To be Made and to be Drawn: The Twofold Existence of Objects (original) (raw)
Related papers
Modos de Fazer/Ways of Making, 2020
This work seeks to give some contributions related to my painting, the process of making as well as to my philosophical research. I try that my fields of inquiry, are not just products of complex historically contingent circumstances, but constructs of the ontological dimension of my paintings as a medium of individuation. Therefore I consider that thinking about the meanings and the values and going beyond a historically and philosophically interrelated conceptual dichotomies is important to increase critical awareness. The late 20 th century saw those dichotomies sometimes come under convergence, in fields as diverse as those closest to physical science, such as the philosophy of science, and human sciences which traditionally focused on societies that used to be characterized as lacking science and even history, such as anthropology (and prehistoric archaeology). Many factors have been involved, including the socio-cultural changes that have gradually challenged the predominant pictures of the world.
Reflexiones ecológicas: intervenciones artísticas en y por la naturaleza
Atenea, UPRM, 2006
publica artículos relacionados con las humanidades y las ciencias sociales escritos en español o en inglés y algunos cuentos y poemas. Los artículos deben regirse por las normas estipuladas en la última edición del manual del Modern Language Association of America (MLA). Favor de enviar tres copias a la Editora, Revista Atenea, PO Box 9265, Universidad de Puerto Rico-Mayagüez, Mayagüez, Puerto Rico 00681.
Writing as a Visual Art: the Maya Script, por Sanja Savkic Sebek y Erik Velásquez García, 2021.
Marzia Faietti y Gerhard Wolf (eds.), Motion: Transformation. 35th Congress of the International Committee of the History of Arts, Florence, 1-6 September 2019. Congress Proceedings, 2021
This essay reflects on the social function and ontological status of Maya hieroglyphs, their creative process, their sacred origin, their dual nature (verbal and visual), their possible status as living entities (with personality, agency, and the ability to speak), among other issues. The making of Maya hieroglyphs also involves an investment of labour, which increases their intrinsic value not only for economic reasons, but also because the workforce was an impersonal soul force. Other topics addressed include artists' signatures, vessels as a means of creating social allegiances, icontextual relationships, and the value of pseudo-glyphs. This essay is an approach to visual culture, as well as to the balance between aesthetics, functionality, and materiality of hieroglyphic inscriptions, which are part of the canon and values of ancient Maya artists. Este ensayo reflexiona sobre la función social y estatus ontológico de los jeroglifos mayas, su proceso creativo, su origen sagrado, su doble su soble naturaleza (verbal y visual), su posible condición como entidades vivas (con personalidad, agencia y capacidad de hablar), entre otros temas. La elaboración de jeroglifos mayas implica también una inversión de trabajo, lo que aumenta su valor intrínseco no sólo por razones económicas, sino porque el trabajo era una fuerza anímica impersonal. Otros temas abordados son las firmas de los artistas, las vasijas como medio para crear lealtades sociales, las relaciones iconotextuales y el valor de los pseudoglifos. Este ensayo es una aproximación a la cultura visual, así como al equilibrio entre estética, funcionalidad y materialidad de las inscripciones jeroglíficas, que forman parte del canon y valores de los antiguos artífices mayas.
Animacy, Abstraction, and Affect in the Andean Past: Toward a Relational Approach to Art
Cambridge Archaeological Journal
In this article, I set out a relational approach to Andean art, with the aim of investigating, in broad terms, the making, viewing and experience of art among pre-Hispanic peoples. The analysis draws upon the ideas of art historians, as well as upon the work of ethnographers and archaeologists, to integrate theoretical approaches that consider animacy and the ways art objects gain significance as part of assemblages. Examining four aspects of Andean art: (1) insistence; (2) abstraction; (3) networks and linkages; and (4) affect and embodied experience, I conclude that the term ‘art’ (as an analytic category) overlaps poorly with Andean categories of cognition, sociality and material practice. Archaeologists can usefully refocus attention on the ways these craft items were made, used in daily life, displayed in rituals and ultimately deposited in the places where they were found.
Arte, pensamiento simbólico y modos de vida en la Prehistoria
A. B. Marín-Arroyo, O. Moro-Abadía and A. Diez-Castillo, 2024
Comencé mi carrera arqueológica con escaso entusiasmo por el arte, pero mi experiencia en la Península Ibérica me convenció que una arqueología del arte podía ser interesante. En aquel momento no sabía que al mismo tiempo Manolo González Morales comenzaba su carrera en Cantabria. En este artículo, reviso mi relación con el arte parietal en la Península Ibérica, sobre todo, en la cueva de El Niño y Parpalló, en el mismo contexto que algunas de las publicaciones de Manolo, especialmente las de la cueva de El Mirón. A partir de esa introducción, reflexiono acerca de algunas de las cosas que he aprendido gracias a mi involucración en el estudio del arte parietal australiano y como esa experiencia podría facilitar el conocimiento del arte parietal ibérico. Mi conclusión es que es imposible interpretar el arte parietal en cuevas sin conocer su contexto arqueológico y, por eso, el trabajo que Lawrence Straus y Manolo González Morales han llevado a cabo en El Mirón es más que importante.
