record

Thesis Info

LABS ID
00421
Thesis Title
The Technologies of Creativity: Connections between Art and Science in Contemporaneity
Author
Paz Tornero
2nd Author
3rd Author
Degree
PhD
Year
Number of Pages
353
University
Complutense University of Madrid. Spain
Thesis Supervisor
Lidia Benavides
Supervisor e-mail
lidiabenavides AT art.ucm.es
Other Supervisor(s)
Jaime Munárriz, e-mail:munarriz@art.ucm.es
Language(s) of Thesis
Spanish
Department / Discipline
Fine Arts
Copyright Ownership
Paz Tornero
Languages Familiar to Author
English
URL where full thesis can be found
Keywords
Art and Science, Technocreativity, Bio Art, Electronic Art, Interactivity, Digital Art History, Computer Art, Space Art, Artist as a research, Art practices.
Abstract: 200-500 words
I explore the relationship between two of the pillars of creativity found in developed societies, the Arts and Sciences. Many theorists affirm that the lack of communication between disciplines is a recipe for cultural stagnation. However, these knowledge sets do not normally share common spaces where their synthesis would allow us to analyze significant problems regarding the social mass. The text focuses primarily on artistic events of the twentieth century; interdisciplinary collaboration, the impact of analogue and digital technology on art, the implementation and institutionalization of special Art-Science programs, and the establishment of scientific laboratories as new spaces for artistic research. I also investigate the boundary between the body and technology, and past and current artists (like bioartists, ecoartists, nanoartists, between others) that promote critical thinking that challenges our “formalized” dependence on certain social patterns dominated by technology, biotechnology, scientific and political power. This research is divided into three parts, yet autonomous. The first section examines the origins of the relationship between Arts and Science and contextualizes its existence. The texts focuses primarily on artistic events of the twentieth century; avant-garde, interdisciplinary collaboration, the impact of analogue and digital technology on art, experimental and participatory art, the implementation and institutionalization of special Art-Science programs and the establishment of scientific laboratories as new spaces for artistic research. The second part deals with special attention the relationship between the body and technology. The digitalization of the body as a techno-motor unit that generates automatic movements or morphological changes are translated into the art scene with cyber dance forms, interactive theater, augmented reality, virtual architecture, Cyborgs, interactive-immersive spaces, hypertext and navigation, mapping, Techno-Shamanism, Techno-psychology and, in short, all techno-physical actions that establish a strong connection between the organic and electronic. I also included the relationship between the natural and artificial in art; that is, in the second part, we will see how artistic studies of natural models have been and continue to be paramount in technological research and body-technology nexus. The third section presents the past and current artists that are making art scene into a new creative and scientific space. They promote critical thinking and activism in our modern society, that challenges our "formalized" dependence on certain social patterns dominated by technology, biotechnology, scientific and political power. These artists are able to denounce scientific method by claiming that techno-scientific progress, mostly governed by rigid and often unorthodox rules, is far from seeking the Truth. I did not undermine the vast gender issues that still exist within the scientific field and how art examines and confronts this. The privileged technoscientific sphere, defines and limits the advances that will affect our behavior and habits and women are still located in lower levels of influence. In these cases science prevails from androcentric view. Finally, far from obviating the rigor that must form any doctoral thesis, I analyze the Art-Science practice that includes a chapter describing my own experience as a researcher and artist.