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Departamento De Ciencias Sociales Licenciatura En Comunicación “Nostalgia De Una Utopía

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Departamento De Ciencias Sociales Licenciatura En Comunicación “Nostalgia De Una Utopía Departamento de Ciencias Sociales Licenciatura en Comunicación “Nostalgia de una utopía. Un análisis semiótico del Vaporwave como arte contemporáneo” Autor: Mateo Mórtola Legajo: 25.121 Mentor: Gastón Cingolani Buenos Aires, 30 de julio de 2018 AGRADECIMIENTOS Sería un error, una negligencia, probablemente una falta de respeto, dejar pasar la oportunidad de la entrega de la tesis de graduación para agradecerle a las personas que hicieron posible este camino. Son demasiados, si me pusiera a hilar fino. Haré un recorte, no con el propósito de olvidar, sino con el objetivo de destacar a quienes significaron apoyo, confianza, compañía, desafío y aprendizaje. En primer lugar, a Silvia, por haberme recibido allá por el 2012, cuando evaluaba cambiarme de Universidad. Silvia confió en mí y me alentó a entrar en UdeSA; si no hubiera tenido esas primeras entrevistas con ella, quizás hoy no estaría escribiendo estos agradecimientos. Gracias por estar en ese momento y a lo largo de toda la carrera, brindándome confianza tanto dentro como fuera del aula. A Gastón, por el enorme apoyo y confianza en el largo proceso de producción de este trabajo. Si bien no fui su alumno, ya que ingresé con Semiótica por equivalencia, aceptó ser mi tutor y potenció mi idea inicial del trabajo, ayudándome a trazar el camino y llevarla hasta este punto. Gracias por la escucha y el entendimiento, por los encuentros en la UNA, las conversaciones de música y arte que hemos tenido y por ayudarme en todo momento a realizar un trabajo de graduación que he aprendido a querer. A muchos de los mejores profesores que he tenido en todos estos años: Mario Carlón, Eugenia Mitchelstein, Marcela Gené, Belén Igarzábal, Julián Gadano, Oscar Traversa, Martín Becerra, Juan Stafforini, Pablo Werning. Y, por supuesto, al irrepetible Eliseo Verón. Gracias por todos los desafíos, por la entrega y por la pasión. A mis amigos, de la facultad, del colegio y de la vida, que siempre están y siempre estarán. Gracias por el entendimiento como pocos y la confianza total. A Jose, por estar siempre, por todo el amor y por el apoyo inquebrantable. Por acompañarme, y dejar que la acompañe, en todo este camino de crecimiento y descubrimiento del mundo. Gracias por existir y gracias, también, a la suerte, que nos cruzó en San Andrés. Y, por último, a mi familia. A mis viejos, Osvaldo y Liliana, y mis hermanos, Guido y Gonzalo. Gracias por la incondicionalidad, por apostar por mi crecimiento, por darme siempre lo mejor y por empujarme siempre a más. Gracias por todo lo que sucedió y lo que sucederá. 1 ÍNDICE 1. INTRODUCCIÓN ................................................................................................................ 3 1.1 OBJETO Y TEMA DE ESTUDIO .................................................................................... 3 1.1.1 Objeto de estudio, antecedentes, relevancia .............................................................. 3 1.1.2 Una aproximación histórica al concepto del arte ..................................................... 7 1.1.2A De la Edad Media al Esteticismo ................................................................................... 7 1.1.2B El proyecto y el fracaso de los movimientos históricos de vanguardia ......................... 10 1.1.2C Neovanguardias, posmodernismo, arte contemporáneo ............................................... 16 1.1.3 ¿Cuándo hay arte? ................................................................................................... 23 1.2 OBJETIVO Y PREGUNTA DE INVESTIGACIÓN...................................................... 25 2. MARCO TEÓRICO .......................................................................................................... 27 2.1 LA TEORÍA DE LOS DISCURSOS SOCIALES........................................................... 27 2.2 GÉNERO Y ESTILO ...................................................................................................... 30 2.3 CRÍTICA DE ARTE: ESTÉTICA RELACIONAL Y POSTPRODUCCIÓN ................ 32 3. HIPÓTESIS Y MARCO METODOLÓGICO ................................................................ 34 4. ANÁLISIS DE CASOS - DISCUSIÓN ............................................................................. 37 4.1 VAPORWAVE ES ARTE .............................................................................................. 37 4.2 VAPORWAVE ES ARTE CONTEMPORÁNEO .......................................................... 43 4.3 VAPORWAVE ES ESTILO DE ARTE CONTEMPORÁNEO ..................................... 50 4.3.1 Retórica, temática, enunciación............................................................................... 