Art-Science-Technology-Society  

RESEARCH PAPERS

DOCTORAL THESIS “Empty Cubes: Interactive installations through electronic devices in contemporary art”.

Doctoral candidate and researcher: Olga Albillos Castillo

Directors:

• Rocío García Robles. Professor and Researcher in charge of the research group “ASTERISM: Art, Science, Engineering Research: Innovation, Synergies and Methodologies” (Plan Andaluz de Investigación, TIC-247). Department of Computer Architecture and Technology. School of Computer Science. University of Seville.
• José Aguilar Aguilar Galea. Professor. Department of Sculpture. Faculty of Fine Arts. University of Seville.

Doctoral Program: Art and Heritage. University of Seville. Line of research of the Program: “Experimental research of the diverse artistic languages and their applied technologies. Materials, procedures and techniques”. Research Group: TIC247 Art Science Technology Engineering Engineering Research: Innovation, synergies and Methodologies.

Are technological media a limit for the artist, just another branch or the future in the digital era of modern art? The main objective of this study is the analysis of the communication between installation, interaction and spectator through the union of art and technology. An analysis with a present and future perspective of the state of such technology as a tool and production process in the imaginary of contemporary artists, as well as the contribution through interdisciplinary people who use technology in a creative way and for creative purposes. This discipline allows us to create an investigation about space-time and the movement of the spectator in the exhibition space, creating that action-reaction with the proposed work itself. The relevance lies in allowing the viewer to be part of the work and its creation / operation through interactivity, through easily accessible technological means such as Arduino (free software and hardware), mass technology in the palm of the hand of art. We will interspersed reflections on the creative method itself by comparing it with other procedural practices, creating a reference base, to reach an analysis of the impact of this proposed technology in the art scene and establishing parallels in terms of the treatment of space and the physical. An approach of contemporary art, which is positioned in the Inter and transdisciplinary vanguard of reality and allows us to create new forms of dialogue and reception of the artistic work. Finally, we sense an exponential increase in production due to the proximity of these tools at the generational level, both in the artistic field and in the research of converging worlds such as art and technology.

DOCTORAL THESIS “False Verisimilitude, the implementation of Hyperreality in artistic practice?”.

Doctoral candidate and researcher: Guillermo Rodríguez Tenorio

Directors:

• Áurea Muñoz del Amo. Profesora Titular. Department of Drawing. Faculty of Fine Arts. University of Seville.
• Rocío García Robles. Professor and Researcher in charge of the research group “ASTERISM: Art, Science, Engineering Research: Innovation, Synergies and Methodologies” (Plan Andaluz de Investigación, TIC-247). Department of Computer Architecture and Technology. School of Computer Science. University of Seville.

Doctoral Program: Art and Heritage. University of Seville. Line of research of the Program: “Experimental research of the diverse artistic languages and their applied technologies. Materials, procedures and techniques”.

The main objective of this project is to talk about the concept of the False-Verosimile and its implementation in artistic production. In it we will approach from the generation of fictitious narratives to the techniques and tools that have been used throughout history to make them plausible. All of this, within the framework and ecosystem that virtual life and our manifestation in it propitiates.

This thesis is motivated by the observation that, in general, a common drift of the contemporary technological artist is usually to suffer from stagnation in experimentation and to forget that art is equivalent to narrative. The latter converges in the fact that much of the contemporary artistic production of virtual origin subordinates its subject matter to technological progress and excuses the use of technical novelty, having forgotten the narrative core of the function of art, instead of, on the contrary, submitting the choice of the technology used for its transmission to the needs of a particular narrative. The result is a large amount of superfluous expository content with a very marked expiration date. A gimmicky work, with fungible metamedia concepts. That is why we want to recover the narrative as the core of contemporary virtual art production.

With this, we are interested in the idea of control over this narrative, and the intrinsic power that this idea entails. Thus, keeping in mind at all times the concept that brings into practice the way of thinking that is postmodernism, Hyperreality, we will study

these ideas from the prism of the spiritual, the religious, the metaphysical and the political. Understanding that the Past is not the same as History, we will see their differences and the artistic connotations that the latter possesses in its own conception. Our ultimate goal, with all this context, is to clarify which are the tools that have served to modify our conception of history, and how we can make use of them, in practice, to convince and suggest to third parties (or ourselves) the veracity of a fictitious narrative.