The Arts over time proceeded in constant restarts. In the reflection of its actuality, it refers to the past and recreates the present, as reaffirmation or rupture. Among the artistic languages, Painting remains as a temporal expression from its historical beginning to the present through its elements. The intention to represent what is not visible holds in many ways, with or without scientific foundations. Art and Science are autonomous, but contribute to the understanding and understanding of what we can understand as reality. The Renaissance rescued Greco-Roman canons, the Baroque emerged as a break. Neoclassicism, rescued the Renaissance, Impressionism was based on science, then Cubism plus the Vanguards of the early twentieth century broke once again with the past and kept ramifications of their foundations to the present, as fragments that connect and reconnect.
Reality as we perceive, feel and represent it is far beyond the possibilities of perception. A multidimensional universe reveals itself with the advances of astronomy, thus contradicting our conception of space and time, amid the fragments of fragments that interconnect by algorithms. In this context of artificial intelligence, what is Art proposed and its foundations in the present times amidst technological innovations? Illustrations of this virtual reality, where colors, lines and shapes are binary codes that give us a certain feel used for a specific purpose on the web?
A challenge is projected: to determine the role of visual and visual arts in the virtual environment, considering the elements that characterize it. No longer as pigments or dyes attached by binders to supports made of wood, paper or fabric, but as algorithmic codes, which in origin are abstractions. The Work of Art is subject to electronic and digital devices as a support or mechanism of advertising projections in mobile shop windows.
Information on the Internet arouses feelings, sensations, desires, wants and emotions of various natures. The Work of Art published and displayed on the computer screen that supports the Abstract Painting, in this case, produces Information that generates diverse and antagonistic understandings. Regardless of the artist's intention, questions arise as to the possible meanings attributed to the images and the elements that compose it in a virtual environment, prior to understanding and understanding.
Imagetic constructions are processed in the mind and provide various semantic relationships that surpass contemplation. Jung states that "man's senses limit his perception of the world around him," and that "there are unconscious aspects to our perception of reality." So, how does this perception take place in front of abstract painting in a virtual environment? Being this composed of lines and colors. How they process in the mind of the beholder and are seized in eye contact without an a priori "idea" or concept.
Erich von Franz states that "our dream life creates a meandering scheme (in meanders) in which themes and trends appear, fade and reappear." This schema of the mind, which confronts us with the understanding of reality, generates "a continuous tension between what one thinks, what one does, and what one feels."
Between the Observer's retina and the Art Object, or its representation through the digital image on the Web, there is an invisible physicochemical field that can interact on the parts, causing one to act on the other. What is in this space that can interfere, determine or direct the relationship between the possible meanings of artistic elements? What is this space, how is this territory of ethereal matter configured? Interactions between dimensional realities, a vacuum? Physicochemical elements? The energy of the human body interacted with the magnetic energy of computers? What do we understand how the aura and magnetic field energy of hardware devices interact and act upon each other in the production of senses and meanings? Are there borders in this field? “Something” motivates Editors and Artists to choose content to be published beyond their reporting purposes. Can we thus consider that there is a game between concepts and interests that is made visible through the digital "thing"?
Perception determines senses and meanings to what we understand as reality. Among the artistic languages, Painting, due to its traditional practice, stars in this analysis, so I refer to Leonardo da Vinci, in his Treatise on Painting, in which, amid the Renaissance canons, it shows that in the effects of a surface with Through the action of time, it is possible to visualize recognizable forms in the randomness of nature, thus determining a “sense”, that is, an artistic intuition promoted by mechanisms of perception, such as Gestalt. In the twentieth century, after centuries of aesthetic debate, Merleau-Ponty states that it is not we who look at the Work of Art, but the Work of Art that looks at us. This is another phenomenon of perception, which, when connected with Leonardo's revelation, points to the Arts as a “sense” that materializes through the Work, therefore an Abstraction in itself.
A proposal is made through abstract representations through its elements: the line, the color and compositions on the screen of digital devices. Web users apparently tend to absorb digital images on the Internet by emotional impulses before the message is delivered or its proposed content.
Throughout the ages technologies, processes and materials have been developed to make visible concepts and artistic conceptions through languages and expressions specific to each historical epoch and sociocultural contexts. To this end, an intrinsic "sense" expands and provides symbolic meanings, and thus configure the Poetic phenomenon that can surpass the material representation of a sensitive understanding.
