28 research outputs found

    Fragments of times and spaces : collage in the theatre of Vs. E. Meyerhold, 1906-1926

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    The (re)discovery of collage by the Cubists and futurists was one of the most significant artistic developments of the last century. Collage practice was embraced by artists and intellectuals as more than a formal process involving the combination of image fragments using glue. From Pablo Picasso and Georges Braque, through the Dadaists, the surrealists, and on into the era of post-modernity, collage has become a metaphysical expression of a world in flux, characterised by relativity and uncertainty.Often working in close personal contact with the avant-garde artists, theatre director Vsevolod Emilevich Meyerhold was intimately involved with the political, social and cultural upheavals of the early twentieth century. This thesis argues that Meyerhold's work with the artists of the avant-garde has been under-investigated in English language scholarship, and that the influence of artistic developments on his aesthetic extends beyond the well-documented instances of causal cross-over (for example, in stage design). Seeing the lack of scholarship relating Meyerhold's work directly to the collage device as an oversight, this thesis constructs a collage-based model through which the director's theatre can be read.Collage in Meyerhold's theatre is initially identified in the construction of the mise-en- scene. By 1926, the device emerges as the organizational principle underlying the performance as a whole, shedding light on the form and function of the director's aesthetic. Particularly significantly, through collage, Meyerhold's theatre is seen to engage with the questions of subjectivity and objectivity in the audience experience, and, in line with anti-positivist developments in philosophy, radically deconstructs the objective as a category. In addition, through collage, Meyerhold's theatre finds vital points of contact with today's performance practice which often engages with the multiplication of spatial and temporal frameworks through the use of multi-media techniques

    Human factors in instructional augmented reality for intravehicular spaceflight activities and How gravity influences the setup of interfaces operated by direct object selection

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    In human spaceflight, advanced user interfaces are becoming an interesting mean to facilitate human-machine interaction, enhancing and guaranteeing the sequences of intravehicular space operations. The efforts made to ease such operations have shown strong interests in novel human-computer interaction like Augmented Reality (AR). The work presented in this thesis is directed towards a user-driven design for AR-assisted space operations, iteratively solving issues arisen from the problem space, which also includes the consideration of the effect of altered gravity on handling such interfaces.Auch in der bemannten Raumfahrt steigt das Interesse an neuartigen Benutzerschnittstellen, um nicht nur die Mensch-Maschine-Interaktion effektiver zu gestalten, sondern auch um einen korrekten Arbeitsablauf sicherzustellen. In der Vergangenheit wurden wiederholt Anstrengungen unternommen, Innenbordarbeiten mit Hilfe von Augmented Reality (AR) zu erleichtern. Diese Arbeit konzentriert sich auf einen nutzerorientierten AR-Ansatz, welcher zum Ziel hat, die Probleme schrittweise in einem iterativen Designprozess zu lösen. Dies erfordert auch die BerĂŒcksichtigung verĂ€nderter Schwerkraftbedingungen

    INSAM Journal of Contemporary Music, Art and Technology 2

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    The subject of machine learning and creativity, as well as its appropriation in arts is the focus of this issue with our Main theme of – Artificial Intelligence in Music, Arts, and Theory. In our invitation to collaborators, we discussed our standing preoccupation with the exploration of technology in contemporary theory and artistic practice. The invitation also noted that this time we are encouraged and inspired by Catherine Malabou’s new observations regarding brain plasticity and the metamorphosis of (natural and artificial) intelligence. Revising her previous stance that the difference between brain plasticity and computational architecture is not authentic and grounded, Malabou admits in her new book, MĂ©tamorphoses de l'intelligence: Que faire de leur cerveau bleu? (2017), that plasticity – the potential of neuron architecture to be shaped by environment, habits, and education – can also be a feature of artificial intelligence. “The future of artificial intelligence,” she writes, “is biological.” We wanted to provoke a debate about what machines can learn and what we can learn from them, especially regarding contemporary art practices. On this note, I am happy to see that our proposition has provoked intriguing and unique responses from various different disciplines including: theory of art, aesthetics of music, musicology, and media studies. The pieces in the (Inter)view section deal with machine and computational creativity, as well as the some of the principles of contemporary art. Reviews give us an insight into a couple of relevant reading points for this discussion and a retrospective of one engaging festival that also fits this theme

    Reclaiming the image. BĂ©la Tarr's world of 'inhuman' becoming: an artistic and philosophical inquiry

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    The thesis entitled 'Reclaiming the Image' is an artistic and philosophical enquiry. It aims at a radical re-thinking of the concept of the image outside the accepted notions of realism and representation by opening up the photographic real in the process of bringing together photography and cinema, stillness and movement, life and art, aesthetics and politics. It involves a thinking and writing with BĂ©la Tarr's cinematic imagery through Gilles Deleuze's philosophical concepts. Its objective is not to illustrate Deleuze's ideas with Tarr's images, nor to read Tarr's cinema through Deleuze as such, but to think with images philosophically, in the hope of opening up the area of theory to the creative 'powers of the false'. I wish it to be seen as an aesthetico-ethical experiment which, rather than developing an overarching theoretical argument, constructs a critical and creative assemblage of different ideas and voices. On the one hand, the project seeks to creatively re-think Deleuzian concepts while thinking 'about' still and moving images, in relation to the real as affect and thought. On the other, to 'continue' films' images by opening their thinking further. The project of reclaiming the image as re-thinking in non-representational terms of immanent becoming will engage the Deleuzian- Bergsonian- Nietzschean concepts of time, life and aesthetics, and Tarr's intensely felt image-world in the series of encounters – affect-thoughts – that will undermine the normative notion of reality. The two modes – critical and creative – are not constructed separately but weaved together throughout what is 'enacted' as filmosophical "free indirect discourse" – a poetic coming together of film, philosophy and writing (as art). It is hoped that this will enable the potential for opening new areas of thinking and writing about/ with film/ photographic imagery outside the main discourses concerning theory and practice, the critical and the creative

