El movimiento como simulacro en el mundo virtual: Michael Betancourt y el arte de la inmediatez.

In recent times, artistic creation has come closer to the media image proposed by Internet, thus seriously altering an aesthetic experience based before on movement of the viewer around the work and now defined by screens that induce passivity. Michael Betancourt’s video work, part of the so-called glitch art, which focuses on the failure that can occur within the digital realm, has been here the basis for a comparative study between different concepts of movement in art, as well as between a current and a past art, a comparison that allows us to see clearly how technological advances have produced radical changes in the physical, spatial and mobile nature of the artwork. Betancourt’s investigation proposes a new kinetic art that becomes critical through error, mimics the real-time movement that contemporary culture demands, and uncovers the artificiality of images that mimic reality as if they wanted to replace it.La creación artística se ha acercado en los últimos tiempos a la imagen mediática que propone Internet, alterando sustancialmente una experiencia estética antes basada en el movimiento del espectador en torno a la obra y definida ahora por pantallas que inducen a la pasividad. El trabajo en vídeo de Michael Betancourt, encuadrado en el denominado arte glitch, ese que se fija en el fallo ocurrido dentro del ámbito digital, ha sido la base para realizar aquí un estudio comparativo entre diferentes concepciones artísticas del movimiento, así como entre un arte pasado y otro actual que permite ver cómo los avances tecnológicos han originado cambios radicales en la naturaleza corpórea, espacial y móvil de la obra. La investigación de Betancourt propone un nuevo arte cinético que, por medio del error, se hace crítico, se mimetiza con el movimiento en tiempo real que la contemporaneidad demanda y destapa el artificio de imágenes que imitan a la realidad como si quisieran sustituirla.In recent times, artistic creation has come closer to the media image proposed by Internet, thus seriously altering an aesthetic experience based before on movement of the viewer around the work and now defined by screens that induce passivity. Michael Betancourt’s video work, part of the so-called glitch art, which focuses on the failure that can occur within the digital realm, has been here the basis for a comparative study between different concepts of movement in art, as well as between a current and a past art, a comparison that allows us to see clearly how technological advances have produced radical changes in the physical, spatial and mobile nature of the artwork. Betancourt’s investigation proposes a new kinetic art that becomes critical through error, mimics the real-time movement that contemporary culture demands, and uncovers the artificiality of images that mimic reality as if they wanted to replace it