{"id":381,"date":"2013-02-19T23:03:00","date_gmt":"2013-02-19T23:03:00","guid":{"rendered":"https:\/\/artword.org\/?p=381"},"modified":"2022-02-25T14:55:54","modified_gmt":"2022-02-25T14:55:54","slug":"encounters-on-the-borders-of-the-immaterial-body-technology-and-visual-culture-art-and-breath","status":"publish","type":"post","link":"https:\/\/artword.org\/index.php\/2013\/02\/19\/encounters-on-the-borders-of-the-immaterial-body-technology-and-visual-culture-art-and-breath\/","title":{"rendered":"Encounters on the Borders of the Immaterial: Body, Technology and Visual Culture. Art and Breath"},"content":{"rendered":"\n

Grammatikopoulou, Christina (2013), Encounters on the Borders of the Immaterial: Body, Technology and Visual Culture. Art and Breath (1970-2012), <\/em>(Doctoral Thesis), Barcelona: University of Barcelona.<\/p>\n\n\n\n

\n
Download Thesis (English)<\/a><\/div>\n\n\n\n
Download Thesis (Spanish)<\/a><\/div>\n<\/div>\n\n\n\n
\n
\n
\n
\n
\n
\n
\n

Through this doctoral research I sought to investigate the question of the immaterial in contemporary art and to reveal the creative processes that are connected to interaction, digital technologies and embodiment. The objective is not to simply make an \u201canthology\u201d of ideas and artworks that are relevant to immateriality and breath, but to present in an integrated and rigorous manner the alternative paths of creation and perception, which go beyond the limits of the material object. The main terms that I aim to bring into light will be the immaterial in contemporary art and how it evolves from the conceptual to the digital; also, the human body as a locus of artistic creation and its role as a tool of perception; lastly, breath as an immaterial element that expresses the corporeal and the intellect \u2013and hereby as a prime matter of artistic creation. Through these questions an alternative path in art history will be carved: one that emphasizes experience over materiality, participation over authority, flux over stability and openness over exclusion. It is a path that passes through multiple layers of cultural expression, different theoretical approaches, and a deeply intercultural and interdisciplinary approach. More specifically, this thesis seeks to reveal the immaterial dimension of digital culture, the role of the body in regard to recent technological advancements and the relevance of these aspects to visual culture. Creating a bridge between the ethereal and the concrete, it highlights the role of breath in interactive software-based environments, in installation and videos, and lastly, in performance. The analysis is formed by three main threads, which are interwoven among each other and with other smaller threads throughout the development of this thesis. The first thread covers the inquiry of the immaterial and the evolution of its understanding from the conceptual frame of the 1970s to the contemporary digital world, building primarily on Maurice Merleau-Ponty\u2019s phenomenology and Don Ihde\u2019s postphenomenological assertions, while keeping in mind Nicholas Bourriaud\u2019s focus on postproduction. This theoretical analysis is completed with artists who work with software-based interactive art with an almost non-existent material aspect, which requires participation through the entire body \u2013mainly breath. The second thread engages with the relation of breath to philosophical thought and artistic practice, starting with a theoretical analysis that passes through Greek and Indian philosophy and reaches contemporary thinking. This builds a substratum that helps approach artists who work with breath as a prime material or source of inspiration, especially focusing on installation art. The third thread views respiration through the prism of performative action; for this matter, its theoretical basis involves the relation of breath to voice and speech and its role in performance and actor training, with a particular emphasis on Antonin Artaud\u2019s thinking. Subsequently, the intermediary space between theatre and performance art will come into focus, as well as artists who work with performance art. My main goal in this thesis is to inquire into the role of the immaterial within artistic endeavours and to show how it encourages a more open approach to the work of art, which involves perceiving it through the entire body. For this matter, I focus on theories that create a basis of understanding and subsequently relate them to the work of artists who deal with breath in regard to the immaterial and the body.<\/p>\n<\/div>\n\n\n\n

