Discursos em torno dos vídeos verticais: a arqueologia de uma proporção "errada" de tela

This paper seeks to provide historical references for the examination of contemporary forms of vertical moving images, often considered “wrong” due to their incompatibility with the audiovisual standards established in the West. Deploying an archaeological approach, the paper identifies expressions of verticality in moving images since their first modern developments, encompassing both the birth of cinema and the emergence of video art circuits in the 1980s-90s. These cases serve to underscore the disputed mediality of audiovisual systems. This paper concludes by showing how the negotiation of medium specificities continues through networked platforms and curated events, creating possibilities for the emergence of new technological art forms. Esse artigo busca estabelecer referências históricas para a análise de imagens em movimento verticais, frequentemente consideradas “erradas” devido a sua incompatibilidade com os standards audiovisuais ocidentais modernos. A partir de uma abordagem de arqueologia de mídias, o artigo identifica expressões de verticalidade nas imagens em movimento desde seus primeiros desenvolvimentos, considerando o nascimento do cinema e a emergência dos circuitos de videoarte nos anos 1980-90. Esses casos ressaltam a midialidade disputada dos sistemas audiovisuais. O artigo conclui demonstrando como a negociação de especificidades midiáticas se estende por meio de plataformas em rede e da curadoria de eventos, criando a possibilidade para a emergência de novas formas de arte tecnológica.&nbsp

Works on Display: arrangements of the artwork by exhibition design

Esse artigo examina processos tradicionalmente envolvidos nas práticas curatoriais e a maneira pela qual estas se definiriam historicamente em contraposição ao gesto artístico. Serão delineadas as origens institucionais da curadoria, a renegociação do papel do curador durante o modernismo e algumas perspectivas contemporâneas sobre a curadoria independente. Nesse percurso, analisaremos como projetos de exposição realizados tanto por curadores quanto por artistas contribuem ativamente na produção de trabalhos artísticos e na consolidação de determinadas técnicas e linguagens. Por fim, procuraremos sustentar que as práticas curatoriais constituem uma forma de design, podendo ser mais bem compreendidas em termos de arranjos expositivos (exhibition designs).This paper examines processes traditionally involved in curatorial practices and how they have been historically defined in contraposition to the artistic gesture. It will outline curatorship’s institutional origin, the renegotiation of the curator’s role during modernity, and some contemporary perspectives over independent curating. Throughout this course, it will analyze how exhibition projects made both by curators and artists have actively contributed to the production of artistic works and the consolidation of certain techniques and languages. Finally, it will propose that curatorial practices could be better understood in terms of exhibition designing

Executable movies: on the existence and propriety of networked images

This paper explores the existence and propriety of moving images within computer networks. It means to show that computer-based images are executable, standing for running software systems as much as the applications that are used to play, edit, copy and transmit them. Thus, in computation, movie and apparatus become completely mingled together, developing a complex materiality. Analysing how computers enact and distribute moving images, I end up evoking the concept of code as a parameter that sets conditions for medial property. According to this parameter, different media might retain their specific identities even if they become equivalent surface effects of the same socio-technical system.Este artigo explora a existência e propriedade das imagens em movimento em meio às redes de computador. Ele pretende demonstrar que imagens baseadas em computação são executáveis, representando processos de software da mesma forma que os aplicativos utilizados para reproduzi-las, editá-las, copiá-las e transmiti-las. Nessas condições, o filme e o dispositivo se tornam completamente misturados, desenvolvendo uma materialidade complexa. Evocando o conceito de código, a conclusão irá delinear como diferentes meios podem manter especificidades ainda que se tornem efeitos de superfície equivalentes do mesmo sistema sociotécnico

Através da sala escura: uma aproximação entre a sala de cinema e o lugar do VJing

À luz da história dos espaços de projeção cinematográfica, este artigo tem o duplo objetivo de sugerir protótipos para uma futura sala de exibição, mais coerente com as condições do filme digital, ao mesmo tempo que oferece o cinema como paradigma para o estudo do VJing

Movie / Cinema: Rearrangements of the Apparatus in Contemporary Movie Circulation

This thesis investigates how cinema’s specificities are defined in relation to technological developments. I propose that the most appropriate way to do this is by taking the whole cinematographic circuit into account – that is, the complete set of socio-technical operations that are involved in the medium, as remote as they might seem to be from actual cinematographic practices. I depart from the definition of circulation as a socio-technical continuum of the production, distribution, exhibition and evaluation of movies, explaining how these activities might be enacted in three different technological regimes: film, video and digital computation. Then, following an account of the early history of the pirate film society Cine Falcatrua (2003-2005), I show how the specificity of the medium is constituted and preserved throughout its technical progress. Acknowledging the limits of traditional film and screen studies to deal with these questions, I attempt to find an alternative research approach by engaging in practice-based investigation using curatorial strategies. By bringing together and analysing different film and art pieces in an exhibition entitled Denied Distances (2009), I propose a framework that allows an understanding of how media technology are defined in relation to one another, exposing how seemingly expanded practices such as installations and performances might be contained within conventional cinematographic apparatus. I conclude by suggesting that, in order to keep up with the ever-changing nature of the medium, the study of cinema would profit from engaging the extremes of scientific criticism and art practice

(What can) curatorial work create?

Considering the consolidation traces of the curator’s profession in the last decades, as well as the dissemination of its modus operandi for beyond the traditional field of art, this paper aims to identify the causes that lead us to speculate about the emergence of a possible curatorial language, which would consolidate whether as a reaction to internal transformations of art making, or due the influence of new media’s operational logic. By approaching different aspects of curatorial practices, this paper intends to outline some elements that allow to think critically about the curator’s symbolic autonomy

A (re)invenção da carne:Controvérsias e potências das carnes artificiais

No sentido de embasar o debate sobre novos insumos e formas alimentares, esse artigo analisa a constituição de dois tipos de carne desenvolvida em laboratório: as carnes à base de planta (pland-based) e aquelas cultivadas in vitro. Partindo do princípio de que todo alimento tem um caráter de invenção cultural, pretendemos colocar em xeque a “artificialidade” desses insumos e propor uma compreensão mais nuançada de suas controvérsias enquanto formas de carne. Para tanto, nos baseamos numa leitura relacional, que busca traçar as conexões da carne com os processos tecnológicos que a produzem bem como com as disputas jurídicas e lexicais que negociam a sua identidade.In order to establish foundations for the debate around new food inputs and practices, this paper analyses the constitution of two forms of meat made in laboratory: plant-based and in vitro meat. Taking into account that every food has aspects of a cultural invention, we aim to put into question the “artificiality” of these inputs and put forth a more nuanced understanding of their controversies as forms of meat. In order to do so, we propose a relational framework, tracing the connections between meat and the technological processes that produce it as well as the legal and lexical disputes that negotiate its identity