Cracks in the Glass: The Emergence of a New Image Typology from the Spatio-temporal Schisms of the 'Filmic' Virtual Reality Panorama

Virtual Reality Panoramas have fascinated me for some time; their interactive nature affording a spectatorial engagement not evident within other forms of painting or digital imagery. This interactivity is not generally linear as is evident in animation or film, nor is the engagement with the image reduced to the physical or visual border of the image, as its limit is never visible to the viewer in its entirety. Further, the time taken to interact and navigate across the Virtual Reality panorama’s surface is not reflected or recorded within the observed image. The procedural construction of the Virtual Reality panorama creates an a-temporal image event that denies the durée of its own index and creation. This is particularly evident in the cinematic experiments conducted by Jeffrey Shaw in the 1990s that ‘spatialised’ time and image through the fusion of the formal typology of the Panorama together with the cinematic moving-image, creating a new kind of image technology. The incorporation of the space enclosed by the panorama’s drum, into the conception and execution of the cinematic event, reveals an interesting conceptual paradox. Space and time infinitely and autonomously repeat upon each other as the linear trajectory of the singular cinematic shot is interrupted by a ‘time schism’ on the surface of the panorama. This paper explores what this conceptual paradox means to the evolution of emerging image-technologies and how Shaw’s ‘mixed-reality’ installation reveals a wholly new image typology that presents techniques and concepts though which to record, interrogate, and represent time and space in Architecture

Spectres of Dada: from Man Ray to Marker and Godard

An analysis of early Dada experimental practice in photography and film with reference to Roland Barthes's <i>Camera lucida</i> and Derrida's theory of spectrality. The chapter considers the legacy of Dada experiments with still and moving images in the work of post-war filmmakers such as Chris Marker and Jean-Luc Godard

Truth, Transcendence, and the Good

Nietzsche regarded nihilism as an outgrowth of the natural sciences which, he worried, were bringing about “an essentially mechanistic [and hence meaningless] world.” Nihilism in this sense refers to the doctrine that there are no values, or that everything we might value is worthless. In the last issue of Modern Horizons, I offered this conditional explanation of the relation of science and nihilism: that a scientific worldview is nihilistic insofar as it rules out the existence of anything that cannot in principle be precisely picked out or identified.i What kinds of entities would a scientific worldview eliminate on the basis of such an assumption? The list is long and various, but it includes those intentional (mentalii) entities of our consciousness that underwrite the existence of persons, and more basically of thought itself – e.g., belief, value, agency, truth, and meaning. I argued in that previous paper that intentional concepts are ultimately inscrutable, and yet impossible coherently to deny. I claimed that we could no more doubt the existence of values than we could doubt reality itself – and when I spoke of values I had in mind the (suspicion-engendering) concept of the good, and was even toying with the related idea of the Logos (an even more suspect concept). There are a several attractive reasons why the idea of the good, or the Logos, might be regarded with suspicion, and why either might reasonably be discarded as a pseudo concept. Leaving the latter concern until later, we might worry that insisting on the possibility of an overarching good supports the idea of a total worldview, or that we are gradually progressing towards a single correct vision of things. A progressivist, totalising vision would seem to foreclose on outlooks, values, and persons that deviate from its most likely trajectory, and may stymie or interfere with incommensurate forms of otherness,iii awkward disturbances, and idiosyncrasies threatening its more well-established precincts – perhaps whatever stands out as strange, rare, and indissolubly individual. The idea of an emerging universal standard of values thus might amount to a source of oppression, e.g., if it provides a warrant to transform a currently limited universally prescriptive set of global practices and institutes into an ever more elaborate totalising hierarchy. In the discussion below, I will say why the good, conceived as the Logos, suggests a more salutary trajectory for individuals, and erodes support for either a totalitarian vision or a dissolving nihilistic outlook on the world

Freedom and Thought

Despite recent neuroscientific research purporting to reveal that free will is an illusion, this paper will argue that agency is an inescapable feature of rationality and thought. My aim will not be to address the methodology or interpretation of such research, which I will only mention in passing. Rather, I will examine a collection of basic concepts which are presupposed by thought, and propose that these concepts are interrelated in ways that makes them both basic and irreducibly complex. The collection includes such concepts as belief, value, meaning, and truth. I will argue that free will belongs to this collection, and as such is also presupposed by thought. This proposal is opposed to a methodological tendency in analytic philosophy, to eliminate aspects of concepts which can’t be given a clear analysis, and to the wish of many empirical psychologists and cognitive scientists to reduce intentional/mental states to neurons and other mindless phenomena which they regard as more fundamental. Instead of offering a direct critique of either of these methodological attitudes, I will try to place the concept of freedom in its proper conceptual context, and make a positive case for its reality

Negotiating Reality

Our understanding of research through design is demonstrated by a close examination of the methods used in the project lifeClipper2. This design research project investigates the applicability of immersive outdoor Augmented Reality (AR). lifeClipper2 offers an audiovisual walking experience in a virtually extended public space and focuses on audiovisual perception as well as on the development of the appropriate technology. The project involves contributions of partners from different fields of research. Thus, lifeClipper2 is able to test the potential of AR for visualizing architecture and archaeological information and to challenge our understanding of perception and interaction. Using examples from our research, the paper reflects on how scenario design contributes to the production of design knowledge and explores the possibilities and variations of AR. Finally, the paper drafts our approach to design research. The three tenets of our work are: the use of scenarios as a tool of interdisciplinary research, the experimental exploration of media and the intention to make design knowledge explicit. Keywords: augmented reality; locative media; hybrid environment; immersion; perception; experience design; research through design; scenario design</p

