to talk with each other, and alas, perform together—«A performance space with no geographic boundaries». From 1975 through 1977 artists Kit Galloway and Sherrie Rabinowitz developed a series of projects under a heading they called «Aesthetic Research in Telecommunications». Among these projects was the «Satellite Arts Project» that addressed a multitude of telecollaborative arts and virtual space performance issues that had never been genuinely tested or even experienced. Central to the «Satellite Arts Project» idea was aesthetic research that would use the performing arts as a mode of investigating the possibilities and limitations or technologies to create and augment new contexts, environments, and scale for telecollaborative arts. In a time when satellites were the only viable means of transmitting live TV quality video across oceans (the global context), the artists focused on transmission delays over long distance networks, and performed a number of telecollaborative dance, performance, and music scores to determine what genres could be supported, and determine what new genres would emerge as intrinsic to this new way of being–in–the–world.
  • 1983—that was in 1980, I actually set it up—1983, Frank Popper invited me to do a project for a huge exhibition in Paris, called Electra, which was looking at the whole history of electricity right across the spectrum of the arts. And I got rather good funding. I set up this planetary fairytale. We had fourteen nodes across the world, Australia, Hawaii, Pittsburgh, various places, ... Vienna, Amsterdam, and so forth. And to each node I ascribed an archetypical fairytale character. [...] Over a period of three weeks started a narrative, that could be either in English or in French, it wasn't a matter of translation, had to be just English or French because it was IN Paris, and so forth. To start it off—I played the part of a magician in Paris, so I would naturally say, «Once upon a time…» and then others from their point of view-the Wicked Witch or whatsoever—would pick up the narrative, and develop it online. So that what was happening was you would go on line, and you would see the story so far, and then input.
  • Antecedentes da arte eletrônica

    1. 1. Antecedentes da arte eletrônicaDaniel HoraUniversidade de Brasília | Instituto de ArtesDepartamento de Artes Visuais | Brasília, 2013A mulher que nãoé B.B. 1971computaçãográfica realizadapor WaldemarCordeiro, emcolaboração comJosé Luiz Aguirree Estevam RobertoSerafim,professores detecnologia daUniversidade deSão Paulo (USP).
    2. 2. Transição do moderno ao contemporâneo1. Morte da Arte: crise da representação2. Arte-vida: processualidade e participação3. Arte, ciência e tecnologia4. Hibridismo e transmídia
    3. 3. 1. Morte da Artecondução da arte à vidanegação da estética tradicionalemprego de materiais industriais e cotidianos
    4. 4. ImpressionismoDo ateliê para o ar livre: cor arbitrária em lugar da absolutaMonet – Série da Catedral de Rouen (1892-1894)
    5. 5. SuprematismoSimplificação da forma e desaparecimento da corMalevich- Quadro negro sobre fundo branco (1915)- Quadro branco sobre fundo branco (1918)
    6. 6. CubismoPerspectivas múltiplas – o tátil além da molduraPicasso - Les demoiselles dAvignon (1906-1907)Picasso - Três Músicos (1921)
    7. 7. ApropriaçãoObjetos industriais e cotidianos inseridos na arteready-mades de Marcel Duchamp – A Fonte (1917) e Porta-Garrafas (1914)
    8. 8. SurrealismoJogos coletivos de produção por colagem (cadavre exquis)Questionamento do papel do artista e da visão do gênioAndré Breton, Jacqueline Lamba, Yves Tanguy - 1938Man Ray, Joan Miró, Max Morise e Yves Tanguy - 1926-1927
    9. 9. Pop arteImaginário da cultura de massa e sociedade de consumo.Claes Oldenburg – Floor Burger (1962)Andy Warhol – Díptico de Marilyn (1962)
    10. 10. Minimalismo e arte poveraMateriais fabricados / desprovidos de valorCarl André – Equivalent VIII (1966)Jannis Kounellis – Sem título (1969)
    11. 11. Land art, arte ambiental e site-specificArte fora do confinamentoNa paisagem natural ou ambientes urbanosRobert Smithson – Spiral Jetty (1970)Christo e Jeanne-Claude – Reichstag Empacotado (1971-1995)
    12. 12. Novas mídiasVídeo, computador, fax, videotexto e TV de varredura lentaNam June Paik – Global Groove (1973)Paulo Bruscky – Xeroperformance (1980)
    13. 13. Ruptura com a contemplação mutistaExplorar a arte para além do sentido da visãoTemporalidades2. Processualidade e participação
