O documento resume a história da arte eletrônica, desde suas origens com a computação gráfica na década de 1970 até as obras mais recentes envolvendo mídias digitais e telecomunicações. Aborda temas como a relação entre arte, ciência e tecnologia; a transição da arte moderna para a contemporânea; e o uso de novas mídias como vídeo e internet. Fornece também referências bibliográficas sobre o assunto.
1. Antecedentes da arte eletrônica
Daniel Hora
Universidade de Brasília | Instituto de Artes
Departamento de Artes Visuais | Brasília, 2013
A mulher que não
é B.B. 1971
computação
gráfica realizada
por Waldemar
Cordeiro, em
colaboração com
José Luiz Aguirre
e Estevam Roberto
Serafim,
professores de
tecnologia da
Universidade de
São Paulo (USP).
2. Transição do moderno ao contemporâneo
1. Morte da Arte: crise da representação
2. Arte-vida: processualidade e participação
3. Arte, ciência e tecnologia
4. Hibridismo e transmídia
3. 1. Morte da Arte
condução da arte à vida
negação da estética tradicional
emprego de materiais industriais e cotidianos
4. Impressionismo
Do ateliê para o ar livre: cor arbitrária em lugar da absoluta
Monet – Série da Catedral de Rouen (1892-1894)
5. Suprematismo
Simplificação da forma e desaparecimento da cor
Malevich
- Quadro negro sobre fundo branco (1915)
- Quadro branco sobre fundo branco (1918)
6. Cubismo
Perspectivas múltiplas – o tátil além da moldura
Picasso - Les demoiselles d'Avignon (1906-1907)
Picasso - Três Músicos (1921)
7. Apropriação
Objetos industriais e cotidianos inseridos na arte
ready-mades de Marcel Duchamp – A Fonte (1917) e Porta-
Garrafas (1914)
8. Surrealismo
Jogos coletivos de produção por colagem (cadavre exquis)
Questionamento do papel do artista e da visão do gênio
André Breton, Jacqueline Lamba, Yves Tanguy - 1938
Man Ray, Joan Miró, Max Morise e Yves Tanguy - 1926-1927
9. Pop arte
Imaginário da cultura de massa e sociedade de consumo.
Claes Oldenburg – Floor Burger (1962)
Andy Warhol – Díptico de Marilyn (1962)
10. Minimalismo e arte povera
Materiais fabricados / desprovidos de valor
Carl André – Equivalent VIII (1966)
Jannis Kounellis – Sem título (1969)
11. Land art, arte ambiental e site-specific
Arte fora do confinamento
Na paisagem natural ou ambientes urbanos
Robert Smithson – Spiral Jetty (1970)
Christo e Jeanne-Claude – Reichstag Empacotado (1971-1995)
12. Novas mídias
Vídeo, computador, fax, videotexto e TV de varredura lenta
Nam June Paik – Global Groove (1973)
Paulo Bruscky – Xeroperformance (1980)
13. Ruptura com a contemplação mutista
Explorar a arte para além do sentido da visão
Temporalidades
2. Processualidade e participação
14. Op art e arte cinética
Forma produzida na relação com a obra – ilusão ou movimento
Jesus Soto - Vibração (1965)
Bridget Riley - Movement in Squares (1961)
16. Performance e arte Fluxus
Público colabora com o acontecimento da obra
Yoko Ono - Cut Piece (1964)
Allan Kaprow – 18 Happenings in 6 Parts (1959)
17. Arte conceitual
Privilégio da ideia ativadora, instruções
Cildo Meireles - Inserções em Circuitos Ideológicos: Projeto
Coca Cola (1970)
Joseph Kosuth – One and three chairs (1965)
18. 3. Arte, ciência e tecnologia
Perspectiva modernista – arte como vanguarda
Crítica desconstrutivista
Arte como pesquisa e desenvolvimento
19. Apologia dos avanços industriais
Elogio da velocidade e do movimento maquínico
Umberto Boccioni - Garrafa no espaço (1912)
Luigi Russolo – Intonarumori (1914)
26. Uso das mídias: rádio e telefonia
Guerra dos Mundos (1938):
simulação de invasão de
marcianos na Terra – pânico
nas ruas apesar dos alertas de
ficção
Construction in Enamel 2 (1923):
Moholy-Nagy telefona para
empresa de confecção de
cartazes e dirige a produção
de quadros – menos a execução,
mais a ideia, precedendo a
arte conceitual dos 60.
28. Videoarte
Nam June Paik - Magnet TV (1965)
Wolf Vostell – Electronic Dé-coll/age, Happening Room (1968)
Bruce Naumann - Live-Taped Video Corridor (1970)
29. Arte postal - anos 60-70: primeira a propor trabalho em rede.
Desenvolvimento da arte em mídia nos 70: suportes imateriais
adotados de modo sistemático – satélites, slow-scan TV,
redes de computadores pessoais, telefone, fax.
György Galántai - Mailartwork (1981)
Arte postal: trabalho em circulação
30. Performance telepresente
Kit Galloway e Sherrie Rabinowitz - Satellite Arts Projects: a
Space with no Geographical Boundaries (1977, em colaboração
com a Nasa)
31. Telecomunicação e sky-arte
José 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. Autoria distribuída
Roy Ascott: La Plissure du Texte: a Planetary Fairy Tale
(1983) – recital coletivo realizado por telescriptores.
Participantes de várias partes do planeta elaboram texto, em
criação coletiva global em homenagem a O prazer do texto, de
Roland Barthes.
33. Mobilidade e territórios informacionais
Grupo Art Réseaux, formado para Karen O'Rourke, Gilbertto
Prado e Christophe Lê François, entre outros – City
Portraits (1989): troca de imagens por telefone, para
constituir cidade imaginária.
34. Referências
ARANTES, Priscila. @rte e mídia: perspectivas da estética digital.
São Paulo: Editora Senac, 2005.
DOMINGUES, Diana. Arte, ciência e tecnologia: passado, presente e
desafios. São Paulo SP: Editora Unesp; Itaú Cultural, 2009.
GIANNETTI, Claudia. Estética digital: sintopia da arte, a ciência e
a tecnologia. Belo Horizonte: C/Arte, 2006.
RUSH, Michael. Novas mídias na arte contemporânea. São Paulo:
Martins Fontes, 2006.
35. Referências
BURNHAM, Jack. Beyond modern sculpture: the effects of science and
technology 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: MIT
Press, 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. Referências
Enciclopédia Itaú Cultural: http://www.cibercultura.org.br/
Media Art Net: http://www.medienkunstnetz.de/mediaartnet/
Electronic Arts Intermix: http://www.eai.org/index.htm
Notas do Editor
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.