After depicting the contemporary scene of Huni Kuin ayahuasca shamanism and artistic agency, I analyze a selection of image-songs from this ritual. The songs unveil the workings of embodied perception and synesthesia, that is, the transductions of bodily sensations and perceptions in vision, rhythm, song and sound. The experience entails a process of other-becoming where to know means to see through the eyes of Other; to be covered with the skin/ornaments of those beings one has consumed and to sing through their voice. This other-becoming is a becoming in a deleuzian sense, which means that the lived experience is situated in-between the space of self and other. In this context the expression “you are what you eat” has specific implications for one’s health and for the acquisition of agentive and perceptive capabilities of other beings. The ritual technique of almost becoming consists of alternatingly producing and undoing temporary transformations through song. Keywords: shamanism; ayahuasca; Amerindian relational aesthetics; song.
Arte visual de la cultura Diaguita y su contexto social y simbòlico
El arte de ser diaguita, 2016
Este trabajo examina el contexto social y simbólico del arte visual diaguita distinguiendo entre el período preincaico, caracterizado por su vínculo con una específica tradición de arte chamánico sudamericano y el arte visual diaguita incaico, el cual refleja gráficamente el proceso de interacción entre Incas y Diaguitas.
2004
In this paper I analyze the main styles of engravings and paintings of the Antofagasta Region (Northern Chile), vis a vis with environmental, cultural, and historic changes experimented by the Atacama Andes for the last five-thousands years. I discuss the relative importance of external stress and the Andean culture tradition over this rock art as a symbolic device. I suggest that engravings and paintings were both, (1) part of ritual transactions with deities to guarantee the subsistence, and (2) discourses related to power and identity of Atacama cultures.
Today Amazonian contemporary art is acquiring more visibility as it circulates through national and international art venues. The growing interest and awareness on Amazonian ontologies by academia and art platforms with the influential studies of Descola (2006) and Viveiros de Castro (2009) are helping, but difficulties in improving the protocols of showing, writing and understanding Amazonian art in the Western art world still remain. As scholarly attention is driven by this international mobility of indigenous art, this panel aims, however, to change the focus back to the indigenous communities and explores the different ways in which Amazonian indigenous art and artists impact their own collectivities not only in socio- economic terms but particularly in its owns ontological and epistemological dimensions. The panel seeks to explore two aspects of the same phenomena, examining (i) how Amazonian art, particularly in its forms of figuration participates and influences other sensory-aesthetic and performative registers such as mythology, ritual and shamanism, as well as on fixing imaginaries when transmutation or metamorphosis of bodies, behavior and senses is central to Amazonian cosmopolitics; (ii) examining Amazonian art as a device for incorporating alterity in terms of subjects, objects and techniques (exogenous landscapes, modern technologies, perspective, oil painting, etc.). Some of the questions that this panel seeks to approach are what does art do in stabilizing imaginaries? How do artists represent mutable and non-visual beings? How does art impact other sensory- aesthetics practices? And, how does the agency of Amazonian art enact in its own sociocultural environment?
Ecosystem and Biodiversity of Amazonia, 2020
Pre-Columbian art in all its varied forms offers rich terrain for furthering our insights into the cultural and symbolic lives of Amerindian peoples. This paper studies decorative patterns of Diaguita origin which present a visual logic characterized by the use of complex symmetries, illusory optical vibration, endless variability stemming from simple geometric forms, horror vacui, and gradual structural complication, among other techniques. The features described, the association of this visual art to an animal alter ego (jaguar), and the evidence of hallucinogen use together suggest a cultural link with specific ethnographic (Shipibo-Conibo) and archeological (Mojocoya) visual art. In this case, we are dealing not with a notation system but with visual "technologies of enchantment" (sensu Gell 1998) that are used to produce decorative patterns with social agency that captivate viewers with their visual artifice-the non-mimetic appearance of animation. In 2015, a large cemetery was excavated at the Diaguita site of El Olivar. The graves therein belong to an early Diaguita cultural period, during which the Diaguitas created a techno-stylistic material identity, expressed in visual languages rooted not only in the Andean world, but in ancient cultural traditions of the eastern lowlands of Bolivia and the Peruvian Amazon.