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Slow Emotions La Expresividad Emocional De Las Imágenes En Movimiento Lento

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Slow Emotions La Expresividad Emocional De Las Imágenes En Movimiento Lento 1 Slow Emotions La expresividad emocional de las imágenes en movimiento lento Doctorando Abel Hernández Pardo Directores María José de Córdoba – Dina Riccò Dpto. Dibujo UGR – Dipartimento di Design. Politecnico di Milano 2 Editor: Universidad de Granada. Tesis Doctorales Autor: Abel Hernández Pardo ISBN: 978-84-9163-894-0 URI: http://hdl.handle.net/10481/51874 AGRADECIMIENTOS. Quiero manifestar mi gratitud a las personas que me han acompañado y aconsejado en el trascurso de la investigación, en especial a mis tutoras María José de Córdoba, de la Universidad de Granada y Dina Riccò, del departamento de Design en el Politecnico di Milano, de las cuales tanto sigo aprendiendo y a las que les debo horas y horas de paciencia en la orientación de la investigación. A Irene Toca mi compañera y amiga, una persona amarilla que irradia luz, sin ti esto no hubiera sido posible, gracias eternas por alumbrar con una sonrisa los días grises, por inspirarme en las largas noches de conversaciones sobre sinestesia e ideaestesia, y por estar dispuesta a regalarme lo que más vale en tu vida, tu tiempo. Y por supuesto a Sean A. Day y Victor Parra por las indicaciones profesionales. 3 Introducción La creatividad no es propiedad de los artistas. Es un elemento básico del carácter humano, no importa en la cultura que te encuentres ni donde vivas. Bill Viola. (Utrera, 2011) Claude Chabrol1 sugiere que existen dos tipos de directores, los poetas y los narradores, los segundos son los que directamente se adscriben al término narrar, contar la historia, pero los primeros son denominados también, Poetas de la imagen, se adscriben a términos más cercanos a las sensaciones, las emociones y a la creación de transcripciones a través de imagen y sonido; utilizan o se basan en otros valores con los que expanden el campo perceptivo y comunicativo. (Claude Chabrol, Francois Guérif, 2002) La oportunidad de presentar una investigación sobre el movimiento lento “slow motion” en audiovisuales, con el fin de estudiar su componente sensorial y emocional, no solo resulta interesante, sino también evocador. Antes de comenzar a leer, existen una serie de factores que debemos tener en cuenta para la correcta comprensión de esta tesis: - Que, el movimiento lento, slow motion o cámara lenta definen al efecto visual que permite ralentizar artificialmente una acción con el fin de aumentar el impacto visual o emocional. Es un recurso cinematográfico que da la impresión de que la escena se desarrolla lentamente y es utilizado en cine, en videoclips musicales, en retransmisiones deportivas, en publicidad, en televisión y en aplicaciones científicas e industriales. Actualmente, la técnica slow motion parece estar de moda, ya que las cámaras de acción y los teléfonos smartphones, han iniciado una carrera por detener el tiempo, permitiendo realizar grabaciones a un numero alto de frames por segundo. - Que, en audiovisuales se “rueda”, se “registra” o se “graba“ a una velocidad estándar de 25 “fotogramas por segundo” en Europa, y de 30 en EE.UU. Esto quiere decir que cuando visualicemos el término FPS (o fps) significa “fotogramas por segundo” (frames per second). -Que, los términos sinestesia e ideaestesia, son utilizados en disciplinas como la psicología experimental, la ciencia y el arte y significa en el primer caso: “unión de sentidos”, y en el segundo: “idea y sentidos”. 1 Claude Chabrol (1930 - 2010) fue un director de cine francés. Casi octogenario, siguió realizando películas tras más de 50 años de profesión. Fue junto a Jean-Luc Godard y Jacques Rivette, el último superviviente de la Nouvelle Vague, generación de directores y artistas franceses. 4 1. Justificación personal El planteamiento de esta tesis doctoral parte de la necesidad de poder dar respuesta a aquello que, durante mi educación artística dentro del sector de las artes audiovisuales, me ha venido preocupando y tiene como objeto de estudio el tiempo audiovisual y la sinestesia, en concreto, la imagen en movimiento lento y su poder emocional que, por medio del diseño de la comunicación visual, provocan experiencias audiovisuales más cautivadoras para los sentidos. En el desarrollo de mis estudios de BB.AA en la UCLM (Castilla- La Mancha) notaba la falta de una reflexión sobre artes visuales y emociones, ya que el estudio de artes, en muchos casos, se ha desvinculado de las ciencias y de la psicología. Por medio de José Antonio Sarmiento, profesor titular de la Facultad de Bellas Artes de Cuenca y director del centro de creación experimental de la UCLM, cuya labor artística está centrada en los libros objeto y el arte sonoro, escuché por primera vez en el ámbito académico el fenómeno denominado “sinestesia, la unión de los sentidos”. Algo que me provocaba un gran interés, ya que descubrí que no todos podían asociar colores a los sonidos o la música, ver los números o las palabras de colores o, como me ocurría a mi, asociar a las personas con colores. A través de Jose Antonio Sarmiento realicé