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Cyborg art
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Abstract(s)
The present dissertation aims to reflect on the effects of social networks in contemporary art, more precisely the experience of an artistic object through the camera / screen filter. To understand this phenomenon, caused by the arrival of the most outstanding technology of the 21th century – the internet - this text begins with a study on the state of contemporaneity, according to four terms that define it, the acceleration, the post-human, the post-truth, and the anthropocene, which were once applied to the mechanical age, gain now a new power over the digital age. Followed by an accompaniment of the history of art within the space of time from 1950 to 2000, studying the terms copy and multiple (Marcel Duchamp), dystopia (Nam June Paik), individualization of the spectator
(James Turrell), and the acceptance of new platforms (Petra Cortright). After this contextualization is established the reflection on the human being after the "last man" (Nietzsche, 2015, p.32), as cyborg, based on its dependence on the machine. Highlighting the cyborg's relationship to screen objects, and their addictedness on them, as well as the consequences on the way they view the image, after being exposed to thousands of copies daily. Regarding the artistic level, it is necessary to revolutionize the
terms by which contemporary art is characterized in order to understand cyborg art, through the text of Hito Steyerl "A Poor Image" that analyzes the themes proposed by Benjamin, comparing the imagistic crisis of the mechanical era of post-photography and the post-internet digital era. This is followed by an analysis of some contemporary artists and works relevant to these themes, such as Camile Henrot, Hennessy Yougman, Jon Rafman, Mariana Silva, MoMAR, Mumtazz, Pedro Barateiro and Tobias Rehberger. Finally, it closes with the accompaniment of the artistic work that emerged the realization of this dissertation, titled "The Hive"
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Keywords
Ciberarte Internet Redes sociais