Abstract
A revolução digital tem sido muitas vezes associada à indefinição de fronteiras geográficas, levando a novas formas de reconhecimento e (in)diferenciação territorial. À medida que as distâncias físicas se dissiparam, as barreiras tornaram-se ambíguas e crescentemente condicionadas por reconfigurações digitais de lugares reais ou ficcionados. Depois da Web 2.0, as representações geográficas de cidades foram redefinidas por ligações eletrónicas, abrindo assim o caminho para novas cartografias em rede, paralelas à realidade material, mas não necessariamente dependentes da mesma. Esta transformação metafórica do espaço físico em imagens e informação, permanentemente alteradas, partilhadas e atualizadas na Internet, promoveu uma dialética instável entre as dimensões tangíveis e subjetivas. Enquanto algumas fronteiras tendem a desaparecer, outras estão também a ser criadas, dado que o aparecimento de novos territórios digitais (ou digitalizados), com protocolos de acesso e cartografias específicas, tem gerado novas formas de exclusão social e cultural. Centrando-se na Arte Digital e Pós-Digital, este artigo discute esta situação recente, observando como os artistas contemporâneos têm proposto sistemas alternativos para a apropriação e representação de espaços urbanos. Enviado em: 22 de outubro de 2016.Aprovado em: 15 de novembro de 2016.
Highlights
Contemporary culture is intrinsically associated with the conceptualisation of the city, in its multiple possibilities: from political materialisations to revolutionary outbreaks, from the ostentation of economic prosperity to massive poverty, from technological achievements to ground-breaking artistic experiments
With the advent of the Internet, and with the Helena Barranha, António Pinto Ribeiro, Raquel Pereira appearance of Web 2.0, the social media, and the worldwide diffusion of mobile phones and mobile apps, a universal system of interconnected networks links countless devices, promoting the abolition of physical distances and geographical boundaries, which has led to a certain territorial undifferentiation
Assuming the dichotomy of physical/virtual, the project displays the exact location of each "tweet" on Google Maps, including several views of the street from which the message was sent. These experiences around territorial representation lead us to another question: are the new online cosmopolitan spaces based on the image of actual urban places, or are they preferably built upon virtual reconfigurations of urban fictions?
Summary
Contemporary culture is intrinsically associated with the conceptualisation of the city, in its multiple possibilities: from political materialisations to revolutionary outbreaks, from the ostentation of economic prosperity to massive poverty, from technological achievements to ground-breaking artistic experiments. The urban space functions as a referential system, guiding us through its constant and defining presence: a political, social and cultural arena whose architectural and iconographic constructions have, over the centuries, been used alternately to affirm power and authority, or to express the goals of anti-regime movements. This permanent tension between order and rebellion, stability and change, which is absolutely vital for configuring the city as a privileged setting for diversity and updating, has been reshaped over the last decades through technological developments that have subverted our traditional notions of space and place. As Manuel Castells put it, “What happens when time disintegrates and space is globalised?” (CASTELLS, 2001)
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