3837
The aim of this thesis is to reconstruct the cartographic and reciprocal space that Audiovisual Design occupies in the determination of the collective imaginary in order to think about approaches with which to contribute to the debate about its epistemic identity. It is in this sense that a definiti...
Guardado en:
| Autor principal: | |
|---|---|
| Otros Autores: | |
| Formato: | Tesis doctoral acceptedVersion |
| Lenguaje: | Español |
| Publicado: |
Facultad de Arquitectura, Diseño y Urbanismo
2017
|
| Materias: | |
| Acceso en línea: | http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=aaqtesis&cl=CL1&d=HWA_3837 https://repositoriouba.sisbi.uba.ar/gsdl/collect/aaqtesis/index/assoc/HWA_3837.dir/3837.PDF |
| Aporte de: |
| Sumario: | The aim of this thesis is to reconstruct the cartographic and reciprocal space that Audiovisual Design occupies in the determination of the collective imaginary in order to think about approaches with which to contribute to the debate about its epistemic identity. It is in this sense that a definition of Audiovisual Design is organized in an essayistic way as a space for intersubjective thought --gnoseological, practical and epistemological-- since it is in this space where those who produce, use and circulate audiovisual forms and projects are related. This space is argumentatively constructed from the concept of territory, imagining it as a place where communicational knowledge, audiovisual practices and reproducibility policies intersect with the operative categories of format, device and montage. By means of this proposal, certain reciprocities are realized that can affect subjective bodies and audiovisual bodies from both the cognitive and the somatic as well as the pragmatic point of view. The hypothesis that guides the thesis is to think that the products of the Audiovisual Design can in-form and give-form to our way of perceiving, feeling and understanding the world and the events that inhabit it. In this sense, it is argued that in the territory of Audiovisual Design products are no longer just narrative forms but also places from which it is possible to take a perceptive distance for learning and reproduceing, assembling and manipulating the flow of images that frames the edges of our everyday experiences. It is thus affirmed that the experience of the subjective body, together with the reciprocity that it maintains with the audiovisual body, can activate the force that underlies the representation by making the tropes emerge from the images. In this sense, the literal experience when intersects the figurative makes possible to operate the necessary de-formations and de-configurations to attack the sensational by introducing, in addition, discontinuities with which it becomes possible to value the testimonial dimension of the Audiovisual Design. By focusing attention on the testimonial question, the thesis also conjectures that the moving nature with which the Audiovisual Design speaks to us can be organized into a differential architecture by which images not only move but also concern and produce movement by exciting and citing. Therefore, and thinking about the reciprocity relation between subjective body and audiovisual body, the products of Audiovisual Design can per-vert the ways of presenting environments by establishing a dialectic relation between the instant they return to us and the instance with which they touch us collectively. Finally, these per-versions bear the testimonies of those traces with which formats, devices and assemblies, as operational categories with which to imagine the Audiovisual Design, affect the bodies and the territory. |
|---|