Gestural Minimalism: Developing a Pictorial Model in Light of Deleuzoguattarian and Enactive Theories

The purpose of this practice-based research project is to define a non-representational model of abstract painting based on Deleuzoguattarian philosophy of becoming and Varela et al.’s enactive model of cognition. This model is developed theoretically, through research and analysis of painting by Le...

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Detalles Bibliográficos
Autor: Rioseco Castillo, Macarena
Tipo de recurso: tesis doctoral
Estado:Versión publicada
Fecha de publicación:2018
País:Chile
OAI Identifier:oai:repositorio.anid.cl:10533/236203
Acceso en línea:https://hdl.handle.net/10533/236203
Access Level:acceso abierto
Palabra clave:Humanidades
Arte (Artes, Historia del Arte, Artes Escénicas, Música)
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dc.title.es_CL.fl_str_mv Gestural Minimalism: Developing a Pictorial Model in Light of Deleuzoguattarian and Enactive Theories
title Gestural Minimalism: Developing a Pictorial Model in Light of Deleuzoguattarian and Enactive Theories
spellingShingle Gestural Minimalism: Developing a Pictorial Model in Light of Deleuzoguattarian and Enactive Theories
Rioseco Castillo, Macarena
Humanidades
Arte (Artes, Historia del Arte, Artes Escénicas, Música)
title_short Gestural Minimalism: Developing a Pictorial Model in Light of Deleuzoguattarian and Enactive Theories
title_full Gestural Minimalism: Developing a Pictorial Model in Light of Deleuzoguattarian and Enactive Theories
title_fullStr Gestural Minimalism: Developing a Pictorial Model in Light of Deleuzoguattarian and Enactive Theories
title_full_unstemmed Gestural Minimalism: Developing a Pictorial Model in Light of Deleuzoguattarian and Enactive Theories
title_sort Gestural Minimalism: Developing a Pictorial Model in Light of Deleuzoguattarian and Enactive Theories
dc.creator.none.fl_str_mv Rioseco Castillo, Macarena
author Rioseco Castillo, Macarena
author_facet Rioseco Castillo, Macarena
author_role author
dc.contributor.advisor.none.fl_str_mv Rose, Emma
Harland, Beth
dc.contributor.institution.es_CL.fl_str_mv UNIVERSITY OF LANCASTER
dc.subject.oecd1n.es_CL.fl_str_mv Humanidades
topic Humanidades
Arte (Artes, Historia del Arte, Artes Escénicas, Música)
dc.subject.oecd2n.es_CL.fl_str_mv Arte (Artes, Historia del Arte, Artes Escénicas, Música)
description The purpose of this practice-based research project is to define a non-representational model of abstract painting based on Deleuzoguattarian philosophy of becoming and Varela et al.’s enactive model of cognition. This model is developed theoretically, through research and analysis of painting by Lee Ufan, Simon Hantai, Agnes Martin, Eva Hesse and Jane Harris and, practically, through my own practice that I call gestural minimalism. I discuss antecedents of non-representation in painting by introducing geometric abstraction from the early 20th century, whose works are based on the exact science of Euclidean geometry. This leads to a discussion about different conceptions of pictorial representation and abstraction from two perspectives: a transcendent (static) and an immanent (dynamic). I present fractal geometry, a principal referent in gestural minimalism, to introduce a non-exact but relational approach to this science. This model is non-representational because is based on reciprocity. This concept is also a main idea of the enactive framework used in this project. I analyse painting as an enacted practice and a co-emerging assemblage in becoming, where a reciprocity between medium and painter co-functions to shape meaning. Painting is also explored as an artefact for extended cognition and as intensive processes that can grant individuals the access to abstract psychological spaces. The aim is to examine the capacity of the medium to facilitate the actualisation and modification of affective registers, and to aid processes that aim at transforming an individual’s identity. Haptic properties of pictorial surfaces are signalled as primary non-representational elements, whose traces are document of enacted processes of making that can give relevant information about cognitive and psychological features of individuals.
publishDate 2018
dc.date.issued.es_CL.fl_str_mv 2018
dc.date.accessioned.none.fl_str_mv 2019-07-01T13:17:55Z
2022-08-17T20:29:17Z
dc.date.available.none.fl_str_mv 2019-07-01T13:17:55Z
2022-08-17T20:29:17Z
dc.type.none.fl_str_mv Tesis Doctorado
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dc.type.tesis.none.fl_str_mv Tesis
format doctoralThesis
status_str publishedVersion
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dc.identifier.uri.none.fl_str_mv https://hdl.handle.net/10533/236203
identifier_str_mv 72140043
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spelling UNIVERSITY OF LANCASTERRioseco Castillo, Macarena2018https://hdl.handle.net/10533/236203http://purl.org/coar/access_right/c_abf2Arte (Artes, Historia del Arte, Artes Escénicas, Música)HumanidadesGestural Minimalism: Developing a Pictorial Model in Light of Deleuzoguattarian and Enactive TheoriesRose, EmmaHarland, BethUNIVERSITY OF LANCASTERReino UnidoRioseco Castillo, Macarena2019-07-01T13:17:55Z2022-08-17T20:29:17Z2019-07-01T13:17:55Z2022-08-17T20:29:17Z2018The purpose of this practice-based research project is to define a non-representational model of abstract painting based on Deleuzoguattarian philosophy of becoming and Varela et al.’s enactive model of cognition. This model is developed theoretically, through research and analysis of painting by Lee Ufan, Simon Hantai, Agnes Martin, Eva Hesse and Jane Harris and, practically, through my own practice that I call gestural minimalism. I discuss antecedents of non-representation in painting by introducing geometric abstraction from the early 20th century, whose works are based on the exact science of Euclidean geometry. This leads to a discussion about different conceptions of pictorial representation and abstraction from two perspectives: a transcendent (static) and an immanent (dynamic). I present fractal geometry, a principal referent in gestural minimalism, to introduce a non-exact but relational approach to this science. This model is non-representational because is based on reciprocity. This concept is also a main idea of the enactive framework used in this project. I analyse painting as an enacted practice and a co-emerging assemblage in becoming, where a reciprocity between medium and painter co-functions to shape meaning. Painting is also explored as an artefact for extended cognition and as intensive processes that can grant individuals the access to abstract psychological spaces. The aim is to examine the capacity of the medium to facilitate the actualisation and modification of affective registers, and to aid processes that aim at transforming an individual’s identity. 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