Salterio Online

Bienvenidos al blog de Tomás Garcia Asensio también conocido como Saltés. Los que me conocen sabrán de que va esto, y los que no, lo irán descubriendo...

domingo, 27 de mayo de 2007

La Noche Inmediata de los Tiempos.


Tras el nuevo dibujo del Salterio nos internamos en la noche-inmediata de los tiempos


PALEO-CIBER-ART.



La antigüedad más remota es relativa. Por ejemplo para la escritura es del orden de 5.000 años. Para la escritura impresa es la décima parte. El origen del arte se pierde en la noche de los tiempos, mientras que el arte cibernético se originó bien entrado el siglo XX. De modo que una eclosión importante de dicho arte se produjo en nuestro país al final de la sexta década en el Seminario de Generación Automática de Formas Plásticas del Centro de Cálculo de la Universidad de Madrid, que es como se llamaba entonces a la Universidad Complutense. De ese hecho soy testigo y cómplice.

Las actividades consistían en “mesas redondas” a lo largo del curso que culminaban en exposiciones. De las que son destacables dos, realizadas en el propio Centro de Cálculo:

FORMAS COMPUTABLES y GENERACIÓN AUTOMÁTICA DE FORMAS PLÁSTICAS. La primera en el 69 y la segunda en el 70.

En la primera se expusieron obras que suponían declaraciones de expectativas y esperanzas y en la segunda realizaciones como respuesta al compromiso cumplido.

De la primera hay que destacar una trinidad: Mondrian, en el papel de tótem representado por una serigrafía, Vasareli gran autoridad universal representado por un múltiple y Equipo 57 gran precedente vernáculo. Destacaría también a Sempere, que debido a su encanto personal siempre se empeñaba en figurar entre la tropa, pero sobresalía por su gran prestigio. Los demás participantes éramos: Alexanco, Amador, Elena Asins, Barbadillo, Equipo 57, Lily Greenham, Lugán, Quejido, Abel Martín, Eduardo Sanz, Javier Seguí, Soledad Sevilla, Iturralde y yo.

Esto fue lo que expuse en la primera:



























En la segunda se produjeron bajas y altas. Participaron los siguientes miembros del seminario: Alexanco, Barbadillo, Gerardo Delgado, Gómez Perales, Lugán Quejido, Soledad Sevilla, Sempere y yo. También participaron artistas extranjeros invitados que practicaban esa estética: Ashwort, Lecci, Mezei, Milojevic, Nake, Nees, Nool, Radovic y Sauders.

Y esto lo que expuse en la segunda:

















Si digo que aquello era la paleo-informática hablo en serio, porque –por ejemplo- los ordenadores de aquella época no podrían producir los cuadros de aquella exposición directamente. Hoy si se puede, ya que hay lienzos para impresoras en cualquier tienda del ramo, y también otras muchas superficies.

Entonces no había programas que comprar, o que robar, si uno quería un programa lo hacía o se lo hacían. Los ordenadores eran gigantescos, funcionaban con tarjetas perforadas, que se perforaban en máquinas de casi dos metros en horizontal, que parecían de tricotar. Los ordenadores, las lectoras de cintas o las impresoras eran grandes como armarios. Todo el equipo ocupaba una gran sala con aire acondicionado, porque si no petaba. Y no había cosas tan corrientes hoy como el monitor, el teclado o el scanner. ¡Nunca se escaseaba nada! Ni se incorporaban imágenes fotográficas o de videos, por la simple razón de que aún no se habrían inventado ni las cámaras de video, ni las digitales. Tampoco se podían retocar imágenes con photoshop, porque no había photoshop, ni nada que se le pareciera.
Describo un panorama en el que no sorprendería que hubiera dinosaurios por las calles. Pero no era eso. Se veía que estaba amaneciendo la nueva era porque mediante los ordenadores ya se podían cortar chapas de acero para hacer barcos y masivamente telas para hacer ropa. Y en el Instituto Tecnológico de Massachusetts había un torno gobernado por ordenador. Actualmente no se fabrican tornos profesionales que se manejen de otro modo. El plóter dibujaba con plumillas, rotuladores o lapiceros. Y el ordenador más potente tenía menos memoria que uno actual de juguete, sólo que hoy parece una escasa memoria, entonces daba mucho juego.

