Abstract
This paper aims to analyze the different factors that have been determining in the development and materialization of an artwork of own production, synthesized in three fundamental thematic lines: the work from a particular material, directly linked to a series of traditional practices, belonging to the rural environment and with a recognized cultural value; the implementation and use of digital error —in the audiovisual dimension of the piece— as a creative strategy, in line with some contemporary manifestations that would exceed the strict sphere of art; and finally the methodological perspective from which the project has been approached, in tune with some of the assumptions of conceptual art. Ultimately, the idea is that the confluence of these three areas allows us to make a critical approach to the current modes of production, distribution and use of images.
Keywords/Mots clefs: Black poplar pollard, conceptual art, cultural heritage, glitch art, videomapping.
Full text [ES]: https://zenodo.org/records/5803489 // https://doi.org/10.5281/zenodo.5803489
CitationCantarero Tomás, D. (2021, junio 19). Conceptual art, glitch, and cultural heritage: a physical-digital palimpsest. Regarding the art installation «One and three(thousand) logs», in Anais do VIII Simpósio Internacional de Inovação em Mídias Interativas – Anais do 20º Encontro Internacional de Arte e Tecnologia. 8vo. Balance-Unbalance. PANORAMAS 2021. ROCHA, Cleomar; VENTURELLI, Suzete; MARTINEZ, Emilio (Orgs). València, Espanha: Universitat Politècnica de València; Media Lab / BR, 2021. 66-84. https://doi.org/10.5281/zenodo.5803489