Thesis Info

Thesis Title
The Tree of Art. A Trans-sensorial and Intersubjective Matrix for a Non- visual Art and for the Silence of the Artistic I.
Cristina Miranda de Almeida
2nd Author
3rd Author
European Phd Thesis
Number of Pages
University of the Basque Country
Thesis Supervisor
Inmaculada Jiménez Huertas
Supervisor e-mail
Other Supervisor(s)
Language(s) of Thesis
Department / Discipline
Department of Drawing, Faculty of Fine Arts
Languages Familiar to Author
Spanish, English, Portuguese
URL where full thesis can be found
art, science, trans-sensoriality, intersubjectivity, multidimensionality, silence of the artistic I, co-creation, sensitive models, tree of art matrix, creativity, trans-disciplinarity, sensorial perception, memory, intuition.
Abstract: 200-500 words
In spite of the extensive theoretical and experimental evidences, the myth of physical, perceptive unidimensionality and retinal vision is still dominant in art. In the PhD thesis ‘The Tree of Art. A Trans-sensorial and Intersubjective Matrix for a Non-visual Art and for the Silence of the Artistic I’, I suggest the hypothesis that art is always, in some degree, a multidimensional, trans-sensorial and intersubjective (co-creative) process. The expression 'non-visual' means that vision is always a trans-visual process, that is to say, it is always a process that is not exclusively visual, because vision, as a multidimensional, culturally learned process, is always in some degree, linked to other senses -especially to the sense of touch-, imagination, intuition, individual and collective memory, and technological, political, emotional, intellectual and cultural processes. In creating the Tree of Art Matrix, I chose to produce an alternative form of defining perception in order to de-construct that myth. This Matrix is made up of two sensitive analytical models: the Tree of Art Model and the Intersubjective Attractor Model. The Matrix has been developed based on the creative, intuitive, flexible, metaphorical ways of knowing typical in art and can be used either synchronically or diachronically: (1) as an instrument for artists’ self-knowledge; (2) as an instrument for analysing the artistic, perceptive process -operations of attention and intention - from the point of view of the artist; (3) to analyse the different methods used to silence the artistic ego or I; (4) to analyse and situate art theories and practices in relation to their creative paradigm; (5) as an instrument for art education, (6) for the development of creativity (7) and for understanding the role of technology, in the wider frame of sensorial perception, from a multidimensional approach. On the one hand, the Matrix results from analysis of the multidimensional hypotheses of reality present in the paradigms used by artists in their creative processes throughout history and, on the other hand, the Matrix frames several theories which make up a mosaic in which each fragment contributes to the shaping of a trans-disciplinary theoretical portrait of art. The intention of the Tree of Art Matrix is to materialise an affirmative creative answer to the question of whether art is able to contribute to science, and technological research, and to offer sensitive models and new interdisciplinary instruments for understanding complex realities.