142 research outputs found

    INSAM Journal of Contemporary Music, Art and Technology 3 (II/2019)

    Get PDF

    Tit-for-Tat: (Re)Productions in Sculpture and Architecture

    Get PDF
    Sculpture and architecture are systems of thought that manifest themselves physically. The purpose of this paper is to investigate the ways in which sculpture and architecture have performed in parallel ways to address the implications of their site; whether as objects or the representation o f objects on the page. The seriality o f printed media makes it both accessible and difficult to erase. This is placed in opposition to the volatility of sculpture or architectural objects, and can be summed up for the purpose of this paper with Victor Hugo’s admonition, “This will kill that. The book will kill the building.” This investigation comes from the standpoint as an artist and researcher, where architecture is used as a guide in the constructing and construing of art objects

    Electronic Imaging & the Visual Arts. EVA 2012 Florence

    Get PDF
    The key aim of this Event is to provide a forum for the user, supplier and scientific research communities to meet and exchange experiences, ideas and plans in the wide area of Culture & Technology. Participants receive up to date news on new EC and international arts computing & telecommunications initiatives as well as on Projects in the visual arts field, in archaeology and history. Working Groups and new Projects are promoted. Scientific and technical demonstrations are presented

    Special effects, CGI and uncanny affect: envisioning the post-cinematic uncanny

    Get PDF
    This thesis presents and discusses the author’s practice-based artistic research. It situates the work, an investigation into the post-cinematic uncanny and the affective potential of visual effects technologies in art practice, within a theoretical context and aims to illuminate aspects of our relationship to certain types of digitally augmented contemporary moving imagery. The practice explores the post-cinematic uncanny as an intersection of visual arts, moving image, animation, cinema, television and visual effects, linking it to theories of psychoanalysis, affect and post-cinema. It questions the nature and qualities of moving image in the 21st century, especially the pervasive and ubiquitous nature of computer-generated imagery (CGI) that supplements and augments digitally captured footage. In doing so it creates, explores and situates the post-cinematic uncanny within contemporary arts practice. The work employs technologies that were, until relatively recently, the preserve of high-end visual effects productions and aims to engender uncanny affect in its audience. It thus falls under the purview of Steven Shaviro’s speculations on post-cinematic affect (2010). This ‘post-cinematic’ refers to the transformation of moving image practice and culture, driven in part by the move to digital acquisition, manipulation, distribution, display and networked consumption. It provides a conceptual framework for this practice in relation to the wider context of cinema and moving image production. In the practice, visual effects technologies have been employed site-specifically to create the impression of things unknown yet familiar, occupying a liminal zone between biomorphic and mechanical form and patterned on human-designed objects and environments. These reside in the screen-space, creating new associations, fantastic implied narratives and extra-dimensional mplications in otherwise mundane spaces. Disconnected from the profilmic event, these computer-generated images may be 'perceptually realistic but referentially unreal’ (Prince, 2002:124) and yet have no connection to the profilmic beyond an urge towards the ‘paradox of perceptual realism’ (Rodowick, 2007:101). In this respect, CGI visual effects imagery may analogous to Freud's uncanny double (1919)