La gran diferencia con el panorama actual es que no había imágenes de aspecto fotográfico o de video. Las imágenes de Barbadillo y de otros artistas se imprimían con asteriscos y luego el autor las pintaba “a mano”.

No se podía ver más que lo que saliera de la impresora o del plóter, que hoy parece rupestre, pero que entonces nos dejaba boquiabiertos cuando lo veíamos dibujar mapas a toda mecha. Hoy se imagina aquello tosco y antiguo, pero entonces se veía moderno y futurista.

Otra gran diferencia es que había que ser informático o depender de un informático, y se pensaba que las obras más adecuadas eran las de carácter racional, como el arte concreto.
La reacción de críticos y expertos fue, por lo general, fría o francamente adversa, porque verían que el romanticismo propio del arte se veía profanado por la mecánica y la pasión sojuzgada por la razón.

Hoy todo es muy distinto. Se puede usar un ordenador, para el arte o para cualquier otro fin sin que el usuario tenga que ser informático, ni depender directamente de alguien que lo sea. Ni siquiera hay que saber, en realidad, informática. Se escriben con un teclado de ordenador con la misma o con más facilidad que con una máquina de escribir. Pasa como con el coche, de todos los que saben conducir muy pocos saben de mecánica, ni cómo son los motores, ni cómo funcionan.

Para un artista hoy un ordenador es un utensilio más, y se le dará mayor o menor alcance según lo buen o mal artista que sea. Y podrá manejar toda clase de imágenes y no por ello lo que haga tiene que ser necesariamente ciber-arte. Si hace, por ejemplo, video-arte tiene que usar el ordenador inexcusablemente. Pasa como con los escritores y los poetas, que en su inmensa mayoría escriben con ordenador y no por eso son “ciber escritores” ni “poetas digitales”.

Pensaba destacar en esta entrada a Lugan, pero como ha resultado demasiado larga ¡y a este hay que echarle de comer aparte! os emplazo para la próxima entrega.

23 comentarios:

Anónimo dijo...

¡¿Quién te iba a decir en los ´70 que estos cuadros iban a estar en un blog a la disposición del universo entero vía internet?! No pensarías que tu arte cibernético fuera a serlo tanto, ¿no?
¡¡¡Qué bueno!!!

Anónimo dijo...

aunque los medios pudieran ser limitados, vista la tegnología con la que contamos hoy, la idea es de lo mas contemporanea. la visión unitaria ciencia-arte-filosofía está fenomenal en un mundo cada vez mas especializado y fragmentado. felicidades de nuevo.

Saltes dijo...

Gracias Ana. Gracias Eduardo. En tan sólo 36 ó 37 años he conseguido, gracias a Ana y a Rafol, que estas cosas sean realmente "ciber". La verdad es que con tanto detalle no me lo había imaginado entonces.

Anónimo dijo...

Pero no era el pleistoceno, era la REVOLUCiÓN!!! Que como tal encendió la llama de los cerebros y corazones inquietos que hicieron, como han hecho siempre los artistas, arte con lo que había. Porque con lo que hay en cada momento, unos hacen arte, y otros no hacen nada.

Saltes dijo...

Bueno Anaïs ¡me emocionas!
Un besazo.

Rafol dijo...

Muy interesante!!
Me ha impactado sobre todo lo de los cuadros que se imprimian con asteriscos y luego se pintaban a mano! Te hace pensar en lo dependientes que somos ahora de estas máquinas malditas.

Unknown dijo...

Rafol: es una manera de verlo muy interesante y certera, porque por aquella época se pensaba que el ordenador sería un esclavo eficaz y sumiso. Luego se ha visto que es eficaz en someternos a todos: pero claro, no es el ordenador, sino los que lo manejan desde las alturas...

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