\n

Con esta investigaci\u00f3n doctoral se trata de analizar el tema de lo inmaterial en el arte contempor\u00e1neo y de revelar los procesos creativos vinculados a la interacci\u00f3n, las tecnolog\u00edas digitales y su relaci\u00f3n con el cuerpo. El objetivo no es simplemente crear una \u201cantolog\u00eda\u201d de ideas y obras de arte que son relevantes a la inmaterialidad y la respiraci\u00f3n, sino presentar de manera integrada y rigurosa los caminos alternativos de la creaci\u00f3n y de la percepci\u00f3n, que van m\u00e1s all\u00e1 de la materialidad. Los t\u00e9rminos principales en los cuales se har\u00e1 hincapi\u00e9 son lo inmaterial en el arte contempor\u00e1neo y su evoluci\u00f3n desde lo conceptual hasta lo digital; el cuerpo humano como un locus de creaci\u00f3n art\u00edstica y su papel como herramienta de percepci\u00f3n y comprensi\u00f3n; y por \u00faltimo, la respiraci\u00f3n como elemento inmaterial que expresa lo corp\u00f3reo y lo intelectual y a la vez como materia prima de la creaci\u00f3n art\u00edstica. A trav\u00e9s de estas propuestas se ha tallado una v\u00eda alternativa en la historia del arte; una v\u00eda que valora la experiencia m\u00e1s que la materialidad, la participaci\u00f3n m\u00e1s que la autoridad, el flujo m\u00e1s que la estabilidad y la apertura m\u00e1s que la exclusi\u00f3n. Es un camino que discurre a trav\u00e9s de m\u00faltiples niveles de expresi\u00f3n cultural, diferentes enfoques te\u00f3ricos que confirma una aproximaci\u00f3n profundamente intercultural e interdisciplinaria. M\u00e1s concretamente, esta tesis trata de revelar la dimensi\u00f3n inmaterial de la cultura digital, el papel del cuerpo con respecto a los recientes avances tecnol\u00f3gicos y la relevancia de estos temas en relaci\u00f3n a la cultura visual. La creaci\u00f3n de un puente entre lo et\u00e9reo y lo concreto pone de relieve el papel de la respiraci\u00f3n en entornos interactivos basados en software, la instalaci\u00f3n y el v\u00eddeo arte, y por \u00faltimo, en la performance. El an\u00e1lisis est\u00e1 formado por tres l\u00edneas principales, que se entrelazan entre s\u00ed y con otras l\u00edneas secundarias a lo largo del desarrollo de esta tesis. La primera l\u00ednea abarca la investigaci\u00f3n de lo inmaterial y la evoluci\u00f3n de su comprensi\u00f3n desde la esfera de lo conceptual en el arte desde los a\u00f1os 1970 hasta el mundo contempor\u00e1neo digital. Se basa principalmente en la fenomenolog\u00eda de Maurice Merleau-Ponty y en las afirmaciones post-fenomenol\u00f3gicas de Don Ihde, teniendo en cuenta el enfoque de Nicol\u00e1s Bourriaud sobre la postproducci\u00f3n. Este an\u00e1lisis te\u00f3rico se completa con artistas que trabajan con arte interactivo basado en software, cuyo aspecto material es casi inexistente; las obras mencionadas requieren la participaci\u00f3n con todo el cuerpo, principalmente la respiraci\u00f3n. La segunda l\u00ednea aborda la relaci\u00f3n de la respiraci\u00f3n con el pensamiento filos\u00f3fico y la pr\u00e1ctica art\u00edstica, a partir de un an\u00e1lisis te\u00f3rico que empieza con la filosof\u00eda griega e india y llega al pensamiento contempor\u00e1neo. Este sustrato te\u00f3rico ayuda a aproximarse a los artistas que trabajan con la respiraci\u00f3n como materia prima o fuente de inspiraci\u00f3n, sobre todo centr\u00e1ndose en instalaciones art\u00edsticas. La tercera l\u00ednea observa la respiraci\u00f3n a trav\u00e9s del prisma de la acci\u00f3n performativa; por ello la estructura te\u00f3rica abarca tanto la relaci\u00f3n de la respiraci\u00f3n con la voz y el habla como su papel en la performance y la formaci\u00f3n de los actores, con un \u00e9nfasis especial en el pensamiento de Antonin Artaud. Posteriormente, el an\u00e1lisis se dedica al espacio intermedio entre el teatro y la performance y a artistas que trabajan con la performance. El objetivo principal en esta tesis es profundizar en el papel que tiene lo inmaterial en las actividades art\u00edsticas y mostrar c\u00f3mo fomenta un enfoque abierto al arte, dirigido hacia la percepci\u00f3n por el cuerpo. Para llegar a \u00e9l, primero se construir\u00e1 una base te\u00f3rica sobre el tema, basada sobre todo en una aproximaci\u00f3n filos\u00f3fica y literaria, y posteriormente se analizar\u00e1 la obra de artistas que trabajan con la respiraci\u00f3n en relaci\u00f3n con lo inmaterial y el cuerpo.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Grammatikopoulou, Christina (2013), Encounters on the Borders of the Immaterial: Body, Technology and Visual Culture. Art and Breath (1970-2012), (Doctoral Thesis), Barcelona: University of Barcelona….<\/p>\n","protected":false},"author":1,"featured_media":383,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[26],"tags":[],"class_list":["post-381","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-thesis"],"acf":[],"_links":{"self":[{"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/posts\/381","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/comments?post=381"}],"version-history":[{"count":4,"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/posts\/381\/revisions"}],"predecessor-version":[{"id":390,"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/posts\/381\/revisions\/390"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/media\/383"}],"wp:attachment":[{"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/media?parent=381"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/categories?post=381"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/tags?post=381"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}