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Thesis Info
- LABS ID
- 00925
- Thesis Title
- The sublime in the postdigital era: the technological oeuvre in the context of experiential art
- Author
- Miguel Oliveros Mediavilla
- E-mail
- moliveros AT nebrija.es
- 2nd Author
- 3rd Author
- Degree
- PhD
- Year
- 2017
- Number of Pages
- 146
- University
- Universidad Complutense Madrid
- Thesis Supervisor
- Jaime Munárriz Ortiz
- Supervisor e-mail
- munarriz AT ucm.es
- Other Supervisor(s)
- Language(s) of Thesis
- Spanish
- Department / Discipline
- Fine Arts
- Copyright Ownership
- Open access thesis
- Languages Familiar to Author
- Spanish, English and French.
- URL where full thesis can be found
- eprints.ucm.es/49626/
- Keywords
- art, technology, aesthetic, open source, set theory.
- Abstract: 200-500 words
- This thesis is based on praxis, production and the art research model; focusing on the exploration of the sublime and immaterial in the post digital era via the technological medium. Written as a first-person account, what I propose, apart from implying a practical and conceptual challenge, is that technology and its range of tools such as: open source, reactive, performative, moist or interactive systems and immersive experiences (IX); are the most adequate in order to bring the spectator a step closer to a direct representation and experience of what I denote: ‘the sublime and immaterial object’.
Conceptually, this research adopts a complex model of synthesis, similar to that postulated by G.W.F Hegel; hence reconciling the infinite/finite classic dichotomy by introducing a philosophically higher concept: the Absolute {A}; an Absolute {A} I denote the Universe of Discourse {U} which is formed by the infinite set {∞} which itself contains the void Ø. A Universe of Discourse {U} whose main objective is the reconciliation of the determinist and indeterminist views to achieve a higher and limitless concept of: ‘postdigital artwork/oeuvre’.
This research which is supported by the creation of both plastic and technological artworks, fosters and defends a discourse rooted in free creation via patent-free, free software and open source languages; where mathematical set theory has been key instrumental in building the conceptual structure of its body of knowledge.
The result of these practical and theoretical developments as well as critical evaluations and analysis, made my perception and understanding of the sublime mutate and reconfigure itself both theoretically and conceptually. Resulting in the transcendence of the plastic object towards an essentially ethereal one. This event heralds the rebirth of Renaissance thinking and practice, where the human being ceases to be in the centre of the Universe, the ego is diluted and in turn complexity, chaos and emerging systems become the field of exploration and research. The ‘Terra Incognita’ where the sublime resides in this early XXI century, a time when the medium of multisensory installation becomes a fine expression of the sublime in art, science and technology practices.