    Credulous Spectatorship from Zeuxis to Barthes

    Get PDF
    This dissertation explores intersections between trompe l\u27oeil painting and photography. It began as an interest in contemporary photographers, such as Thomas Demand, whose photographs of constructed paper models encourage viewers to discover the nature of his interventions. His strategy resonates with a centuries-old strategy in trompe l\u27oeil painting, but now in the terms of photographic, rather than pictorial presence. That is, most of Demand\u27s photographs do not compel the viewer\u27s belief in the tangible presence of the object represented; instead, they exploit photography\u27s indexical promise of delivering the world as it once appeared, in order to temporarily trick viewers about the terms of that indexical delivery. Beyond intersections in artistic strategies, I track reception accounts of trompe l\u27oeil painting and photography for their reliance on a credulous spectator. Pliny\u27s Zeuxis, who is tricked by Parrhasius\u27s painting of a curtain, remains the model for this errant credulity. In their efforts to reveal the manipulation of photographs, historians and theorists assume that the natural attitude for viewing photographs is wholly credulous and recast postmodern viewers as contemporary Zeuxises. Instead of admonishing spectators for such credulity, I argue that trompe l\u27oeil facilitates a pleasurable experience of oscillation between belief and disbelief. I also suggest that these trompe l’oeil deployments of oscillation tend to coincide with historical moments of perceived change in visual technologies—changes due to digitalization, as well as mechanical or other forms of reproduction. Trompe l\u27oeil artists play upon our supposed willingness to accept reproductions for the objects they represent. The inclusion of photographs and/or engravings in these trompe l’oeil paintings simultaneously stages and reprimands our desire for the aura of the actual object. Finally, I suggest that a contemporary renewal of trompe l\u27oeil in the medium of photography reveals an interest in recuperating belief in photographs—a belief not unlike that which Roland Barthes narrates in Camera Lucida. Just as Barthes can discover something of photography\u27s indexical promise, even after decades of his own scholarly efforts to unveil photography\u27s rhetoric of construction, so might we, even while heeding the postmodernist lessons of disbelief, recuperate a moment of belief in a skeptical age

    Credulous Spectatorship from Zeuxis to Barthes

    Get PDF
    This dissertation explores intersections between trompe l\u27oeil painting and photography. It began as an interest in contemporary photographers, such as Thomas Demand, whose photographs of constructed paper models encourage viewers to discover the nature of his interventions. His strategy resonates with a centuries-old strategy in trompe l\u27oeil painting, but now in the terms of photographic, rather than pictorial presence. That is, most of Demand\u27s photographs do not compel the viewer\u27s belief in the tangible presence of the object represented; instead, they exploit photography\u27s indexical promise of delivering the world as it once appeared, in order to temporarily trick viewers about the terms of that indexical delivery. Beyond intersections in artistic strategies, I track reception accounts of trompe l\u27oeil painting and photography for their reliance on a credulous spectator. Pliny\u27s Zeuxis, who is tricked by Parrhasius\u27s painting of a curtain, remains the model for this errant credulity. In their efforts to reveal the manipulation of photographs, historians and theorists assume that the natural attitude for viewing photographs is wholly credulous and recast postmodern viewers as contemporary Zeuxises. Instead of admonishing spectators for such credulity, I argue that trompe l\u27oeil facilitates a pleasurable experience of oscillation between belief and disbelief. I also suggest that these trompe l’oeil deployments of oscillation tend to coincide with historical moments of perceived change in visual technologies—changes due to digitalization, as well as mechanical or other forms of reproduction. Trompe l\u27oeil artists play upon our supposed willingness to accept reproductions for the objects they represent. The inclusion of photographs and/or engravings in these trompe l’oeil paintings simultaneously stages and reprimands our desire for the aura of the actual object. Finally, I suggest that a contemporary renewal of trompe l\u27oeil in the medium of photography reveals an interest in recuperating belief in photographs—a belief not unlike that which Roland Barthes narrates in Camera Lucida. Just as Barthes can discover something of photography\u27s indexical promise, even after decades of his own scholarly efforts to unveil photography\u27s rhetoric of construction, so might we, even while heeding the postmodernist lessons of disbelief, recuperate a moment of belief in a skeptical age

    16th Sound and Music Computing Conference SMC 2019 (28–31 May 2019, Malaga, Spain)

    Get PDF
    The 16th Sound and Music Computing Conference (SMC 2019) took place in Malaga, Spain, 28-31 May 2019 and it was organized by the Application of Information and Communication Technologies Research group (ATIC) of the University of Malaga (UMA). The SMC 2019 associated Summer School took place 25-28 May 2019. The First International Day of Women in Inclusive Engineering, Sound and Music Computing Research (WiSMC 2019) took place on 28 May 2019. The SMC 2019 TOPICS OF INTEREST included a wide selection of topics related to acoustics, psychoacoustics, music, technology for music, audio analysis, musicology, sonification, music games, machine learning, serious games, immersive audio, sound synthesis, etc

    Ângelo de Sousa’s photographic and film collection: strategies for the preservation of colour slide-based artworks

