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Prácticas Artisticas Y Espacios Virtuales En La Época De La Web 2.0

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Prácticas Artisticas Y Espacios Virtuales En La Época De La Web 2.0 Facultad de Belles Arts de Sant Carles Departament d’ Escultura Programa de Doctorado en Arte: Producción e Investigación TESIS DOCTORAL LA INVISIBILIDAD DEL PRESENTE: PRÁCTICAS ARTISTICAS Y ESPACIOS VIRTUALES EN LA ÉPOCA DE LA WEB 2.0 Presentado por: José Luis Ortega Lisbona Dirigida por: Emilio José Martínez Arroyo Valencia, Noviembre de 2018 “Nuestro destino nunca es un lugar, sino una nueva forma de ver las cosas”. Henry Miller. Big Sur y las naranjas del Bosco, 1957. ”Todo lo que escuchamos es una opinión, no un hecho. Todo lo que vemos es una perspectiva, no es la verdad“. Marco Aurelio, Meditaciones, 170-180 d. C. Agradezco de manera especial a mi familia, amigos y pareja, sin cuyo apoyo, entendimiento y comprensión no hubiera sido posible la realización de esta investigación. Agradezco también al Departamento de Escultura de la Universitat Politècnica de València por su ayuda. Agradezco a los componentes del Grupo de Investigación Laboratorio de Luz por su gran dedicación y apoyo. Agradezo a mi director y tutor Emilio José Martínez Arroyo por su comprensión y paciencia durante estos años de trabajo. Esta Tesis Doctoral está dedicada a todos aquellos que aún en tiempos culturalmente precarios deciden realizar esta ardua tarea. 2 RESÚMENES Español: La presente Tesis Doctoral nos plantea un escenario evanescente e incoherente para nuestros sentidos, dentro del cual interrogarnos sobre las formas de intervención artística en aplicaciones y tecnologías de la Web 2.0. La práctica artística siempre ha tenido la capacidad de alterar los códigos y signos de las estructuras de poder para tergiversarlas y reinterpretarlas. Por otro lado, el artista como explorador de los entornos tecnológicos más novedosos es capaz de asociar cambios externos con sus consecuencias internas, de manera que alcanza a atisbar como somos modelados por nuestras propias tecnologías. Esta tesis analiza, mediante la práctica artística el funcionamiento, la estructura, el contenido y el impacto de estos medios, poniendo especial atención en su funcionamiento y uso dentro de la esfera pública, con la intención de dilucidar cual es el papel del artista dentro de este entorno mediático cada vez más complejo y cotidiano. Mediante este estudio se pretende profundizar sobre la verdadera dimensión social y cultural de la red, a la vez que se genera una completa investigación sobre como la práctica artística es capaz de reinterpretar las nuevas características y configuraciones de este medio. Valencià: La present Tesi Doctoral ens planteja un escenari evanescent i incoherent per als nostres sentits, dins del qual interrogar-nos sobre les formes d'intervenció artística en aplicacions i tecnologies de la Web 2.0. La pràctica artística sempre ha tingut la capacitat d'alterar els codis i signes de les estructures de poder per a tergiversar-les i reinterpretar-les. D'altra banda, l'artista com a explorador dels entorns tecnològics més nous és capaç d'associar canvis externs amb les seues conseqüències internes, de manera que aconsegueix a aguaitar com som modelats per les nostres pròpies tecnologies. Esta tesi analitza, per mitjà de la pràctica artística el funcionament, l'estructura, el contingut i l'impacte d'estos mitjans, posant especial atenció en el seu funcionament i ús dins de l'esfera pública, amb la intenció de dilucidar quin és el paper de l'artista dins d'este entorn mediàtic cada vegada més complex i quotidià. Per mitjà d'este estudi es pretén aprofundir sobre la verdadera dimensió social i cultural de la xarxa, al mateix temps que es genera una completa investigació sobre com la pràctica artística és capaç de reinterpretar les noves característiques i configuracions d'este mig. English: This Doctoral Thesis presents us with an evanescent and incoherent scenario for our senses, in which we wonder about the forms of artistic intervention in Web 2.0 applications and technologies. Artistic practice has always had the ability to alter the codes and signs of power structures in order to distort and reinterpret them. On the other hand, the artist as an explorer of the most state-of-the-art technological environments is able to associate external changes with their internal consequences, so that he can see how we are modeled by our own technologies. This thesis analyzes, through artistic practice, the functioning, structure, content and impact of these media, paying special attention to their functioning and use within the public sphere, with the intention of elucidating which role the artist assumes within this media environment as its degree of complexity is increasingly growing every day. The aim of this study is to deepen the true social and cultural dimension of the network, while generating a complete research on how artistic practice is able to reinterpret the new characteristics and configurations of this medium. 