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[EN] Frequently, visiting artistic research exhibitions, or seeing 'exhibitions' in the Journal' of' Artistic' Research, one ends up wondering where art is in those projects, since perhaps they could have been done by historians, anthropologists or commun...
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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:10251/106764 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/106764 |
| Access Level: | acceso abierto |
| Palabra clave: | Investigación artística Conocimiento Deleuze Perceptos Artistic research Knowledge Percepts |
| Sumario: | [EN] Frequently, visiting artistic research exhibitions, or seeing 'exhibitions' in the Journal' of' Artistic' Research, one ends up wondering where art is in those projects, since perhaps they could have been done by historians, anthropologists or communicologists and exhibited their results in a history or ethnology museum, or a cultural center whatever, rather than in an artistic center. No doubt, they are usually true research, but where is the art? A satisfactory answer to the problem of where art is in artistic research is to be find in the difference between an informative presentation or display and an authentic device for reflection. Social scientists produce theory, information, and factual knowledge. Artists do not primarily produce factual knowledge, but rather create devices for the generation of knowledge. If this distinction is completely erased, the risk is to have bad science and/or bad art, or even have neither. To build a philosophical argumentation appropriate to the intuition that we have just formulated, it is possible to have recourse to Deleuze's theses about percepts as the kind of ideas that artists create, unlike the scientists who create functions and the philosophers who create concepts. |
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