Los Caprichos of the 3r industrial Revolution.
Social humour through digital art narratives.
Humour is the art of constructing a problem, and is opposed to the faux intellectualism or ‘true conversation’ of discourse and discussion: ‘Humour is treachery; its agent is the traitor as opposed to the trickster. The trickster plays on words, practises the ironic positionality, of “discourse specificity”. The traitor makes gestures, proceeds through posture as opposed to positionality.’ – Robert Garnett.
Los Caprichos of Goya is one of the most influential series of artworks in Spanish and International art. A satirical and critical view towards power, hierarchy and moral values, where Goya depicted “the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance or self-interest have made usual”.
My project proposal will work on the base of Goya’s critical universe, updating the main topics to nowadays. My body of work will create artworks that use humor as a narrative, and online and digital art as a medium to create.
Aims and Objectives:
Aim 1: Make connections between Los Caprichos’ characters, subjects and metaphors with the current social and political concerns of the 3rd Industrial Revolution.
- Objective 1: Study the universe of Goya, especially in his series “Los Caprichos” and “los Disparates”.
- Objective 2: Understand The 3rd Industrial Revolution and the new philosophical and moral values of the 21st century.
- Economy, technology and socio-political situation in capitalism, globalization and networked societies. Read Manuel Castells book: “the Network State”, and “Theory of the Network Society” and Marshall McLuhan’s theories.
- Analyse new values of education, love, power, social hierarchies and money in the western culture.
- Objective 3: Link Goya’s topics and characters to contemporary references.
Aim 2: Research about humour and irony in art and their relation with social chronicles.
- Objective 1: Types of humour in artworks.
- Absurd. Nonsense. Post-modernist irony. Black Humour.
- Artists who had used humour as a narrative.
- Study of the grotesque and satire.
- Objective 2: The social chronicles and pop culture.
- The values in society from the 90’s on through mass media, and Internet.
- Analyse the creation of new folklore and international pop culture.
Aim 3: Learn about digital art narratives and online strategies.
- Objective 1: Understand the techniques, narratives and theories of digital art.
- Objective 2: Research about game theories, participatory artworks and digital strategies used by mass media and advertising.
Aim 4: Body of work.
- Use the updated concepts and imaginary of Goya to collide them with contemporary techniques.
Information > Intuition > Action > Reflection.
Creation of products, services or businesses. Development of campaigns and websites to promote them, mainly using video and photography.
Participatory artworks and interactive installations, where the online and offline relate.
Satire in Ancient Greece and Rome.
Post-Postmodernism and Metamodernism.
The 2000s are characterized by the emergence of a sensibility that oscillates between, and must be situated beyond, modern positions and postmodern strategies. As examples of the metamodern sensibility Vermeulen and van den Akker cite the ‘informed naivety’, ‘pragmatic idealism’ and ‘moderate fanaticism’ of the various cultural responses to, among others, climate change, the financial crisis, and (geo) political instability.
The Yes Men
Jorge Luis Borges.
Ai Wei Wei
10/13 – Go on with the context for Scanfaces
+ 6 Scanfaces
Search exhibition for scanfaces
Start with Chopped Project.
+ 6 Scanfaces
More tests Chopped Project and Context.
12/13 appoint exhibition of Scanfaces
+ 6 Scanfaces
Final outputs and digital strategy for Chopped.
1/14 – Create installation Pollock Project.
Present Chopped Project.
4/ 14 – Present 2nd Project
7 / 14 – Present 3rd project
9 / 14 – Present Summertime project.
12/ 14 – Present 4th project
3 / 15 Present 5th project
6/ 15 Present 6th project
9 / 15 final MA exhibition
André Breton – Anthology of Black Humor (Anthologie de l’humour noir)
‘Abstract Humour, Humorous Abstraction’, Robert Garnett
Monty Python : complete and utter theory of the grotesque / edited by John O. Thompson.
The grotesque in art and literature – W Kayser, U Weisstein – 1968
On the grotesque: Strategies of contradiction in art and literature – GG Harpham – 1982
Critchley, Simone 2002. On Humour, Routledge, London and New York.
Brotchie, Alastair & Gooding, Mel 1995. A Book of Surrealist Games,Shambhala Redstone Editions, Boston & London.
Hansen, Mark, B, N 2003. New Philosophy for New Media, MIT Press, Cambridge, Massachusetts.
Salen, Katie & Zimmerman. Eric 2003. Rules of Play: Game Design Fundamentals, The MIT Press, Cambridge, Massachusetts.
Ball, Hugo 14th July 1920. Dada Manifesto, 21 Sept 2009.http://www.kent.ac.uk/secl/researchcentres/graduate/materials/Dada%20Hugo%20Ball.pdf– 2008-02-14
Derry, Mark 2004. Culture Jamming: Hacking, Slashing and Sniping in the Empire of Signs. Jan 24 2010.http://project.cyberpunk.ru/idb/culture_jamming.html
Manovich, Lev 2005-2006. Deep Remixology, 01 Feb 2010.http://pzwart.wdka.hro.nl/mdr/pubsfolder/manovichessay/
Tzara, Tristan 1918. Dada Manifesto. Sept 21 2009.http://www.kent.ac.uk/secl/researchcentres/graduate/materials/Dada%20manifesto.pdf– 2008-02-14
Meta/data : a digital poetics / Mark Amerika.
Humour. Freud, S. The International Journal of Psychoanalysis, Vol 9, 1928, 1-6.
Digimodernism: How New Technologies Dismantle the Postmodern and Reconfigure our Culture, Alan Kirby 2009
Baudelaire and Caricature: From the Comic to the Art of Modernity – Michele Mannoosh
To end, the value of humour, by the master John Cleese.