| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 47.98 MB | Adobe PDF |
Authors
Abstract(s)
Este trabalho de investigação, no campo da prática e do pensamento intermedia,
procura identificar as principais características, dinâmicas e antecedentes
deste meio de expressão artística, bem como o tipo de conhecimento
e competências inerentes ao processo de fazer e experienciar
obras de arte intermedia, interactivas, multi-sensoriais. Perante uma aparente
falta de consensualidade entre pares, relativamente à terminologia e
significado do próprio termo intermedia, questiona-se a actualidade do
conceito intermedia, a sua emergência e as formas pelas quais o conhecimento
gerado por investigação intermedia pode ser disseminado, nos
campos da arte e do design.
Parte-se de um processo de investigação prática reflexiva, em que se experimenta
o desígnio e construção de sistemas intermedia interactivos, integrando
saberes de um largo espectro de actividades científicas e artísticas.
O conhecimento adquirido neste processo e as quatro obras dele resultantes,
sustentam a revisão e análise de literatura, que permite identificar características
da intermedia que também são verificáveis nas obras designadas
neste projecto de investigação. Amplia-se a revisão de literatura
para suportar uma abordagem filosófica que além da análise e descrição
dos processos e conhecimento intermedia ,também contribui para melhor
perceber a possibilidade de difusão e validação destes processos e conhecimento
no contexto académico.
Demonstra-se a actualidade e adequação da concepção original de intermedium
de Coleridge bem como a afinidade da intermedia à química experimental,
dado o seu carácter transformativo, laboratorial, experimental e
a sua capacidade de criar novos meios a partir da fusão de meios existentes.
Este facto, tão antigo e moderno quanto a humanidade, permite afirmar
a permanente actualidade da intermedia. No sentido de uma aproxi-mação à definição de intermedia, destacam-se como características principais
do seu processo, e das obras dele resultantes: a fluidez, a hibridez, a
indeterminação, a autopoiésis, a síntese, a enacção, a continuidade, a inclassificabilidade,
a serendipidade, a inclusão da audiência e o carácter
evolutivo e subversivo da função dos meios. Expande-se este conjunto de
atributos, propondo a inclusão dos caracteres presentativo, indisciplinar,
unificador e equalizador de meios.
Verifica-se que a experiência de fazer arte e design como actividade de investigação
prática reflexiva, reúne a teoria e a prática, contrariando a cisão
milenar entre episthémé e techné. Salienta-se a potência que a motivação
intrínseca da acção de investigação tem no desenho da própria investigação,
bem como nos seus resultados. Realça-se que o conhecimento implicado
neste tipo de investigação é essencialmente tácito, não proposicional, portanto
inefável. Contudo, é transmissível e disseminável de forma memética.
The aim of this research work, in the field of intermedia practice and thought, is to identify the main characteristics, dynamics and antecedents of this medium of artistic expression, as well as the type of knowledge and the types of skills inherent to the process of doing and experiencing intermedia, interactive, multi-sensorial works. In face of the apparent lack of peer consensus, in relation to terminology and the meaning of the word ‘intermedia’, we question the actuality of the concept intermedia, its emergence and the ways by which intermedia research generated knowledge can be disseminated, both in the fields of art and design. We start from a process of practical reflexive investigation, in which we experiment the design and construction of intermedia interactive systems, integrating knowledge from a large spectrum of scientific and artistic activities. The knowledge acquired in this process and the consequent four works sustain the literature review and analysis, which allows us to identify intermedia characteristics that are also verifiable in the works designated in this investigation project. We amplify literature review in order to support a philosophical approach that, in addition to the description and analysis of intermedia processes and knowledge, also contributes to a better understanding of the possibility of diffusion and validation of these processes and knowledge in the academic context. We demonstrate the actuality and adequacy of Coleridge’s original conception of the intermedium, as well as the affinity between intermedia and experimental chemistry, given its transformative, laboratorial, experimental character and its ability to create new media through the fusion of already existing media. This fact, as old and as modern as humanity, allows us to affirm the constant actuality of intermedia. In order to approach a definition of intermedia, we highlight as main characteristics of its process and of its consequent works: fluidity, hybridism, indetermination, self-poiesis, synthesis, enaction, continuity, inclassifiability, serendipity, inclusion of the audience, and the evolutionary and subversive character of the function of media. We expand the set of these attributes, by proposing the inclusion of the following characters: presentative, indisciplinary, unifying and media equalizer. We verify that the experience of making art and design as an activity of practical reflexive investigation combines theory and practice, counteracting the millennial schism between epistêmê and technê. We highlight the power that the intrinsic motivation of the investigative action has on the design of the investigation itself, as well as on its results. We emphasize that the type of knowledge implied in intermedia investigation is essentially tacit, non-propositional, and therefore ineffable. However, it is transmissible and transferable in a memetic way.
The aim of this research work, in the field of intermedia practice and thought, is to identify the main characteristics, dynamics and antecedents of this medium of artistic expression, as well as the type of knowledge and the types of skills inherent to the process of doing and experiencing intermedia, interactive, multi-sensorial works. In face of the apparent lack of peer consensus, in relation to terminology and the meaning of the word ‘intermedia’, we question the actuality of the concept intermedia, its emergence and the ways by which intermedia research generated knowledge can be disseminated, both in the fields of art and design. We start from a process of practical reflexive investigation, in which we experiment the design and construction of intermedia interactive systems, integrating knowledge from a large spectrum of scientific and artistic activities. The knowledge acquired in this process and the consequent four works sustain the literature review and analysis, which allows us to identify intermedia characteristics that are also verifiable in the works designated in this investigation project. We amplify literature review in order to support a philosophical approach that, in addition to the description and analysis of intermedia processes and knowledge, also contributes to a better understanding of the possibility of diffusion and validation of these processes and knowledge in the academic context. We demonstrate the actuality and adequacy of Coleridge’s original conception of the intermedium, as well as the affinity between intermedia and experimental chemistry, given its transformative, laboratorial, experimental character and its ability to create new media through the fusion of already existing media. This fact, as old and as modern as humanity, allows us to affirm the constant actuality of intermedia. In order to approach a definition of intermedia, we highlight as main characteristics of its process and of its consequent works: fluidity, hybridism, indetermination, self-poiesis, synthesis, enaction, continuity, inclassifiability, serendipity, inclusion of the audience, and the evolutionary and subversive character of the function of media. We expand the set of these attributes, by proposing the inclusion of the following characters: presentative, indisciplinary, unifying and media equalizer. We verify that the experience of making art and design as an activity of practical reflexive investigation combines theory and practice, counteracting the millennial schism between epistêmê and technê. We highlight the power that the intrinsic motivation of the investigative action has on the design of the investigation itself, as well as on its results. We emphasize that the type of knowledge implied in intermedia investigation is essentially tacit, non-propositional, and therefore ineffable. However, it is transmissible and transferable in a memetic way.