The theatre and its screen double

This essay offers a close exploration of the live filming and sound production in the schaubühne berlin staging of strindberg's Fräulein Julie (directed by Katie Mitchell, shown on tour at the barbican, london, in 2012). It provides a series of theoretical and critical angles from which to discuss contemporary intermedia performance and audiovisual scenography. After a brief evocation of Artaud's writings in "theatre and cruelty" and on raw cinema, the essay builds on a historical understanding of Western theatre's evolving and hardly settled relationship to cinematography and moving-image technologies, as well as the "choreographic unconscious," as examined in contemporary dance and technology, before delving into an analysis of Mitchell's dramaturgy of real-time film construction and her use of the "camera-actor." A particular emphasis is placed on the question whether the live mediatization of realist drama, under Mitchell's direction, deliberately weakens the theatricality of the physical body and spoken language while proffering an extenuated, if uncritical/unpolitical modulation of digital prosthetics in a superbly crafted, seamless intermedial performance

Spatial Transfiguration: Anamorphic Mixed-Reality in the Virtual Reality Panorama

Spatial illusion and immersion was achieved in Renaissance painting through the manipulation of linear perspective’s pictorial conventions and painterly technique. The perceptual success of a painted trompe l’œil, its ability to fool the observer into believing they were viewing a real three-dimensional scene, was constrained by the limited immersive capacity of the two-dimensional painted canvas. During the baroque period however, artists began to experiment with the amalgamation of the ‘real’ space occupied by the observer together with the pictorial space enveloped by the painting’s picture plane: real and pictorial space combined into one pictorial composition resulting in a hybridised ‘mixed-reality’. Today, the way architects, and designers generally, use the QuickTime Virtual Reality panorama to represent spaces of increasing visual density have much to learn from the way in which Renaissance and baroque artists manipulated the three-dimensional characteristics of the picture plane in order to offer more convincing spatial illusions. This paper outlines the conceptual development of the QuickTime VR panorama by Ken Turkowski and the Apple Advanced Technology Group during the late 1980s. Further, it charts the technical methods of the Virtual Reality panorama’s creation in order to reflect upon the VR panorama’s geometric construction and range and effectiveness of spatial illusion. Finally, through a brief analysis of Hans Holbein’s Ambassadors [1533] and Andrea Pozzo’s nave painting in Sant ‘Ignazio [1691-94] this paper proposes an alternative conceptual model for the pictorial construction of the VR panorama that is innovatively based upon an anamorphic ‘mixed-reality’

Liberate your avatar; the revolution will be social networked

This paper brings together the practice-based creative research of artists Charlotte Gould and Paul Sermon, culminating in a collaborative interactive installation that investigates new forms of social and political narrative in multi-user virtual environments. The authors' artistic projects deal with the ironies and stereotypes that are found within Second Life in particular. Paul Sermon’s current creative practice looks specifically at the concepts of presence and performance within Second Life and 'first life', and attempts to bridge these two spaces through mixed reality techniques and interfaces. Charlotte Gould’s Ludic Second Life Narrative radically questions the way that users embody themselves in on-line virtual environments and identifies a counter-aesthetic that challenges the conventions of digital realism and consumerism. These research activities and outcomes come together within a collaborative site-specific public installation entitled Urban Intersections for ISEA09, focusing on contested virtual spaces that mirror the social and political history of Belfast. The authors' current collaborative practice critically investigates social, cultural and creative interactions in Second Life. Through these practice-based experiments the authors' argue that an enhanced social and cultural discourse within multi-user virtual environments will inevitably lead to growth, cohesion and public empowerment, and like all social networking platforms, contribute to greater social and political change in first life

Deconstructive humour: subverting Mexican and Chicano stereotypes in ‘Un Día Sin Mexicanos’

a long time, US cinema developed unshakeable stereotypes of Mexican ‘otherness’, with characters of Mexican cultural and ethnic heritage stigmatised as criminals or as sensual objects of desire. Filmmakers in Mexico, meanwhile, treated Mexican Americans as misfits who belonged nowhere, or ignored them and their complex experience completely. The emergence of a distinct ‘Chicano cinema’ in the 1960s allowed for the development of a more powerful set of images of Mexican Americans, exploiting the very tool of communication that had been used against them, and for the circulation of a more productive and reflective dialogue around the questions of identity, agency and resistance that arise. This article focuses on the use of humour as a subversive tool to deconstruct certain myths and stereotypes of Mexican and, to a certain extent, Mexican American (or, Chicano) identity in Sergio Arau’s popular debut feature, Un Día Sin Mexicanos (2004). The “Mexicans” referred to in the film’s title and used in much of its dialogue stand metonymically for all Hispanic immigrants, whether recently arrived, or born in the US and of Hispanic descent, including Chicanos. Its narrative was inspired by the introduction of controversial anti-immigration legislation in California in 1994, and the Californian State is here made representative of anywhere in the US where there is a Mexican or Chicano population. This essay situates the film within the context of a growing Chicano population in the US and a high level of immigration from Mexico itself. It asks to what extent the feature version, which takes the form of satire, offers a critique of the Mexican immigrant experience, and of discrimination more broadly against Hispanic minorities. In so doing, it explores the ways in which the politics of resistance that are so often aligned with these experiences are inscribed in its narrative form