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RESEARCH ARTS: La Intersección Arte, Ciencia Y Tecnología Como Campo De Conocimiento Y De Acción

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RESEARCH ARTS: La Intersección Arte, Ciencia Y Tecnología Como Campo De Conocimiento Y De Acción RESEARCH ARTS: La intersección arte, ciencia y tecnología como campo de conocimiento y de acción Stella Veciana Schultheiss ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. En la utilización o cita de partes de la tesis es obligado indicar el nombre de la persona autora. WARNING. On having consulted this thesis you’re accepting the following use conditions: Spreading this thesis by the TDX (www.tdx.cat) service has been authorized by the titular of the intellectual property rights only for private uses placed in investigation and teaching activities. Reproduction with lucrative aims is not authorized neither its spreading and availability from a site foreign to the TDX service. Introducing its content in a window or frame foreign to the TDX service is not authorized (framing). This rights affect to the presentation summary of the thesis as well as to its contents. In the using or citation of parts of the thesis it’s obliged to indicate the name of the author. STELLA VECIANA SCHULTHEISS RESEARCH ARTS: LA INTERSECCIÓN ARTE, CIENCIA Y TECNOLOGÍA COMO CAMPO DE CONOCIMIENTO Y DE ACCIÓN Facultat de Belles Arts Universitat de Barcelona Junio 2004 RESEARCH ARTS: LA INTERSECCIÓN ARTE, CIENCIA Y TECNOLOGÍA COMO CAMPO DE CONOCIMIENTO Y DE ACCIÓN TESIS DOCTORAL: Para optar al título de Doctora en Bellas Artes PROGRAMA: Comportaments escultòrics: L’articulació de la diversitat (Bienio 1997-1999) DOCTORANDA: Stella Veciana Schultheiss DIRECTOR DE TESIS: Dr. Josep Cerdà i Ferré, Departamento de Escultura, Facultat de Belles Arts, Universitat de Barcelona Junio 2004 NOTA: en esta publicación las imágenes solo se citan como referencia bibliográfica por motivos de derechos de imagen. Agradecimientos En primer lugar quiero expresar mi más profundo agradecimiento a mi director de tesis Dr. Josep Cerdà por descubrirme nuevas maneras de entender y acceder al mundo. A mi mentor intelectual Peter Weibel quiero expresar mi gratitud por su ayuda en el desarrollo de la tesis con su concepción visionaria de la intersección arte, ciencia y tecnología. Mi más sincero agradecimiento también a las contribuciones y sugerencias que me han aportado las entrevistas con Peter Weibel (ZKM), Catherine David (Witte de With), Dr. Sean Golden (UAB), Dr. Miguel Rodrigo (UAB), Dra. Gisela Welz (JWGU), Dr. Kürshad Turgay (RKUH), Dra. Mª Angeles Caamaño (URV), Dr. Ramón Clotet (UPC), Dr. Antonio Salcedo (URV) así como al apoyo de Dra. Carmina Virgili (UOC), Dra. Laura Baigorri (UB), y Dr. Joan Descarga (UB). Mi más afectuoso agra- decimiento al Dr. José María Veciana (UAB) por su ayuda extraordinaria durante todo el proceso de la redacción de la tesis. Asimismo, agradezco especialmente los comentarios y la ayuda en la revisión lingüística de este estudio a la Dra. Mª Angeles Caamaño (URV). Por último, quiero agradecer profundamente el cálido e incondicional apoyo de mis padres, Alberto Veciana y Sibylle Schultheiss. ÍNDEX INTRODUCCIÓN 11 I ARTE Y CONOCIMIENTO 1. 1. EL ARTE COMO CONOCIMIENTO: TRADICIÓN EPISTEMOLÓGICA EN LA ESTÉTICA 21 1.1.1. Analogon rationis: arte como conocimiento alternativo o disciplina auxiliar 27 1.1.2. La crisis recurrente del fin del arte 39 1. 2. TRANSFORMACIÓN DE LOS OBJETOS DE ESTUDIO CIENTÍFICOS Y DEBATE DEL MÉTODO EN ARTE Y CIENCIA 53 1.2.1. La transformación de los objetos de estudio científicos y revoluciones en el método científico 56 1.2.2. Métodos artísticos plurales 66 1. 3. CALCULEMOS: LA MECÁNICA Y LA EPISTEMOLOGÍA DE LA INFORMACIÓN 77 1.3.1. Arte, tecnología y apparatus 79 1.3.2. El paradigma informático: las teorías de la información entre formalización y contextualización 89 1.3.3. La influencia de las teorías matemáticas de la información en las diferentes disciplinas 101 1. 4. LA "TEORÍA TRANSEPISTÉMICA DEL ARTE" Y SUS COMPONENTES 116 1.4.1. Aproximación hacia una teoría transepistémica del arte 117 1.4.2. Objetos epistémicos y los "componentes transepistémico e interpretativo" 130 1.4.3. "Epistemología política" y "tele-epistemología" 148 1.4.4. Agency, contrainformación y conectividad 158 índex << 5 II ARTE, INVESTIGACIÓN Y PERFORMATIVIDAD: RESEARCH ARTS 2. 