CIRCULATION OF IMAGES AND ARTISTIC DISPLACEMENTS: FROM PHYSICAL TO VIRTUAL
Name: CAMILA DE SOUZA SILVA
Publication date: 29/04/2020
Advisor:
Name |
Role |
|---|---|
| RICARDO MAURICIO GONZAGA | Advisor * |
Examining board:
| Name |
Role |
|---|---|
| DAVID RUIZ TORRES | Internal Examiner * |
| RICARDO MAURICIO GONZAGA | Advisor * |
Summary: This dissertation addresses the possibilities of artistic practices based on the displacement between images made available in cyberspace. To this end, it considers the mechanical logic of image production from photography as a contributor to the proliferation of images in today's society. Such images that dont belong to the field of arts, find in the cyberspace a new place to be virtually, waiting to be updated. Once updated and visible on a screen, the artists, within their aesthetic proposals, resignify them poetically to the arts field. Between the logic of the index and the icon, we establish a double-bias thinking. The index being related to photography and its indiciality capture of images, and the icon to the virtual exercise of displacement between images. In this parallel, we present the artists of the early land art movement, Richard Long and Hamish Fulton to exemplify the index, and the most current artists, Douglas Rickard and Michael Wolf, to exemplify the logic of the icon. However, when using images made available by Google in their works, Rickard and Wolf are located in the index-icon dichotomy proposed by Phillipe Dubois, since the index capture made by the cameras attached to the company's vehicles is mandatorily necessary for the artist to subsequently access them virtually and thus produce your work. Thus, we attest that cyberspace presents itself as an imagery environment conducive to artistic performances.
Keywords: Photography; Images; Index; Icon; Displacement
