Escultura digital: para uma nova declinação da matéria e do tacto
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Data
2001
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Editora
Edições Universitárias Lusófonas
Resumo
Escultura virtual, escultura digital ou ciberescultura emergem na actualidade da arte digital como o novo e promissor impacto que a técnica obteve na escultura contemporânea. Sendo a valência tradicional da escultura deduzida do espaço, do factor presença e da
sua iminente fisicalidade, o digital vem apresentando-a num suporte que, em última análise, é
apenas numérico, matemático e luminoso. Tal articulação digital introduz a escultura no imatérico, no evanescente e na actualização
temporal permanente. Consideradas as vantagens que o novo medium traz em termos de libertação para o próprio fazer artístico (ausência
da gravidade, da resistência dos sólidos, da dependência dos materiais, etc.), resta-nos uma
reflexão em termos das suas novas articulações com a matéria, das suas potencialidades interactivas
e estéticas, assim como uma análise
atenta daquele que parece vir a ser o seu maior aproveitamento: a esteticização do mundo virtual.
Cabe-nos cada vez mais o papel de reconhecer a importância da presença da estética (e das suas diferentes artes) na programação de
um mundo virtual. A par do sucesso das cibergalerias de escultura digital, das Bienais de escultura virtual (Intersculpt, etc.), e das novas técnicas de modelação 3D que se vêm afirmando no abrangente quadro da ciberestética, acresce a necessidade de uma integração do
corpo do utilizador neste novo ambiente, e nomeadamente dos seus sentidos através de uma denominada «tactilidade artificial». Esta vem sendo prometida pelas vias do tacto e da
modelação manual, do sentido de peso, do som, entre outros, devolvendo à escultura uma dimensão extra-visual, prevendo-se com isso uma libertação da sua condição modernista.
Virtual sculpture, digital sculpture, or cybers culpture emerge in the actuality of digital art as the new and promising impact of technology on contemporary sculpture. Considering that the traditional value of sculpture is deduced on the basis of space, the factor of presence and its imminent physicality, the digital has presented the latter in a mould that is, in final analysis, merely numerical, mathematical, and luminous. This digital articulation introduces sculpture into immateriality, evanescence, and a permanently temporal actualisation. Taking into account the advantages that the new medium brings in terms of freedom for artistic creation (absence of gravity, of resistance to solids, of dependence on materials, etc.), we ought to reflect on its new articulations with substance, its interactive and aesthetic potentialities, as well as attentively analyse that which may be its greatest advantage: the aestheticisation of the virtual world. We ought to increasingly assume the role of recognising the importance of the presence of aesthetics (and its diffe rent arts) in the programming of the virtual world. Alongside the success of cybergalleries of digital structure, of the biennials of virtual sculpture (Intersculpt, etc.), and of new technologies of 3D modellation which have affirmed themselves in the enveloping framework of cyberaesthetics, there is the necessity of integrating the user’s body in this new context and, namely, his senses through a denominated «artificial tactility». The latter has been promised through touch and manual modellation, the sense of weight, sound, amongst others, conferring the sculpture with an extra visual dimension that allows for liberation from its modernist condition.
Virtual sculpture, digital sculpture, or cybers culpture emerge in the actuality of digital art as the new and promising impact of technology on contemporary sculpture. Considering that the traditional value of sculpture is deduced on the basis of space, the factor of presence and its imminent physicality, the digital has presented the latter in a mould that is, in final analysis, merely numerical, mathematical, and luminous. This digital articulation introduces sculpture into immateriality, evanescence, and a permanently temporal actualisation. Taking into account the advantages that the new medium brings in terms of freedom for artistic creation (absence of gravity, of resistance to solids, of dependence on materials, etc.), we ought to reflect on its new articulations with substance, its interactive and aesthetic potentialities, as well as attentively analyse that which may be its greatest advantage: the aestheticisation of the virtual world. We ought to increasingly assume the role of recognising the importance of the presence of aesthetics (and its diffe rent arts) in the programming of the virtual world. Alongside the success of cybergalleries of digital structure, of the biennials of virtual sculpture (Intersculpt, etc.), and of new technologies of 3D modellation which have affirmed themselves in the enveloping framework of cyberaesthetics, there is the necessity of integrating the user’s body in this new context and, namely, his senses through a denominated «artificial tactility». The latter has been promised through touch and manual modellation, the sense of weight, sound, amongst others, conferring the sculpture with an extra visual dimension that allows for liberation from its modernist condition.
Descrição
Caleidoscópio : Revista de Comunicação e Cultura
Palavras-chave
COMUNICAÇÃO, ESTÉTICA DA COMUNICAÇÃO, DESIGN ASSISTIDO POR COMPUTADOR, DESIGN 3D, COMMUNICATION, COMMUNICATION AESTHETICS, COMPUTER-AIDED DESIGN, 3D DESIGN