1. LA APERTURA DEL ARTE A LA INVESTIGACIÓN INTERDISCIPLINAR Y LAS TEORÍAS ARTÍSTICAS DE LA INFORMACIÓN 169 2.1.1. De la opera aperta al "arte como campo de acción abierto" 171 2.1.2. Information arts como arte de investigación: Agendas de investigación y formas de categorización 185 2.1.3. Aproximación a la investigación interdisciplinar y sus contextos 208 2. 2. SCIENCE WARS O EL BINOMIO “LÍMITE/APERTURA” ENTRE DISCIPLINAS 222 2.2.1. De las "dos culturas" y la "tercera cultura" a "las guerras de la ciencia" 223 2.2.2. Iconoclash: reflexiones críticas sobre "las guerras de las imágenes" 236 2.2.3. Imagen y representación en la ciencia 249 2. 3. ARTE Y ACCIÓN: EL "GIRO PERFORMATIVO" 261 2.3.1. "Arte & intercontextualidad": transepisteme, interpretación y acción 262 2.3.2. El arte performativo y el "giro lingüístico" 276 2.3.3. La apertura del arte, performatividad, tecnología e investigación científico-artística 288 índex << 6 III EL MÉTODO DE DESARROLLO Y APLICACIÓN DE MODELOS EN ARTE, CIENCIA Y TECNOLOGÍA 3. 1. EL ARTE MÁS ALLÁ DE SU CAMPO: EXPANDED ARTS 299 3.1.1. El "modelo de acción expandido": expanded cinema y performance 300 3.1.2. El “modelo reactivo”: circuitos cerrados 314 3. 2. CONVERGENCIA DEL ARTE Y DE LA CIENCIA EN EL MÉTODO DE DESARROLLO Y APLICACIÓN DE MODELOS 336 3.2.1. "Pensar a partir de modelos" en contextos artísticos, científicos y tecnológicos 337 3.2.2. Modelos de simulación computacionales en la ciencia y su función epistémica 245 3. 3. MODELOS DE SIMULACIÓN, MODELOS REACTIVOS Y MODELOS INTERACTIVO- CONECTIVOS 365 3.3.1. La endofísica y los modelos reactivos e interactivos de Peter Weibel 366 3.3.2. Los modelos artístico-científicos: lenguajes operacionales y códigos; objetos y actores; espacios tridimensionales, arquitectura y ambientes inteligentes 387 3.3.3. Modelos de vida artificial e inteligencia artificial 410 3.3.4. La heurística transepistémica: aproximaciones a métodos de investigación artístico-científicos y sus funciones epistemológicas 422 índex << 7 IV LA CONSTRUCCIÓN SOCIAL DEL RESEARCH ARTS 4. 1. ¿EL PARADIGMA DEL RESEARCH ARTS? 457 4.1.1. Culturas científicas, culturas locales y la cultura como observación de segundo orden o metodología de comparación 458 d 4.1.2. El principio de diferencia y la heurística frente al punto ciego, a la irritación sistémica y a la aproximación liminal 475 4. 2. MODELOS ARTÍSTICOS TRANSEPISTÉMICOS Y EL "ARTE DE CONTEXTO" 489 4.2.1. El análisis del discurso desde los métodos de crítica y de genealogía (Foucault), el “arte de contexto” (Weibel) y el research arts 491 4.2.2. Del modelo de archivo moderno al modelo de archivo electrónico-conectivo 527 4.2.3. La cultura como método de comparación y la traducción transepistémica 558 V CONCLUSIONES: RESEARCH ARTS COMO CAMPO DE CONOCIMIENTO Y DE ACCIÓN 5.1. EL PARADIGMA DEL RESEARCH ARTS 590 5.2. EL RESEARCH ARTS Y SUS FUNCIONES 603 APÉNDICE 1. Bibliografía 615 2. Bibliografía de imágenes 641 índex << 8 INTRODUCCIÓN Ante el panorama de sociedades cada vez más condicionadas por procesos de transfor- mación estructurales inducidos por la ciencia y la tecnología, la cuestión que nos plante- amos aquí es el rol del arte en la generación, desarrollo, presentación y difusión de cono- cimiento. ¿Es posible que la intersección entre el arte, la ciencia y la tecnología esté gene- rando un nuevo paradigma artístico? Quién pregunta por la intersección entre arte, cien- cia y tecnología se encuentra, en términos de Foucault, ante una extensa historia discur- siva en torno a la “voluntad de saber”. Hoy, esta historia discursiva del arte como campo de conocimiento no sólo investiga los procesos convergentes y divergentes del arte res- pecto al método científico y al paradigma informático, sino que también explora la incóg- nita resultante de su repercusión performativa y pragmática. ¿Cómo puede distinguirse la actividad del artista que interviene fuera de su propio campo de la de otros actores socia- les? Cuando el artista acopla su actividad, por ejemplo, a objetivos científicos tales como obtener resultados verificables o el alcanzar índices de citación notables, ¿en qué medi- da aún se puede diferenciar su actividad de la de un científico? ¿El arte interdisciplinar se disuelve en otros ámbitos de conocimiento o puede constituirse como una nueva vertien- te de arte? La cuestión de la incidencia social de una nueva performatividad artística que proviene de la “voluntad de actuar en otros campos” genera la necesidad de redefinir los componentes epistemológicos del arte y repensar sus funciones sociales.
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