La obra de arte tradicional en la postfotografía: ¿Qué hace una escultura en Instagram?
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Rev. aportes de la comunicación
Abstract
La cultura postfotográfica en la que vivimos se caracteriza por una sobre abundancia de imágenes que circulan por la web y, desde este contexto, hace falta detenerse a reflexionar sobre el rol de nuevas formas de comunicación en la intersubjetividad de la sociedad actual. A diario se observan miles de fotografías de obras de arte en las redes, que rompen con los esquemas tradicionales de instituciones; manteniendo a las obras en una constante apertura de sentidos, o en otras palabras a procesos de mediatización. La nueva manera de difundir las reproducciones de estas obras se traduce en usos distintos de su imagen y, cambios en sus sentidos; de modo que la finalidad de este escrito está en responder el cuestionamiento sobre cuáles podrían ser los nuevos sentidos adquiridos por las obras de arte tradicionales en Instagram, bajo un contexto postfotográfico. El trabajo hace su aporte clasificando y ordenando fotografías de obras tradicionales, específicamente esculturas clásicas en Instagram, basándose en parámetros unificadores que ayuden a entenderlas. Se hizo uso de la herramienta de análisis semiótico sobre las formas en que se incorporan las obras en procesos de autoexpresión, identificando repeticiones de variables en imágenes, para contemplar géneros.
We live in a post-photographic era characterized by an overabundance of images and photographs on the Internet. In this context, it is necessary to stop and think about the influence and the role of certain images on the intersubjectivity of todays society. Every day, millions of people share photographs of artwork on their social networks. Through the circulation of these images, art pieces are constantly exposed to new mediatization processes, that challengesschemes designed by cultural institutions. We seek to understand the way that social media users represent traditional art, and how the production of meaning is transformed by a re-signification through shared pictures. Therefore, the purpose of this article is to answer the question of possible new meanings that traditional artwork might acquire from its reproduction on social media in a post-photographic context. This document helps to classify and order photographys based on unifying parameters, specifically from classic sculptures on Instagram. Semiotics analysis was used to study the ways in which traditional art pieces are incorporated into self-expression processes. This tool allowed a proper identification of repetitions in variables to create new genres.
We live in a post-photographic era characterized by an overabundance of images and photographs on the Internet. In this context, it is necessary to stop and think about the influence and the role of certain images on the intersubjectivity of todays society. Every day, millions of people share photographs of artwork on their social networks. Through the circulation of these images, art pieces are constantly exposed to new mediatization processes, that challengesschemes designed by cultural institutions. We seek to understand the way that social media users represent traditional art, and how the production of meaning is transformed by a re-signification through shared pictures. Therefore, the purpose of this article is to answer the question of possible new meanings that traditional artwork might acquire from its reproduction on social media in a post-photographic context. This document helps to classify and order photographys based on unifying parameters, specifically from classic sculptures on Instagram. Semiotics analysis was used to study the ways in which traditional art pieces are incorporated into self-expression processes. This tool allowed a proper identification of repetitions in variables to create new genres.
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No. 31