50 4.3.2 Análisis semiótico .................................................................................................... 53 4.3.2A Análisis retórico ........................................................................................................... 53 4.3.2B Análisis temático .......................................................................................................... 57 4.3.2C Análisis enunciativo ..................................................................................................... 68 5. CONCLUSIONES .............................................................................................................. 75 5.1 ¿CUÁNDO HAY VAPORWAVE? ................................................................................ 75 5.2 HACIA DÓNDE FUE Y HACIA DÓNDE VA EL VAPORWAVE: EL VIAJE TRANS- SEMIÓTICO ........................................................................................................................ 77 5.2.1 El Vaporwave en los medios .................................................................................... 77 5.2.2 El Vaporwave en otros lenguajes artísticos ............................................................. 78 5.3: REFLEXIÓN FINAL: VAPORWAVE, ¿UN ESTILO METAMODERNO? ............... 80 6. BIBLIOGRAFÍA ................................................................................................................ 83 7. ANEXO ............................................................................................................................... 88 7.1 TABLA 1.1 ..................................................................................................................... 88 7.2 TABLA 1.2 ..................................................................................................................... 92 7.3 TABLA 2 ........................................................................................................................ 95 7.4 TABLA 3 ........................................................................................................................ 97 2 1. INTRODUCCIÓN I’m giving up on trying to sell you things that you ain’t buying. Macintosh Plus - リサフランク420 / 現代のコンピュー 1.1 OBJETO Y TEMA DE ESTUDIO 1.1.1 Objeto de estudio, antecedentes, relevancia El 9 de diciembre de 2011, el sello independiente norteamericano Beer on the Rug publicó un álbum de un artista inédito llamado Macintosh Plus en su cuenta oficial de Bandcamp, una tienda de música online y plataforma de promoción de artistas independientes1. El álbum presentaba un arte de tapa enigmático, onírico e inquietante, y una descripción que decía: Are You Alone? Prism Corp. International We Know Who You're Working For™ RIP 2 Figura 1. Tapa del álbum Floral Shoppe de Macintosh Plus El nombre del álbum era Floral Shoppe y de las once canciones que lo componían, nueve estaban tituladas en japonés y dos se llamaban “Untitled”. El sello ofrecía un modo de compra “pay what you want”3, por el cual el usuario elegía el precio que quería pagar por el álbum, pudiendo elegir, incluso, la descarga gratuita. Daba, también, la posibilidad de escucharlo por completo de modo gratuito vía streaming, sin necesidad de ser descargado. En ningún espacio del sitio se explicaba quién era la o las personas detrás de Macintosh Plus ni quiénes habían 1 https://es.wikipedia.org/wiki/Bandcamp 2 https://beerontherug.bandcamp.com/album/floral-shoppe 3 https://en.wikipedia.org/wiki/Pay_what_you_want 3 compuesto sus canciones; no había agradecimientos ni dedicatorias; no había ninguna huella de humanidad. No era la primera vez que Beer on the Rug publicaba un álbum de un artista que ofreciera su producción gratis, ocultando su identidad y presentando un discurso visual y verbal misterioso y enigmático. Pero fue Floral Shoppe el álbum que logró que todas esas características compartidas con los demás artistas que habían publicado obras similares (tanto dentro de Beer on the Rug como en otros sellos o de modo independiente) se convirtieran en algo, en un objeto que nos iremos ocupando de definir: Vaporwave. ¿Qué es el Vaporwave? ¿Qué tipo de discursos involucra? ¿Qué evoca y qué despierta? ¿Es un género musical? ¿Es un estilo artístico? En este trabajo buscaremos echar luz sobre esta cuestión y definir profundamente de qué hablamos cuando hablamos de Vaporwave. El principal problema con el que nos encontramos hoy en día a la hora de definir el Vaporwave es la poca cantidad de abordajes académicos que existen al respecto. En 2016, la Universidad de Oxford publicó el Oxford Handbook of Music and Virtuality, editado por las críticas culturales Sheila Whiteley y Shara Rambarran, que incluyó un artículo escrito por Adam Trainer, Ph.D en Estudios de la Comunicación por la Universidad de Murdoch, Australia, en el que definía al Vaporwave como un “estilo” musical que se apropia de la música
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