THE DIGITAL TURN IN THE ARTS: ETHNOGRAPHIES OF ARTISTIC PRACTICE

THE DIGITAL TURN IN ARTISTIC DISCIPLINES HAS RESULTED IN THE PROGRESSIVE PROFESSIONAL AND ACADEMIC SUBSTITUTION OF ANALOGUE INSTRUMENTS FOR DIGITAL ONES. AND THE WAYS OF WORKING IN THE ARTISTIC PROFESSIONS HAVE BEEN TRANSFORMED. THE DIGITAL TURN CONSTITUTES A PROCESS OF INSTITUTIONALIZATION OF NEW SOCIAL PRACTICES: TRAINING CURRICULA CHANGE, AS WELL AS THE COMPUTER PROGRAMS, AND NEW DIGITAL PRODUCTS APPEAR, IN THE FORM OF DIAGRAMS, MODELS, AND RENDERINGS. THE RESEARCH QUESTION IS: HOW DOES THE DIGITAL TURN IN ARTISTIC TRAINING CHANGE THE WAY OF PROJECTING, BUILDING AND IMAGINING OF PROFESSIONAL AND EXPERT ARTISTS? OUR THEORETICAL POSITION INTEGRATES INTERDISCIPLINARY CONTRIBUTIONS AND DEFINES ARTISTIC PRACTICE AS A SOCIO-COGNITIVE PROCESS OF A DISTRIBUTED, MULTIMODAL AND CORPOREAL NATURE. IN THE ARTISTIC FIELD, THE STRUCTURAL AND STRUCTURING DIMENSION OF LEGITIMATE ARTISTIC TRAJECTORIES GAINS STRENGTH WITH THE ARTISTIC FIELD AND HABITUS (BOURDIEU, 1998), WHILE BECKER'S (1983) INTERACTIONIST PERSPECTIVE SOCIALLY LOCATES THE CONCEPTS OF CONVENTION AND COOPERATION AS THE BASIS OF ARTISTIC WORLD. THE FRENCH SOCIOLOGY OF ART CONSOLIDATES A PRAGMATIC AND INTERACTIVE VISION OF ARTISTIC PARADIGMS (HEINICH, 2014) WHILE AUTHORS SUCH AS ALEXANDER (2020) ARE LOCATED ON THE CONTINUUM BETWEEN MORE INDIVIDUALIST AND OTHER STRUCTURALIST POSITIONS, BASED ON THE RELATIONAL PREMISE. RODRIGUEZ MORATO AND ALVARO SANTANA ACUÑA (202, SHOW HOW SPAIN IS NOW AT A PRIVILEGED MOMENT DUE TO THE PLURALITY OF PRODUCTIONS IN THE SOCIOLOGY OF ART OF A MULTIDISCIPLINARY AND INTERDISCIPLINARY NATURE. THE GENERAL OBJECTIVE OF THE PROJECT IS TO IDENTIFY THE CHANGES CAUSED BY THE DIGITAL TURN IN ARTISTIC PRACTICE OF CONSOLIDATED PROFESSIONALS WE WILL COMPARE THE DISCOURSE AND PRACTICES OF PHOTOGRAPHERS, ARCHITECTS, FILM EDITORS, DESIGNERS, CHOREOGRAPHERS, MUSICAL COMPOSERS, RECOGNIZED IN THEIR FIELD AND LINKED TO SCHOOLS OR CENTERS OF HIGHER ARTISTIC EDUCATION, OF TWO DIFFERENT GENERATIONS, THE OLDER ONE EDUCATED IN ANALOGUE, THE OTHER IN DIGITAL.THE GENERAL WORKING HYPOTHESIS OF THE PROJECT IS THAT THE DIGITIZATION PROCESS DETERMINES THE COMMUNICATIVE MODALITIES AND THE EPISTEMIC OBJECTS OF THE ARTISTIC PROCESS, THUS MODIFYING THE CONCEPTUALIZATION, EXECUTION AND EVALUATION PHASES.THE DESIGN INCLUDES A COGNITIVE AND AUDIOVISUAL ETHNOGRAPHY OF REAL ARTISTIC PROCESSES. S AND WITH DISCUSSION GROUPS AND SOCIOMETRIC ANALYSIS. IT IS THROUGH THE JUDGMENTS THAT THE ARTISTS THEMSELVES MAKE ABOUT THEIR WORK AND ABOUT THE VARIOUS PHASES OF THEIR CREATIVE PROCESS THAT WE CAN COME TO UNDERSTAND THE LEGITIMACY OF SOME SKILLS AND RESOURCES OVER OTHERS. THE CENTERS ARE THE FACULTY OF FINE ARTS, UNIVERSITY OF BARCELONA, THE FACULTY OF AUDIOVISUAL COMMUNICATION, UNIVERSITAT AUTONOMA DE BARCELONA, ELISAVA, SCHOOL OF DESIGN, ESCOLA TECNICA SUPERIOR D'ARQUITECTURA (ETSAB), KORSIA DANCE COMPANY AND CREATIVE MEDIA EDUCATION OF MADRID . THE ANALYSIS OF THE ARTISTIC PROCESSES WILL GIVE US INFORMATION ABOUT THE EFFICIENCY OF THE AGENTS INVOLVED, THAT IS, ABOUT THE MULTIMODAL REQUIREMENTS OF THE ARTISTS IN THE FUNCTIONAL TERMS OF MEMORY, ATTENTION AND MOTIVATION. AND WITH THE INCORPORATION OF THE GENDER PERSPECTIVE, WE HOPE TO BE ABLE TO DELIMIT THE DEGREE OF VERBALIZATION OF THE CREATIVE PROCESS, THE TIME AND THE MODES OF INTERACTION CONVEYED BY DIGITAL AND ANALOG INSTRUMENTS.