El dibujo digital y su incidencia en el aura de una obra artística técnicamente reproductible

Abstract

Walter Benjamin is one of the most representative hermeneutics of events that marked major transformations in art arising from the commercialization and the gradual emergence of new information technologies and communication, setting off in the first instance, its hyper-reproducibility, and then democratization, overcrowding and secularization. These changes led the philosopher to question the present and the future of the Aura: the uniqueness, the unrepeatability, and the originality characteristic of a work of art. These concepts bring up the need to address, analyze and propose a current theoretical and practical approach that leverages the serial reproducibility of that work of technological art, so that the viewer transforms from a mere observer to a generator of unique artistic work, who will invest in that work a personal aura led by sensitivity and mood, and stripped of prejudices, biases, academicism and specialized discourse. The virtual-ness of the work is embodied and transformed into a physical work. In the practical part of the thesis, a proposal is presented for a participatory art since Benjamin considered the possibility of new forms of collective perception, and with them the expectation of politicization; that is to say, the democratization of art is the pillar on which the plastic proposal is built. The trilogy - participatory social art, technology and aesthetic discourses - will materialize and reinterpret the Benjaminian thought as a method to live different aesthetic experiences.