PINTURA COMO HIPERTEXTO DO VISÍVEL, INSTAURAÇÃO DO TECNO-IMAGINÁRIO DO CITOR

Plastic Thinking as dimension and disciplinary territoriality questioning the increasing technological immersion characterised by digital matrix’s information and communication devices that mimic the human intellectual technologies. Desertification and implosion of the human imaginary, having as axis mundi the computer opposite to the Plastic Thinking, put forward as «station of the visible», integrating dynamic units which become visible through the shaping of the artistic displays. Trilogy: Tradition, Modernity and Post-Modernity interpreted as categories that exist in every historic period. Decline of the great narratives and sunset of the Academies of Fine-Arts. The «scientification» of the artistic speech as a manner of legitimating and statute. Artistic response to the technological «exodus» as inexorable destiny of mankind, through «archipelagos» of authors where Nazarenes, Pre-Raphaelites and Nabis play the lead roles. The Martin Heidegger’s «irresistible character of the technological supremacy» and the extreme reduction of man to a «concluded natural organism» emptied of its myths and unable of mythodological acts (Gilbert Durand).
Demotechnocracies, cybercracies and the Cyberculture’s genesis, linked with the society’s militarization and the over-surveillance, in contrast with the idea of generalised and free access to the world wide webs (Internet-Howard Rheingold).
Hypertext (Theodore Nelson), structure of the conceptual matrix of the techno-artistic displays and its fractal essence. Hypertext, techno-artistic strategies and hyper-real dimensions. Cyberspace (William Gibson) the «consensual hallucination». Cyberart, monotony and circularity of the laboratorial pictures used by techno-artists: Bill Viola, Roy Ascott, Stelarc and Orlan.
Creation of the concept of «Citor», implying the existence of a unit made up of non intervened or technologically improved «concluded natural organism», which appeals to quotation and appropriation strategies, acting within the cybernetic framework that favours the communication between machines and human beings. Instauration of the techno-imaginary announcing a new type of relationship with the knowledge, based on the connectivity of images’ blocks where the strategies of significance get closer to the cinematographic language. «Citor», notion of Post-Humanity and biotechnological hybridity, cybermyths, irrationality and technological ritualizations exposed in the Survival Research Laboratories’ interventions.
Paradigm «High Tech – Low Life», memory and influence of the counterculture youth movements, artistic displays contestant of the Beatiniks and the Hippies consolidating the idea of Cyberdelia as indiscriminate syncretism. High Tech and the neo-tribalism New Wave where hackers, cyberpunks, crackers play the leading role and the consequent Cyberpunks’ technological vagrancy. Cyberpunk’s imaginary, publications, piracy, illustration, events, scientific fiction literature, William Gibson and the concept of Cyberspace in Neuromancer, (Bruce Sterling, Mark Dery and Rudy Rucker), cyberpunk’s cult filmography – Blade Runner by Riedly Scott and the cyborgs, and the image of the highly technical body, as hyper reality where the entropy between reality and fiction is absolute. Parallelism between High Life and Low Life through the street culture – graffiter, organisation, pictographic ritualization which discloses plastically inhumanity’s and ghettos’ domains as vestiges from concentrationary societies. Reaffirmation of the meaning and importance of the artistic praxis as founder and recenter element of the humanising visions, revealed in the visibility of the shaped artistic displays.

Key-words

Art
Plastic Thinking
Painting
Hypertext
Cyberart
Cyberculture
Citor
Techno-imaginary

Author(s)
Year 2007
Type Thesis
Institution Faculdade de Belas Artes da Universidade de Lisboa
Degree PhD
Supervisor(s) João Rocha de Sousa
Language Português
Field Painting