A insuficiência da linguagem: fundamentos para uma estética da arte tecnológico-digital

Abstract

With the aim of discovering the proper way in which recent technological-digital artistic manifestations confront the problem of representation and the insufficiency of language, this thesis investigates the relationships between mimesis, representation and art as techniques, art as invention, art and science, art and language and art and cultural industry. In this work, the recognition of the insufficiency of the language constitutes one of the pillars upon which a possible aesthetics of technological-digital art is based. This aspect is approached diachronically, from Plato, with the concept of mimesis, to the linguistic articulation of the mystical texts, here represented by Marguerite Porete and Pseudo Dyonisius. The second pillar that fundaments the technological-digital aesthetics is presented based on the crisis of representation. Modern artists made from the recognition of the insufficiency of language the reason for breaking the mimetic paradigm of representation. Ortega y Gasset called de-humanization such tendency to divert from reality as reference, and anticipated, although not really believing in it, a completely conceptual and abstract art, with no human elements . Such de-humanization would create an artistic-art , whose aesthetic pleasure would no longer be based on the recognition between work of art and life, but on the intelligent pleasure of comprehension. Active reception would thus consist of this openness of the work to reflection. At the same time, the development of the mass media created a new market for what Theodor Adorno and Max Horkheimer called Cultural Industry , using an easily recognizable language between fiction and the ideological perception of reality. In this perspective, techniques and technologies ended up getting the blame for the impoverishment of the discourse which is a very partial comprehension of Adorno s thinking, to say the least. Thus this thesis establishes the fundamental bases for a new reading of critical theory from a vision of a new aesthetics determined by the new communications technologies. The concepts presented here are based on the studies of aesthetics conceived from the works of Immanuel Kant, Gilles Deleuze, Mário Costa and Lúcia Santaella