    Get PDF
    The Portuguese artist Ângelo de Sousa (1938-2011) produced noteworthy work in photography and experimental film. However, a lack of in-depth studies focusing on the use of these media by the artist is acknowledged. Thus, his work has been studied, particularly through unpublished documentation found in the artist’s house and in public archives, bringing new insights into his production. Despite the delay in the artistic context felt in Portugal in the post-modern period, Ângelo de Sousa produce photographic and film work perfectly in line with that of other international artists. The slide-based artwork Slides de Cavalete (1978-1979), constructed with the additive synthesis of colours, stands out as an example of the inventiveness achieved by the artist with these media. The production process behind Slides de Cavalete has been studied and reproduced, allowing for a thorough understanding of the work and contributing to the definition of its significance. The photographs and films have been gathered together in his house. Since typologies, quantities and condition of the materials were unknown, a survey was carried out to enhance knowledge of the collection and to define preservation priorities. Accordingly, 35 mm chromogenic reversal films (slides), used to produce almost all his photographic colour work, was highlighted as the set in highest risk due to colour change detected in one third of these materials. Thereby, slide-based artworks by Ângelo de Sousa were studied in further detail. The display options undertaken by the artist during his lifetime have been investigated, in order to guide the decision-making process regarding the exhibition and preservation of his slide-based artworks. Slides de Cavalete was selected as a case study, and the history of its exhibition was assessed by searching for documentation and interviewing people. Thus, it is understood that the work was first presented projected on a canvas over an easel, in 1979. Since the artist’s death, the work has been presented without this setup, and recently, as a digital projection. An exhibition was conducted at FCT NOVA, to test the variability of the work displayed with a digital and a slide projector. Based on a questionnaire, a clear preference for the slide projection was acknowledged. Thus, guidelines for the exhibition of Slides de Cavalete are defined, following its first presentation. Considering that chromogenic reversal films are highly susceptible to colour change and that there is still much to know about these materials, their molecular characterization and degradation has been studied. Different pathways to characterize chromogenic dyes are suggested based on chromatographic and spectroscopic techniques. Additionally, a methodology to accurately monitor colour change in these materials has been defined, based on samples artificially aged at different temperatures (50, 60, 70 and 80˚C) and relative humidity (40% and 60%). The samples were assessed using spectrophotometry with optical fibre probes in the ultraviolet-visible range. From the spectral data, intensity maximums, CIE L*a*b* coordinates and the total colour variation (ΔE*) have been determined. Optical microscopy and digitization have also proven useful for degradation assessment on these materials

    Art and science in depicting nature: building a botanical iconography through drawing and photography

    Get PDF
    O tema proposto centra-se na relação entre Artes Visuais, Natureza e Ciência. Parte do desenho de observação e da imagem fotográfica, com ênfase na fotomicrografia, para estudar as dimensões artística e científica nas representações gráficas da botânica. Com estudos de caso focados sobretudo no período vitoriano no Reino Unido e estendendo-se ao contexto português, a investigação proposta visa explorar as especificidades, paralelismos e complementaridades das variantes da imagem botânica enunciadas. A partir de uma análise de conjunto, propõe-se aferir o potencial dessas imagens para a construção de uma iconografia botânica mais completa e significativa para as áreas da Arte e da Ciência. Centra-se, por isso, no espaço de representação pictórica onde ambas disciplinas se encontram. Este trabalho pretende contribuir para o fomento da produção científica nas áreas de interceção entre Arte e Ciência, associando-se à valorização artística e científica dos elementos da Natureza.The research we will carry out is focused on the interconnection between Visual Arts, Nature and Science. It focuses on observation drawing and the photographic image, with emphases on photomicrography, to study the technical image and the artistic image in the graphic depiction of botany. With case studies focused mainly on the Victorian period in the United Kingdom and extended to the Portuguese context, the proposed research seeks to explore the specificities, parallels and complementarities of these variants of the botanical image. With an integrative analysis as a starting point, we assess the potential of these images for the construction of a more complete and meaningful botanical iconography for the areas of Art and Science. It focuses, therefore, in the space of pictorial representation where both disciplines meet. With this work, we aim to contribute for the promotion of scientific production in the areas of interception between Art and Science, associated with a growing artistic and scientific appreciation of Nature and its elements
    corecore