{"id":689,"date":"2016-05-23T13:35:17","date_gmt":"2016-05-23T13:35:17","guid":{"rendered":"https:\/\/fluorlifestyle.com\/en\/?p=689"},"modified":"2016-05-23T13:35:17","modified_gmt":"2016-05-23T13:35:17","slug":"in-search-of-rupture-cubism-and-digital-narrative","status":"publish","type":"post","link":"https:\/\/fluorlifestyle.com\/en\/in-search-of-rupture-cubism-and-digital-narrative\/","title":{"rendered":"In search of rupture: cubism and digital narrative"},"content":{"rendered":"

\"img_art_ramon_tarres_eng\"<\/a><\/p>\n

In the summer of 1910, Picasso and Braque finally solve the issue that they had been working on for several years, which would lead to the creation of a new pictorial language: Cubism.<\/p>\n

 <\/p>\n

As his friend and art dealer at the time, Daniel-Henry Kahnweiler, relates in his book The Road to Cubism El camino hacia el cubismo*<\/em>\u00a0(Acantilado, 2013)<\/a>**, that summer both painters solved the great problem that they had been facing till then, the problem of closed form<\/strong>, that is, the three-dimensional representation of two-dimensional forms on the picture plane. To do this, Picasso and Braque discovered that the way to approach the form to be represented and its situation in space was not as it had been until then, as taught by the heritage of Renaissance painting: \u201c<\/em><\/strong>start from a supposed foreground and simulate from it, using perspective, an apparent depth<\/em>\u201d<\/em>. Instead they decided to start with a background and work forward. Construction is thus done as an exercise from inside the picture moving outwards, and where the final destination \u2013unlike in painting as known until then\u2013, it is the viewer who, through the exposed elements, reconstructs the image in his consciousness.<\/p>\n

 <\/p>\n

<\/p>\n

In the spring of 2016, the narrative lives on, troubled by its particular problem of \u201cclosed form\u201d.<\/strong> New possibilities for storytelling coexist with the very Aristotelian conception that builds them and its two-dimensional representation, enclosed by the screen, whatever it may be. In the eyes of the spectator, the narrative continues by starting from a foreground \u2013a story\u2013, to add new stories behind it, supported by web grammar, on a variety of existing devices and, above all, in interactions through social networks.<\/p>\n

 <\/p>\n

The sense of a narrative universe is built, ultimately, from front to back, bringing to life the illusion of depth, of distance and an unattainable horizon. The story continues to be something closed, rooms with doors that viewers can cross but in a house that is not theirs.<\/p>\n

 <\/p>\n

In Cubism, \u201cthe painter is not limited to displaying the object as he would see it from a given point, but he represents it (…) from several sides at once, from above or from below.<\/em>\u201d He wants to represent the object in the plane as if the object were there in order to invite the viewer to integrate himself into the proposal and be part of it. The aspiration for a three-dimensional narrative that breaks the narrative as we know it, places the story in the background and onwardly creates an open space, that ends with the viewer, who builds the story in his consciousness, \u2013as Cubism proposes\u2013, through a key element: the experience\u2013 as Cubism aims to.<\/p>\n

 <\/p>\n

Living the story, not reading it, is the solution to the \u201cclosed form\u201d of the narrative<\/strong>. Virtual reality<\/a> and Augmented reality<\/a> are the answers to this demand, a real demand: a new narrative, the Digital Narrative, that is no longer looking for spectators. It is looking for activists.<\/p>\n

 <\/p>\n

**Quotes from this post belong to this book.<\/em><\/p>\n

<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

In the summer of 1910, Picasso and Braque finally solve the issue that they had been working on for several years, which would lead to the creation of a new pictorial language: Cubism.   As his friend and art dealer at the time, Daniel-Henry Kahnweiler, relates in his book The Road to Cubism El camino … Continue reading In search of rupture: cubism and digital narrative<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[91],"tags":[93,94,92],"yoast_head":"\nIn search of rupture: cubism and digital narrative - FLUOR: Connect + Develop + Innovate<\/title>\n<meta name=\"description\" content=\"In the summer of 1910, Picasso and Braque finally solve the issue that they had been working on for several years, which would lead to...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fluorlifestyle.com\/en\/in-search-of-rupture-cubism-and-digital-narrative\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"In search of rupture: cubism and digital narrative - 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