    Showtime: the phenomenology of film consciousness

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    The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical implications for spectator consciousness. These issues are explored from two philosophical positions. Firstly, phenomenology, especially Edmund Husserl and Maurice Merleau-Ponty. Secondly, the work of Gilles Deleuze who presents the most penetrating insights to date into film consciousness and its repercussions for thought and affectivity. The focus of this study is to draw together these two philosophical positions, showing their fundamental differences but also similarities where they exist. This approach is rarely attempted but the belief running through this thesis is that film is one arena which is invaluable for making such comparisons. It is argued philosophically that film writes large key phenomenological concepts on intentionality, time-consciousness and the relation of the lifeworld to the predicative. In terms of Deleuze, film is shown as a unique artform which in allowing us to link otherwise casts light on Deleuze's own complex system of thought. Chapters 1-3 are concerned with phenomenology and detail the role of film in terms of the lifeworld, intentionally, reduction and the transcendental in a way which has not been attempted elsewhere. The linking chapter on time (4) is used to introduce the work of Henri Bergson and its influence both on phenomenology's inner time-consciousness and Deleuze's fundamental categories of film movement and time imagery. The final two chapters look at the way film is reconfigured through montage and the implications of this for film's unique expression of movement and time

    Perceptual fail: Female power, mobile technologies and images of self

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    Like a biological species, images of self have descended and modified throughout their journey down the ages, interweaving and recharging their viability with the necessary interjections from culture, tools and technology. Part of this journey has seen images of self also become an intrinsic function within the narratives about female power; consider Helen of Troy “a face that launched a thousand ships” (Marlowe, 1604) or Kim Kardashian (KUWTK) who heralded in the mass mediated ‘selfie’ as a social practice. The interweaving process itself sees the image oscillate between naturalized ‘icon’ and idealized ‘symbol’ of what the person looked like and/or aspired to become. These public images can confirm or constitute beauty ideals as well as influence (via imitation) behaviour and mannerisms, and as such the viewers belief in the veracity of the representative image also becomes intrinsically political manipulating the associated narratives and fostering prejudice (Dobson 2015, Korsmeyer 2004, Pollock 2003). The selfie is arguably ‘a sui generis,’ whilst it is a mediated photographic image of self, it contains its own codes of communication and decorum that fostered the formation of numerous new digital communities and influenced new media aesthetics . For example the selfie is both of nature (it is still a time based piece of documentation) and known to be perceptually untrue (filtered, modified and full of artifice). The paper will seek to demonstrate how selfie culture is infused both by considerable levels of perceptual failings that are now central to contemporary celebrity culture and its’ notion of glamour which in turn is intrinsically linked (but not solely defined) by the province of feminine desire for reinvention, transformation or “self-sexualisation” (Hall, West and McIntyre, 2012). The subject, like the Kardashians or selfies, is divisive. In conclusion this paper will explore the paradox of the perceptual failings at play within selfie culture more broadly, like ‘Reality TV’ selfies are infamously fake yet seem to provide Debord’s (1967) illusory cultural opiate whilst fulfilling a cultural longing. Questions then emerge when considering the narrative impact of these trends on engendered power structures and the traditional status of illusion and narrative fiction

    Cinema into the Real.

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    Cinema into the Real is the practice of creating an affect based encounter between film and the lived world where their thresholds shift. It is an inquiry into the possibility for navigating what Gilles Deleuze calls the 'not-yet-thoughf brought into existence by an irrational form of cinema comprised of crystalline time-images. How does the schema of normative cinema fiction and documentary stand in for the lived world, and how might the statements, maps and spaces of this cinema be made fluid to form a more radical moving image, one that is further implicated in, and may open up insightful gaps for, our experience There are three facets to this inquiry: first, the emergent and imaginative situation of filmmaking itself, where the very intention to make moving images produces a new frame through which to practise everyday life, a cinema of action and alteration secondly, the invention of my conceptual persona as filmmaker, an uncommon self that I have cultivated in order to approach filmmaking as in part alien to its methods of production thirdly, the exploration of a limit in thought (which is the state of affect, commonly experienced as panic) by way of a mental gap brought into being by aberrant moving images. Twelve films (and cinema interventions) were made, and these are thinking spaces in themselves. Between the theoretical text written, and the films produced, I have extended the flight line projected in Deleuze's two cinema books, in an attempt to do film as an art practice of experimental philosophy, and to navigate a space between cinema and the lived world. This minor cinema of which I speak, and which I practise, is acquired by destratification and drifting, courts affect, and can, I will argue, enable new aspects of (non-habitual) thought

    2016 GREAT Day Program

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    SUNY Geneseo’s Tenth Annual GREAT Day.https://knightscholar.geneseo.edu/program-2007/1010/thumbnail.jp
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