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A expansão da imagem em movimento

2024-11-24Artigo científico Acesso aberto
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dc.contributor.authorCêpa, Rita
dc.contributor.institutionInstituto de História da Arte (IHA)
dc.contributor.pblICNOVA – Instituto de Comunicação da Nova
dc.date.accessioned2025-03-07T23:32:31Z
dc.date.available2025-03-07T23:32:31Z
dc.date.issued2024-11-24
dc.descriptionUIDB/00417/2020 UIDP/00417/2020
dc.description.abstractUnsupervised — Machine Hallucinations — MoMA was recently acquired by the renowned New York museum for its permanent collection. With this gesture, which marks the beginning of a new chapter in thehistory of digital art, the Museum of Modern Art welcomes its first generative AI and tokenized piece. Refik Anadol’s work has slowly been reshaping the perception of museum institutions — and beyond — about the potential of computer-generated art, partially similar to what Nam June Paik had done in the secondhalf of the 20th century. This paradigmatic Korean-born author revolutionised time-based media art by turning television into a form of creative expression and by integrating computational te- chnology into a visualand plastic vocabulary that was previously unknown. In addition to his epic exhibitions, Paik also envisioned the future of the internet and the advent of social media with astonishing clairvoyance. The power of hisideas would expand artistic languages such as sculpture or installation, imbue the moving image with other meanings and open up the dense frontiers of a market that hadn’t yet looked at video as a collectable artisticmedium. The change initiated by Paik, based on the new compositional instruments he explored, is now fundamental for a better understanding not only of Anadol’s work but also of post-internet art itself. Through ananalysis of the pioneering work of these two artists, this paper seeks to explore their achievements, discuss some of the transformations they undertook, reflect on issues of authorship and originality, as well as consider the role of digital tools and human-machine interaction in contemporary artistic practice.en
dc.description.versionpublishersversion
dc.description.versionpublished
dc.format.extent20
dc.format.extent161112
dc.identifier.doi10.34619/aqpn-a8ie
dc.identifier.issn2183-7198
dc.identifier.otherPURE: 112015988
dc.identifier.otherPURE UUID: 9798e1bc-2f99-443d-94c8-50f7b3705d64
dc.identifier.otherScopus: 85217937078
dc.identifier.urihttp://hdl.handle.net/10362/180270
dc.identifier.urlhttps://revistas.fcsh.unl.pt/rcl/article/view/764
dc.language.isopor
dc.peerreviewedyes
dc.relationinfo:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UIDB%2F00417%2F2020/PT
dc.relationArt History Institute
dc.relationArt History Institute
dc.subjectMoving image
dc.subjectContemporary art
dc.subjectPost-cinema
dc.subjectExpanded cinema
dc.subjectNew Media
dc.titleA expansão da imagem em movimentopt
dc.title.subtitlede Nam June Paik a Refik Anadolpt
dc.typejournal article
degois.publication.firstPage
degois.publication.issue60-61
degois.publication.lastPage
degois.publication.titleRevista de Comunicação e Linguagens
dspace.entity.typePublication
oaire.awardNumberUIDB/00417/2020
oaire.awardNumberUIDP/00417/2020
oaire.awardTitleArt History Institute
oaire.awardTitleArt History Institute
oaire.awardURIinfo:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UIDB%2F00417%2F2020/PT
oaire.awardURIinfo:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UIDP%2F00417%2F2020/PT
oaire.fundingStream6817 - DCRRNI ID
oaire.fundingStream6817 - DCRRNI ID
project.funder.identifierhttp://doi.org/10.13039/501100001871
project.funder.identifierhttp://doi.org/10.13039/501100001871
project.funder.nameFundação para a Ciência e a Tecnologia
project.funder.nameFundação para a Ciência e a Tecnologia
rcaap.rightsopenAccess
relation.isProjectOfPublication401ae3e8-96f1-4dae-9e87-d040d22991fb
relation.isProjectOfPublication2dfe1927-a532-4a50-b676-93693fd90633
relation.isProjectOfPublication.latestForDiscovery2dfe1927-a532-4a50-b676-93693fd90633

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