La estética del consumo a través de la fotografía contemporánea
[EN] The purpose of this article is to analyze the aesthetic and philosophical features of landscape that converge in contemporary photography. Visual perception leads us to an image philosophy, which allows us understand the socio- cultural circumstances of the current environment deeply: a hybrid...
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| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2017 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/106451 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/106451 |
| Access Level: | acceso abierto |
| Palabra clave: | Estética Paisaje Fotografía Consumo Aesthetics Landscape Photography Consumption |
| Sumario: | [EN] The purpose of this article is to analyze the aesthetic and philosophical features of landscape that converge in contemporary photography. Visual perception leads us to an image philosophy, which allows us understand the socio- cultural circumstances of the current environment deeply: a hybrid and impermanent world. Thus, the German artist Andreas Gursky’s artwork takes on a special role in this proposal, since his photographs show the environment as an aesthetic organization of culture. The subject matter of this article is addressed through the aforementioned artist’s artwork and the theories of authors such as Jean Baudrillard, Zygmunt Bauman, Gilles Lipovetsky, Nicolas Bourriaud, Theodor W. Adorno and Fredric Jameson are put forward through photography. These authors’ ideas converge on the photographed scene, which may symbolize the new sanctuary of postmodern aesthetics, while proposing to reflect on the material and the immaterial: consumption, emptiness, rationality, solitude, and so on. These concepts flow between the real and the unreal. In fact, Gursky creates a manipulated reality that is closer to the real world than to reality itself, as a result of his digital interventions. One of the main themes of this paper is constant aesthetic renovation or cultural recycling of landscape. Consumption is analyzed as a driver of behavior in new landscape topographies that systematizes current humans today, while noticing how this fact leads to a spatial transformation that progressively influences the individual’s quality of life and emotional bonds. In short, how the dynamics of life, linked to consumerism shown through photography, leads to an increasingly extreme dehumanization in which the human being becomes subjectYobject that belongs to a changing and liquid environment, is analyzed in this article. |
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