mis primeras experimentaciones sobre, color, sonido e imagen, y estudié ampliamente al grupo dadaístas y los futuristas italianos. Mi inquietud iba más allá, mi interés real se encontraba en el audiovisual, por esa razón busqué por España y encontré que, en la Universidad de Granada realizaban un Máster sobre dibujo, producción y difusión, donde se impartía una asignatura llamada Sinestesia. Eso me llevó a conocer a María José de Córdoba, Doctora en BB. AA y especializada en sinestesia, audiovisuales y grabado. Con el fin de ampliar mis conocimientos sobre este fenómeno me inscribí en seminarios, cursos y congresos internacionales sobre sinestesia, ciencia y arte. Poco después encontré el segundo pilar de mi tesis, Dina Riccò, profesora del departamento de diseño en el Politécnico de Milán. Desde ese momento decidí introducirme en la confección de una tesis artístico/experimental, y tropecé con dificultades para acotar el tema ya que, en el mundo del arte actual, los creativos tienden a crear proyectos de forma multidisciplinar. Así, el aprendizaje artístico no sólo se basa conocer el dibujo, la pintura o el audiovisual, sino que también se valora tener conocimientos de música, ciencia y matemáticas. Digo esto porque la creatividad tiende a influenciarse de todo lo que le rodea. Es conveniente señalar la complejidad de realizar un proyecto interdisciplinar de esta índole, ya que habitualmente, un artista visual de una Facultad de Bellas Artes, no ha sido formado. Esto ha supuesto la incursión en diferentes disciplinas que, a priori, no forman parte de las Bellas artes, aunque están directamente relacionadas con ellas, por ejemplo, la ciencia, la psicología, y el diseño. Durante mi periodo en Cuenca, seguía la idea de René Descartes, “dudar, es pensar”. En aquel momento todo me provocaba dudas y reflexiones. Muchos años después de investigación y aprendizaje, me di cuenta que estaba equivocado, no era la duda lo que me hacía aprender e investigar, sino que era “la curiosidad”. Ser curioso eso es lo que realmente repercute en el aprendizaje, por ejemplo, cuando uno lee un libro, no debe tomarlo como la verdad, se deben constatar otros puntos de vista, unos equivocados y otros acertados, para así generar la base de un pensamiento critico. Y así suceció, con una mirada curiosa comencé este proyecto que me llevo a latino america, a Republica Checa y a Italia, donde en cada caso he conocido a los investigadores, artistas y pensadores, que considero, más creativos. 5 Abstract: “Slow Emotions” es un juego de palabras que significa movimiento, lentitud y emociones en el campo de audiovisuales. El movimiento, es un cambio de posición de un cuerpo a lo largo del tiempo; la lentitud es el ralentizamiento del movimiento de un cuerpo en el tiempo y las emociones son reacciones psicofisiológicas que representan modos de adaptación a ciertos estímulos del individuo: cuando percibe un objeto, persona, lugar, recuerdo…formando así los sentimientos, originados por una relación ideaestésica, que une ideas o conceptos y sensaciones que causan diferentes estímulos multisensoriales. Se realizará un estudio por la historia del slow motion, tanto en cinematografía como en publicidad y arte, manteniendo el discurso sobre el aspecto emocional que origina los estímulos multisensoriales en su visualización. Se analizará la función expresiva que tiene movimiento lento y cómo en la actualidad los productos se presentan a través de secuencias de imágenes ideaestesicas que utilizando el movimiento lento como recurso expresivo. Palabras clave: IDEAESTESIA – SINESTESIA – AUDIOVISUALES – SLOW MOTION – MOVIMIENTO LENTO - EMOCIONES – DISEÑO DE LA COMUNICACIÓN abstract / keywords Keywords: IDEAESTHESIA – SYNESTHESIA – AUDIOVISUAL – SLOW MOTION- EMOTIONS – COMMUNICATION DESIGN 6 2. Hipótesis La hipótesis central del presente trabajo de investigación plantea que la imagen en movimiento lento o slow motion es una técnica utilizada en audiovisuales que funciona como inductor de estímulos multisensoriales. Para demostrar esta hipótesis, se analizará el uso del movimiento lento en cine, en el diseño de la comunicación, videoarte y videoclip. Entonces, hipotéticamente las estrategias de la utilización de la imagen en movimiento lento en audiovisuales, tiene una capacidad expresiva y comunicativa, donde la ralentización del movimiento estimula los sentidos, máxime cuando se utiliza en publicidad. Los elementos como la composición de planos, el color y la metáfora sinestésica permiten demostrar esa intencionalidad para, de manera objetiva o subjetiva, producir sensaciones. 3. Objetivos Objetivos generales a) Analizar qué es la sinestesia y la ideaestesia desde un punto de vista científico, psicológico y artístico; sugerir su análisis en el sector audiovisual, en relación con la emoción en movimiento lento. b) Recopilar la utilización del movimiento lento en su uso científico, cinematográfico y publicitario, desarrollando los casos más significativos. c) Evaluar cómo la Ideaestesia conecta ideas y sensaciones en la estructuración de las secuencias audiovisuales para producir aproximaciones a la sinestesia, tomando como referencia el efecto Kuleshov.
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