3 ÍNDICE INTRODUCCIÓN Objeto de estudio. Pág. 7 Hipótesis. Pág. 8 Objetivos y preguntas de la investigación. Pág. 10 Metodología. Pág. 13 Marco teórico. Pág. 14 CAPÍTULOS PARTE 1 TEORÍA 1. DE LA CONTRACULTURA A LA WEB 2.0 1.1. De la contracultura a la cultura hacker. Pág. 20 1.2. Las lógicas de la web 2.0. Pág. 38 2. LA ECOLOGÍA DE LOS MEDIOS 2.1. Precedentes desarrollo y nuevas fronteras. Pág. 53 2.2. Punto de vista de retrovisor. Pág. 60 2.3. El Anti-Medio. Pág. 66 2.4. Arqueología de los medios. Pág. 70 2.5. Narcosis Narciso. Pág. 74 2.6. Un arte de los medios de comunicación. Pág. 78 3. TRABAJO Y BIOPOLÍTICA EN LA RED 3.1 Capitalismo cognitivo. Pág. 83 3.2 General Intellect. Pág. 88 3.3 El trabajo inmaterial. Pág. 92 3.4 El Trabajo digital. Pág. 96 3.5 El usuario como productor. Pág. 101 3.6 Neuroplasticidad. Pág. 107 4 4. IDENTIDAD Y SUBJETIVIDAD EN RELACIÓN A INTERNET 4.1 Del ser al actuar. Pág. 112 4.2 Texto, ficción e identidad. Pág. 121 4.3 Identidades multiusos. Pág. 141 4.4 Anonimato vs persistencia. Pág. 148 4.5 Medios sociales, branding e identidad. Pág. 154 PARTE 2 OBRA 5. METODOLOGÍA ARTÍSTICA: EXPLORACIÓN, REFLEXIÓN, INTERVENCIÓN Y MATERIALIZACIÓN 5.1. El artista como explorador mediático. Exploración. Pág. 165 5.2. Reflexión sobre las aplicaciones de la web 2.0. Reflexión. Pág. 171 5.3. Tácticas de intervención en la esfera pública. Intervención. Pág. 176 5.4. Intervención en espacios virtuales. Materialización. Pág. 185 6. OBRA PERSONAL: ENSAYOS EXPERIMENTALES. 6.1. Estructura praxis. público-privado, real-virtual, local global. Pág. 195 6.2. How we can make each other better? Pág. 202 6.3. El paisaje de la multitud. Pág. 245 6.4. Google me. Pág. 266 6.5. Neogeografías. Pág. 298 6.6. Eco. Pág. 334 6.7. Paisajes subjetivos. Pág. 357 CONCLUSIONES Español – English Pág. 387 BIBLIOGRAFÍA Pág. 420 ÍNDICE DE FIGURAS Pág. 432 5 INTRODUCCIÓN 6 OBJETO DE ESTUDIO Esta investigación se ubica en una época en la cual la virtualidad en la cual desarrollamos gran parte de nuestra existencia se ha transformado en una de las dimensiones de nuestra realidad, convirtiéndose en una de las cualidades más notables de esta. Vivimos nuestra cotidianidad mediante la red, generando una relación ininterrumpida. Debido a esta conexión permanente, nos conformamos como seres que se definen por sus redes y la manera mediante la cual estas se han desarrollado y funcionan. Los modelos mediáticos basados en las lógicas de la Web 2.0 han tomado un papel hegemónico dentro de la red, en detrimento de modelos autogestionados, dando origen a nuevas utopías basadas en el individualismo en lugar de en la colectividad. Esto ha conformado aplicaciones que son un intermediario entre el usuario y la experiencia vivida en Internet, gestionando nuestros datos y preferencias mediante un sistema que delega y extiende muchas de nuestras capacidades. Las actividades relacionadas con lo social se han transformado en un elemento productivo, mientras que la creatividad se mueve en el ámbito de lo afectivo. Nos movemos en una continua insatisfacción, pese a las grandes cantidades de información que recibimos diariamente y lo omnipresente de estas tecnologías en el ámbito de nuestra vida diaria. Los datos se han posicionado como el elemento que nos construye dentro de la red, pero que también nos disuelve, de manera que podemos ser analizados, modelados y rentabilizados por estas tecnologías. Este macromedio, que paulatinamente ha fagocitado la mayor parte del resto de medios, ha pasado a ser parte fundamental de la manera mediante la cual percibimos nuestra realidad, nos representamos y conformamos nuestra subjetividad. Debido a la vertiginosa aparición de nuevas tecnologías que actúan como prótesis y extensiones de nuestra propia existencia, se ha planteado como una emergencia el discernir como estas distorsionan nuestra percepción, cambiando la manera en la cual percibimos nuestro entorno, a nosotros mismos, así como nuestros valores y actitudes. El ser humano tiene la capacidad de moldear sus propios métodos de comunicación, sin embargo paradójicamente permanecemos inconscientes ante el efecto moldeador que estos medios producen sobre nosotros mismos. 7 Dentro de este escenario las tecnologías de la información y la comunicación se han erigido como fuentes fundamentales tanto de los cambios sociales como de la hegemonía cultural. Esta hegemonía tiene la capacidad de modelar e internalizar ideas y lógicas dominantes. La relación entre comunicación y poder se ha desarrollado dentro de un entorno mediático en el cual señales, emociones y sentimientos generan decisiones que confirman lo que sentimos y queremos que pase, ignorando el pensamiento o el debate racional como herramientas emancipatorias. Estamos ante tecnologías que configuran la manera en la cual vivimos, producimos y consumimos, siendo el núcleo tecnológico que articula la sociedad. Este tipo de redes han roto la relación jerárquica clásica que los medios de comunicación de masas establecieron entre autor y público para crear nuevas condiciones de recepción y producción cultural.
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