What artistic representations would materialize this invisible space that is not sensitive to the eye and can determine understanding? Organic, expressionist, free-gesture expressions just like Kooning's Pollock Works? Kandinsky or geometric expressions like Paul Klee's Works? Cubism has given us a pictorial representation of the fragmentation of visual perception, which interconnects through algorithmic commands and contextualizes contemporary art productions with computer resources and introduce themselves into artistic poetics more frequently as robotics and artificial intelligence technologies develop. Given this realization, electronic devices assume the supporting role of Art regardless of the degree of technical interactivity opening the Renaissance window, when resuming its function in the 21st century with the computer screen and mobile phones among other devices.
The semantic definitions of Art are self-regulating through social networks without the need for prior knowledge, just the opinion of individual taste in the classification of what is good / bad and right / wrong. Ethical judgments submit to the rhetorical and sophistic power of opinion formation.
Truths are defined by the number of “followers”, “likes” and “shares” based on individual beliefs without clear confirmations of the information issued. In the meantime, concepts are defined based on the manipulation of data, interpretations without knowledge base and without due care.
Artistic poetics today are of another nature, are determined by algorithmic commands and make up full interactivity. They constitute an inverse movement of fragmentation that dominated the twentieth century. The possibilities for reordering widen and Art becomes accessible and democratized under globalized concepts.
In the images below, elaborated by Sequences performed by repeated gestures from reflections on the possibilities of forms of connections. The straight line as a geometric expression is intended as an interpretative representation, filling spaces through compositions that suggest hatches to determine color planes and provide movement of the look or retina in order to achieve set synthesis. A graphical representation of defragmentation, facing the tangle of information and fragments contained and stored in the Web system. The starting point is a random straight line in space, because it does not exist in nature suggests something that I define as “fictionality”, so , the starting point for an undetermined composition that suggests itself during development. The geometric forms emerged as a challenge, as it contrasts with the frantic gestures of abstract expressionism, as well as the possibility of representing the mathematical content of the digital languages that contextualize the present. The color, in view of its optical nature in the scientific field and its semantic use, in the midst of the development of the artistic process, assumes the foreground position in the composition, because lines or strokes build the color set. From the apparent disorder of the traces, the color organizes the pictorial elements, a unifying element, link in the expression of the whole of the Work.
Art demands for itself an existence through its elements and conceptual autonomy. It needs to materialize, to become visible through the matter that has been determining the 21st century: Mathematical binary codes. Algorithms
The project has as objective, proposal of elaboration of Drawings, Paintings and Abstract Engravings with Straight Line and Color as elements of poetic compositions with digital reproductions of reference for virtual representations formulated by algorithm codes and generate reflections that expand the possibilities of Visual Poetics. with the purpose of constructing hypotheses and developing thought processes in the contemporary artistic context.
The results of this project will be analyzed through parameters related to personal Artistic Production and Web publications, in order to build and expand knowledge about the proposed theme.
This work of artistic research and production, due to its actuality, intends with its development to contribute in the field of Visual Arts with a Contemporary Poetics related to contemporary digital languages, and to achieve a degree of reference in the subject. The processes will be based on pragmatic and theoretical experiences, with interrelationships of related areas of knowledge.
Significant and meaningful are keywords in semantic web analysis. I refer to the work of Magritte, "ceci n'est pas une pipe", to justify this "green" work of my own. But in something they differ: Magritte makes it clear that materiality and representation is not really the object, that is, what you see is not a pipe, but the material (paint) with the representation of a "pipe". The web is not what you see, but binary codes that make up algorithms. Personal opinions without knowledge and fundamentals determine the interpretations of virtual presentations. In my work, I leave it to the observer.
As an Artist, my political position is of total neutrality, with the purpose of watching over freedom of expression, communication and coming and going. I expect and I would not be labeled Fascist or Communist for approaching the parts. I hope that the elected candidate will follow the guidelines of the Brazilian Constitution, and with good sense practice policies of conciliation and reconciliation, which are based on Peace. So that Public Resources is used more properly, optimized and better distributed, besides generating prosperity for all no exception. I am optimistic and I believe it is my duty to follow the path of Justice regardless of beliefs or convictions. Good Luck for all of us with the next elected government.
I define as Territory Ethereal what is meant by Aura. The energy field that expands beyond matter, and interacts with other energy fields. Territory without limits, without boundaries, without frontiers. In this invisible space between beings, the reach of this expansion transcends matter in the direction of virtual reality.
fetish (from the French fétiche, which in turn is a loan from the
Portuguese spell whose origin is Latin fictitious "artificial,
fictitious") is a material object to which magical or supernatural
powers, positive or negative, are attributed. Initially
this concept was used by the Portuguese to refer to the objects used in
the religious services of blacks in West Africa. The term became known in Europe through the French scholar Charles de Brosses in 1757.PsychologyIn psychology, fetishism is a paraphilia. The
object of the fetish is the symbolic representation of penetration, has
sexual connotation, is a partial object and does not represent who is
behind the object. The
most common fetishes in Western society are the feet (in Brazil, foot
worship gets a special name: podolatry), shoes and underwear. The objects used in the practice of sadomasochism are fetishes.SociologyKarl
Marx developed an economic and political theory for the fetish, central
to his work, which is applied, for example, to the criticism of mass
media, commodity, and capital. For the Marxist school, the fetish is a fundamental element of the maintenance of the capitalist mode of production. It consists of an illusion that naturalizes a specific social
environment, revealing its appearance of equality and hiding its essence
commodity fetish, postulated by Marx, is opposed to the idea of "use
value", since it refers strictly to the utility of the product. The fetish is related to the fantasy (symbolism) that hangs over the
object, projecting in it a definite social relation established among
Latour, a sociologist of contemporary science, relativizes the notion
of fetish by finding that all scientific discovery is also an invention,
and vice versa. In this way, facts are also fictions, and fictions are also facts. Symbolism would be a constituent of reality itself. Artificiality would be a positive condition of the facts. [Citation needed] Font: https://pt.wikipedia.org/wiki/Fetiche
In psychoanalysis, fetishism is the diversion of sexual interest to
some parts of the partner's body, to some physiological function, to
unusual scenarios or places, to simulation fantasies (maid, mechanic,
secretary) or to garments, adornment, etc.In
fetishism, the preferred or sole means of attaining sexual satisfaction
is by manipulating and / or observing objects, not animated, closely
associated with the human body (eg, inner garment) or garments made of
rubber, leather or silk, to mention only The most common. Sexual
activity can be directed to the fetish (masturbation while kissing,
rubbing, smelling the object of the fetish), or the fetish can be
incorporated into sexual intercourse by asking the partner, for example,
to wear high heels or leather boots. There is also the sexual satisfaction sought in the sexual
interpretations, where the partner behaves like secretary, adolescent,
and the man like a police officer, a fireman, a mechanic of office, etc.Apparent with this paraphilia we have partialism, characterized by
sexual impulses and sexually exciting fantasies directed exclusively to
parts of the human body as: feet, hands, buttocks, veins, Adam's knobs
or chest, excluding all others.It
is important to bear in mind that the diagnosis of this paraphilia is
not made if the fetishes are only articles of feminine clothing used in
transvestism (transvestite fetishism) or instruments used for tactile
vaginal stimulation, such as a vibrator (DSM-IV-R, APA, 2000 ). It
is not yet known why certain stimuli are more conditional than others
although, possibly, this has to do with a particular relation with
objects linked to affective bonds from childhood. It is tempting to assume that the fetish object has a meaning that goes beyond the conditioning of any stimulus.Countries such as Sweden have already mischaracterized these behaviors
as pathological and there is a tendency for other countries to follow
this vision in the coming years.In PhilosophyIn Comtian theory, fetishism corresponds to the first stage of the theological state. In
theology, according to Comte, human conceptions refer to supernatural
entities, seeking absolute (ie, non-relative) concepts and responses. Fetishism, in particular, attributes anthropomorphic characteristics
to all beings, that is, all beings (living or not) are perceived as
alive and endowed with will.In
Marxist theory, fetishism (see Fetishism of Merchandise) is the process
by which commodity, in capitalism, an inanimate being, is now regarded
as having life. Social
relations cease to occur among individuals, mediated by the commodity,
but become relations merely between commodities themselves, and human
beings are mere intermediaries in the general economic process. This
brings about the dehumanization of the human being in capitalism, with
the illusion that there are no human (ie, social) relations with regard
to the commodity. Font: https://pt.wikipedia.org/wiki/Fetichismo
Our aura expands the virtual matter, dilutes the space. the time. The nuclear vacuum our cells concentrate vital energy, enhance intuition.Our bodies remain in both ecstatic physical, geographical space. ideal platonicos connections. Expanded field in the world of ideas through virtuality where Love is perfect.Our emotional instincts occupy the imaginary space, dreams. Subconscious telepathic. What importance has the colors of the expanded aura? geographical space of touch, ércepção, directions. What importance has the geography ofstates of mind? Space and time diluted.