Com o presente artigo proponho-me reavaliar a utilização do adjectivo “háptico” na sua relação com a intensificação da procura de tangibilidade entre ser humano e máquina, nomeadamente através de experiências multissensoriais possibilitadas por processos de realidade/virtualidade misturada. Partindo de uma tradição haptológica de linhas filosóficas, que tem oscilado entre “ocularcêntrica” e “tactilocêntrica”, o artigo explora ainda as noções de toque, de gesto e de contacto, nas suas mais variadas acepções, utilizando-se esta última para explorar a ideia de corpo cíbrido em processos de experienciação háptica com base na Interface Humano-Máquina (IHM).
DOI: http://dx.doi.org/10.14195/2182-8830_3-1_5
From baroque proto-cybertexts to countercultural gestures by historical avant-gardes there is a longstanding tradition of disruptive strategies by artists at the interstices of societies’ demand for order, control and functionalism. For the avant-gardes, and their multiple artistic inf(l)ections, part of the strategy had to do with radical changes in the way sensory perception came to be depicted by Modernism. Placing emphasis on the confluence of several arts and media, the innovative character of their proposals had much to do with the ways in which they were able to embrace notions representing modernity, such as “simultaneity,” “dynamics”, “motion”, as well as ideas such as the symbiosis between human and machine. For that purpose, they searched to induce estrangement and defamiliarization, namely by using seemingly functional mechanisms in order to raise awareness through loss of grasp. Taking from the idea of raising awareness through seemingly functional mechanisms, I argue that non-functional/dysfunctional digital interfaces that are part of contemporary artworks dealing with digitally-based haptic reading processes (namely, digital literature) are largely influenced by early avant-garde artistic proposals. Through its metamedial aesthetic and poetic critique of digital media, digital literature reinvents inherited strategies of subversion and disruption already explored by modernism, raising awareness in regard to the artwork’s processes of signification and affect. Seen as a variation of a rich heritage of experimentation with seemingly functional mechanisms in the arts, such strategies reenact age-old tensions between tradition and innovation, while laying the foundation for (re)new(ed) ways of reading and writing in digital multimodal environments.
Apresentação sumária de sete arquivos digitais: Rossetti Archive, Dickinson Electronic Archives, The William Blake Archive, Radical Scatters, Arquivo Pessoa, Espólio Fernando Pessoa e Samuel Beckett Digital Manuscript Project.
Recuperando parte da teoria da criatividade koestleriana que entende o acto criativo enquanto 'bissociação' de duas ou mais estruturas de pensamento, com o presente artigo propõe-se uma reflexão sobre o conceito de investigação artística à luz dos processos autorreferenciais gerados nas práticas de investigação-criação em ciberliteratura. Cinco décadas após a publicação de The Act of Creation (1964), a confluência entre os aspectos lúdico, científico e artístico que Arthur Koestler identifica no acto criativo humano poderá hoje ser entendida como ultrapassada. Sobretudo à sombra da era do digital e da sua influência em praticamente todas as esferas do conhecimento. Porém, succisa virescit, é na re-leitura da sua intenção inaugurala crítica a uma dada tendência académica para a redução do ser humano ao status de autómato condicionadoque, de modo paradoxal, se torna possível a introdução de uma nova varíável na famosa fórmula tripartida, i.e., a máquina. Na tensão que existe entre programabilidade e criação, e que a (re)nova(da) fórmula pressupõe, pretende-se assim ilustrar a forma como as barreiras entre criação e investigação se esbatem de forma pluri-inter-transdisciplinar, abrindo-se caminho para a potencial concretização de um renovado paradigma científico.
Palavras-chave:Cibernética. Cibercultura. Ciberliteratura. Investigação criativa. Teoria do Jogo. Criatividade.Recovering part of the Koestlerian theory of creativity that understands the creative act as a 'bisociation' of two or more structures of thought, this paper proposes a reflection on the concept of 'artistic research' in the light of its self-referential processes in Cyberliterature. Five decades after the publication of The Act of Creation (1964), the confluence between the playful, scientific and artistic aspects Arthur Koestler identifies in the human creative act are now understood as outdated. Namely, if taking into account the digital age and its influence on virtually every sphere of knowledge. However, succisa virescit, it is in the re-reading of its inaugural intentionthe criticism of a given academic tendency in reducing the human being to the status of a conditioned automaton -that, paradoxically, it is possible to introduce a new variable in Koestler's famous tripartite formula: the machine. Moreover, regarding the tension that may exist between programmability and creation, and from a pluri-inter-transdisciplinary approach, it is also our intention to illustrate the ways in which barriers between creation and research become blurred, hence paving the way for the potential realization of a renewed scientific paradigm.
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