Amachina: a dimensão paradoxal do interface na obra de arte interativa
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2016
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Resumo
Pretendemos com esta dissertação mostrar a dinâmica paradoxal do interface enquanto
forma de expressão artística, onde é escolho e fundação para a determinação da obra de
arte interativa. Escolho, enquanto enigma para a interatividade; é fundação, pois dele depende
uma experiência artística de formato em aberto. Amachina é o objeto de estudo desta
hipótese, tendo sido concebida como um interface entre humano e computador com autonomia
estética e funcional para com este. Trata-se de fazer do interface a obra em si
mesma, trazendo deste modo a atitude contemplativa do todo e a de descoberta do interface
para um mesmo patamar.
A noção do interface enquanto obstáculo à determinação da obra de arte interativa
parte do princípio que aquele assume uma dimensão de desafio desligado do conjunto da
obra quando é o foco do spect-acteur, comprometendo dessa forma os factores contemplativo
e imersivo. A opção de esvaziar a Amachina de conteúdos mediados por computador visou
mitigar a contaminação, por fatores externos ao objeto de interação, do estudo das implicações
do interface na experiência artística.
Amachina situar-se-á num contraponto à obra interativa que descura as mais valias estéticas
e emotivas do interface enquanto máquina tangível, ao mesmo tempo que propõe formatos
de interação alternativos ao postulado digital que em geral rege as obras daquele tipo.
The aim of this thesis is to show the paradoxical dynamic of the interface as a form of artistic expression, acting both as obstacle and foundation, to the interactive art work definition. Obstacle because of its enigmatic role in interactivity; foundation due to the fact that an artistic experience in an open format depends on it. Amachina is the study object of this hypothesis, conceived as an interface between human and computer, with an aesthetic and functional autonomy towards this. The interface become the art work itself, bringing both the contemplative attitude of the whole and the interface of discovery to the same level. The notion of the interface as an obstacle to the interactive art work definition assumes that the interface plays a challenging dimension disconnected from the art work as a whole whenever becomes spect-acteur focus, thus compromising the contemplative and immersive factors. The option to empty Amachina of computer-mediated contents aimed to mitigate the contamination, by external factors to the object interaction, of the study concerning interface implications of the artistic experience. Amachina will be located in a counterpoint to the interactive work that neglects the most aesthetic and emotional gains of the interface as a tangible machine, proposing, at the same time, alternative interactive formats to the digital postulated that generally governs the works of that type.
The aim of this thesis is to show the paradoxical dynamic of the interface as a form of artistic expression, acting both as obstacle and foundation, to the interactive art work definition. Obstacle because of its enigmatic role in interactivity; foundation due to the fact that an artistic experience in an open format depends on it. Amachina is the study object of this hypothesis, conceived as an interface between human and computer, with an aesthetic and functional autonomy towards this. The interface become the art work itself, bringing both the contemplative attitude of the whole and the interface of discovery to the same level. The notion of the interface as an obstacle to the interactive art work definition assumes that the interface plays a challenging dimension disconnected from the art work as a whole whenever becomes spect-acteur focus, thus compromising the contemplative and immersive factors. The option to empty Amachina of computer-mediated contents aimed to mitigate the contamination, by external factors to the object interaction, of the study concerning interface implications of the artistic experience. Amachina will be located in a counterpoint to the interactive work that neglects the most aesthetic and emotional gains of the interface as a tangible machine, proposing, at the same time, alternative interactive formats to the digital postulated that generally governs the works of that type.
Descrição
Orientação: José Manuel Gomes Pinto ; co-orientação: Inês Secca Ruivo
Palavras-chave
DOUTORAMENTO EM CIÊNCIAS DA COMUNICAÇÃO, COMUNICAÇÃO, ARTE, ARTE INTERATIVA, INTERFACES, INTERATIVIDADE, RUÍDO, CINÉTICA, COMMUNICATION, ART, INTERACTIVE ART, INTERFACES, INTERACTIVITY, NOISE, KINETICS