    14. 14. Op art e arte cinéticaForma produzida na relação com a obra – ilusão ou movimentoJesus Soto - Vibração (1965)Bridget Riley - Movement in Squares (1961)
    15. 15. NeoconcretismoManipular, vestir a formaLygia Clark - Bichos (década de 60)Hélio Oiticica - Parangolés (1964)
    16. 16. Performance e arte FluxusPúblico colabora com o acontecimento da obraYoko Ono - Cut Piece (1964)Allan Kaprow – 18 Happenings in 6 Parts (1959)
    17. 17. Arte conceitualPrivilégio da ideia ativadora, instruçõesCildo Meireles - Inserções em Circuitos Ideológicos: ProjetoCoca Cola (1970)Joseph Kosuth – One and three chairs (1965)
    18. 18. 3. Arte, ciência e tecnologiaPerspectiva modernista – arte como vanguardaCrítica desconstrutivistaArte como pesquisa e desenvolvimento
    19. 19. Apologia dos avanços industriaisElogio da velocidade e do movimento maquínicoUmberto Boccioni - Garrafa no espaço (1912)Luigi Russolo – Intonarumori (1914)
    20. 20. ExperimentaçãoMarcel Duchamp- Placas Rotativas de Vidro, Precisão Ótica (1920)- Rotorrelevo (1935-1965)
    21. 21. Relação espaço-tempoNaum Gabo - Construção cinética (1919-1920)Moholy-Nagy - Acessório de luz para um balé (1930)
    22. 22. Matemática da formaMatemática moderna - arte concretaMax Bill – Fita sem fim (1935)Scott Draves – Flames (1992)
    23. 23. Movimento, autonomia e cibernéticaJean Tinguely – Homenagem a Nova York (1960)Nicholas Schöffer - Construção-Cibernética-Espaço-Dinâmica(1956)
    24. 24. Trabalhos multimídia, multidisciplinaresExperimentos em Arte e Tecnologia (EAT) - 9 Evenings (1966)John Cage – Variations VII (1966)
    25. 25. Cinéticos no BrasilWaldemar Cordeiro – O Beijo (1967)Abraham Palatnik – Objeto cinético (1966)
    26. 26. Uso das mídias: rádio e telefoniaGuerra dos Mundos (1938):simulação de invasão demarcianos na Terra – pâniconas ruas apesar dos alertas deficçãoConstruction in Enamel 2 (1923):Moholy-Nagy telefona paraempresa de confecção decartazes e dirige a produçãode quadros – menos a execução,mais a ideia, precedendo aarte conceitual dos 60.
    27. 27. Cinema experimentalDziga Vertov – O Homem com uma câmera (1929)Michael Snow – Wavelenght (1967)
    28. 28. VideoarteNam June Paik - Magnet TV (1965)Wolf Vostell – Electronic Dé-coll/age, Happening Room (1968)Bruce Naumann - Live-Taped Video Corridor (1970)
    29. 29. Arte postal - anos 60-70: primeira a propor trabalho em rede.Desenvolvimento da arte em mídia nos 70: suportes imateriaisadotados de modo sistemático – satélites, slow-scan TV,redes de computadores pessoais, telefone, fax.György Galántai - Mailartwork (1981)Arte postal: trabalho em circulação
    30. 30. Performance telepresenteKit Galloway e Sherrie Rabinowitz - Satellite Arts Projects: aSpace with no Geographical Boundaries (1977, em colaboraçãocom a Nasa)
    31. 31. Telecomunicação e sky-arteJosé Wagner Garcia - Sky and Life, Sky and Body e Sky and Mind(anos 80)SCIArts - Gira SOL (sitema de observação da luz (1999)Mario Ramiro, Takis e David Durlach – Gravidade Zero (1986)
    32. 32. Autoria distribuídaRoy Ascott: La Plissure du Texte: a Planetary Fairy Tale(1983) – recital coletivo realizado por telescriptores.Participantes de várias partes do planeta elaboram texto, emcriação coletiva global em homenagem a O prazer do texto, deRoland Barthes.
    33. 33. Mobilidade e territórios informacionaisGrupo Art Réseaux, formado para Karen ORourke, GilberttoPrado e Christophe Lê François, entre outros – CityPortraits (1989): troca de imagens por telefone, paraconstituir cidade imaginária.
    34. 34. ReferênciasARANTES, Priscila. @rte e mídia: perspectivas da estética digital.São Paulo: Editora Senac, 2005.DOMINGUES, Diana. Arte, ciência e tecnologia: passado, presente edesafios. São Paulo SP: Editora Unesp; Itaú Cultural, 2009.GIANNETTI, Claudia. Estética digital: sintopia da arte, a ciência ea tecnologia. Belo Horizonte: C/Arte, 2006.RUSH, Michael. Novas mídias na arte contemporânea. São Paulo:Martins Fontes, 2006.
    35. 35. ReferênciasBURNHAM, Jack. Beyond modern sculpture: the effects of science andtechnology on the sculpture of this century. NYC: Braziller, 1987.PAUL, Christiane. Digital art. New York: Thames & Hudson, 2003.POPPER, Frank. From technological to virtual art. Cambridge: MITPress, 2007.SHANKEN, Edward A. Art and electronic media. London; New York:Phaidon Press, 2009.WILSON, Stephen. Information arts: intersections of art, science,and technology. Cambridge: MIT Press, 2002.
    36. 36. ReferênciasEnciclopédia Itaú Cultural: Art Net: Arts Intermix: