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ESTÉTICA DE AÇÕES COLETIVAS NA INTERNET ART: Crowdsourcing E O Despertar De Públicos Criativos

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ESTÉTICA DE AÇÕES COLETIVAS NA INTERNET ART: Crowdsourcing E O Despertar De Públicos Criativos UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES ESTÉTICA DE AÇÕES COLETIVAS NA INTERNET ART: Crowdsourcing e o despertar de públicos criativos José Manuel de Almeida Pereira Orientador: Professora Doutora Sílvia Lami Tavares Chicó Tese especialmente elaborada para a obtenção do grau de Doutor em Belas-Artes, na especialidade de Multimédia 2019 UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES ESTÉTICA DE AÇÕES COLETIVAS NA INTERNET ART: Crowdsourcing e o despertar de públicos criativos José Manuel de Almeida Pereira Orientador: Professora Doutora Sílvia Lami Tavares Chicó Tese especialmente elaborada para a obtenção do grau de Doutor em Belas-Artes, na especialidade de Multimédia Júri: Presidente: Doutora Susana de Sousa Dias de Macedo, Professora Auxiliar e membro do Conselho Científico da Faculdade de Belas-Artes da Universidade de Lisboa (nomeada pela Presidente do Conselho Científico desta Faculdade, Prof. Doutora Maria João Pestana Noronha Gamito, nos termos do n.º2.1 do Despacho n.º2168/2018, do Diário da República, 2ª série, n.º43, de 1 de março); Vogais: - Doutor Tiago Barbedo Assis, Professor Auxiliar da Faculdade de Belas-Artes da Universidade do Porto (1ºarguente); - Doutora Mónica Sofia Santos Mendes, Professora Auxiliar da Faculdade de Belas- Artes da Universidade de Lisboa (2º arguente); - Doutora Ana Amélia Costa da Conceição Amorim Soares de Carvalho, Professora Catedrática da Faculdade de Psicologia e Ciências da Educação da Universidade de Coimbra; - Doutor Adérito Fernandes Marcos, Professor Catedrático do Departamento de Ciências e Tecnologia da Universidade Aberta; - Doutora Sílvia Lami Tavares Chicó, Professora Catedrática Aposentada da Faculdade de Belas-Artes da Universidade de Lisboa (orientadora). 2019 DECLARAÇÃO DE AUTORIA Eu José Manuel de Almeida Pereira, declaro que a tese de doutoramento intitulada “Estética de ações coletivas na Internet Art: crowdsourcing e o despertar de públicos criativos”, é o resultado da minha investigação pessoal e independente. O conteúdo é original e todas as fontes consultadas estão devidamente mencionadas na bibliografia ou outras listagens de fontes documentais, tal como todas as citações diretas ou indiretas têm devida indicação ao longo do trabalho segundo as normas académicas. O Candidato Lisboa, 15 de Outubro de 2018 i RESUMO O presente estudo de natureza teórica visa fundamentalmente problematizar a estética das ações coletivas na Internet Art. De um modo mais restrito, analisam-se os pressupostos, estratégias e caraterísticas do discurso artístico, face ao meio ou ‘arena’ de atuação e às idiossincrasias daqueles que o ‘habitam’, como elementos preponderantes para a formulação e emergência da tese interpretativa da Crowdsourcing Art que se avança. A abordagem desta fenomenologia estética centra-se numa sequência de vetores determinantes da maturação de práticas artísticas colaborativas a par das vicissitudes inerentes a um ambiente tecnológico marcado pela conetividade, participação e constante inovação. A reflexão perseverante sobre as prerrogativas estéticas evoca os fundamentos alicerçantes da arte em contexto online, as suas particularidades no constructo de um medium artístico polimorfo e permeável à evolução tecnológica, e a dimensão participativa de uma multidão anónima predisposta a coletivizar ações com base em interesses comuns, com ênfase explícita na convergência das relações e manifestações públicas que ocorrem na rede. O juízo crítico argumentativo utilizado configura uma dialética transdisciplinar entre o desafio provocatório das convenções instituídas no universo artístico e a investigação do potencial das ações colaborativas online, notando a forma como ambos articulam experiências que se desenvolvem e prolongam no tempo, ressalvando-se a necessidade de congregação entre o cariz estetizante a que o primeiro se remete e a implícita autonomização artística que as segundas almejam. Os artifícios estilísticos e o modelo de coprodução da Crowdsourcing Art são agregados numa posição artística, devedora da participação de uma multidão anónima na produção da obra, que evidencia uma assinatura baseada na sinergia colaborativa indissociável do ambiente tecnológico, sublinhando a conceptualidade de padrões representativos de um certo tipo de infinidade da sociedade em rede. Os exemplos analisados foram monitorizados, perscrutados, documentados e, sempre que se considerou necessário, consultados os seus interlocutores a partir do seu meio nativo de modo a agenciar uma sustentação válida das evidências empíricas do estudo. Palavras-chave: Internet Art / Participação / Colaboração / Estética Coletiva / Crowdsourcing Art ii ABSTRACT The present study of a theoretical nature seeks to fundamentally problematize the aesthetics of collective actions in the Internet Art. In a more restricted way, the assumptions, strategies and characteristics of artistic discourse are analyzed, considering the medium or 'arena' of performance and the idiosyncrasies of those that ‘inhabit’ it, as preponderant elements for the formulation and emergence of the interpretative thesis of Crowdsourcing Art that is advanced. The approach of this aesthetic phenomenology focuses on a sequence of vectors that determine the maturation of collaborative artistic practices along with the vicissitudes inherent to a technological environment marked by the connectivity, participation and constant innovation. Persevering reflection on aesthetic prerogatives evokes the underlying foundations of art in online context, its particularities in the construct of a polymorphous and permeable artistic medium to technological evolution and the participatory dimension of an anonymous crowd predisposed to collectivize actions based on common interests, with an explicit emphasis on the convergence of public relations and manifestations occurring in the network. The argumentative critical judgment used constitutes a transdisciplinary dialectic between the provocative challenge of the conventions instituted in the artistic universe and the investigation of the potential of online collaborative actions, noting the way in which they articulate experiences that develop and extend in time, with the need to congregation between the aesthetic aspect to which the former refers and the implicit artistic autonomization that the latter desire. Crowdsourcing Art's stylistic devices and coproduction model are aggregated into an artistic position, which owes the participation of an anonymous crowd in the production of the work, which evidences a signature based on the collaborative synergy inseparable from the technological environment, emphasizing the conceptuality of standards, representative of a certain kind of infinity of networked society. The examples analyzed were monitored, scrutinized, documented and, where necessary, consulted from the native environment in order to provide valid support for the empirical evidence of the study. Keywords: Internet Art / Participation / Collaboration / Collective Aesthetic / Crowdsourcing Art iii AGRADECIMENTOS Um agradecimento especial à minha orientadora, Professora Doutora Sílvia Chicó, pela disponibilidade e apoio prestados ao longo deste estudo, pelo estímulo, rigor e oportunas sugestões. Aos colegas de doutoramento, Hugo Olim e Pedro Costa, pelos momentos de partilha e descontração indispensáveis para a manutenção da frescura e lucidez próprios deste desafio. À Celina e ao Costa por terem proporcionado o ambiente sereno e favorável aos momentos de isolamento que permitiram o bom curso desta investigação. Aos ‘meus’ professores, autores, artistas, curadores e entusiastas da Internet Art cujos ensinamentos, obras e literatura contribuíram inteligivelmente para uma cumplicidade teórica e artística que me incentivaram a repensar conceções e práticas acerca deste estudo. A todos aqueles cuja dose de paciência aumentou enquanto eu a perdia. iv DEDICATÓRIA À Marisa e à Bárbara, arquitetas incansáveis de uma serenidade emocional com incontáveis horas de compreensão, apoio e privações várias. À memória do meu pai e ao seu persistente inconformismo. v If you have an apple and I have an apple and we exchange these apples, then you and I will still each have one apple. But if you have an idea and I have an idea and we exchange these ideas, then each of us will have two ideas. George Bernard Shaw vi ÍNDICE Introdução……………………………………………………………………… 1 Capítulo I: Fundamentos e delimitação propedêutica da Internet Art……….… 8 1.1 A emergência da internet com fins artísticos………………………..……... 9 1.2 Net.Art, ‘guetorização’ do discurso……………..…………………………... 17 1.3 Singularidade pluralista: terminologias e a deriva taxionómica……..……… 22 1.4 Legitimação da Internet Art como oxímoro de uma arte sem aura institucional…………………………………………………………………….. 34 1.4.1 O abraço institucional: o prenúncio do Salon des Refusés….…………… 41 1.4.2 O abraço institucional: a paradoxa fisicalidade do ‘objeto’ de arte online. 53 1.4.3 Mise en scène: exibição de Internet Art como um palco performativo.…. 60 Capítulo II: Medium de massas, efeitos em massa………………….………….. 64 2.1 A anunciada ‘morte’ necessária à transcendência da Internet Art: da queda do dot com à Web 2.0 e à Post-Internet Art……………………………………. 65 2.1.1 O assalto da Web 2.0……………….……...….………………………... 71 2.1.2 Entre os dois extremos: Post-internet art……………..…...…………… 84 2.2 A condição pós-medium………..…………………………………………... 93 2.2.1 Condição pós-media………….………………………………………… 101 2.3 Sublevações: transformações da linguagem na arena pública……..………. 108 2.3.1 Ubiquidade digital: estética
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