sexta-feira, 02/06, 10h
painel bilíngue/ bilingual panel
Novos gêneros artísticos e seus limites materiais: A estereoscopia no século XX e suas lições atuais
German Alfonso Nunez
Desde a sua primeira explosão em popularidade no século XIX, superfícies planas que simulam volume e espaço têm atraído a curiosidade de profissionais, leigos e artistas. A sensação mágica ao percebermos o tridimensional a partir de fotos, desenhos ou imagens computacionais planas invariavelmente seduz tanto o observador quanto o criador que, comovidos com as possibilidades inerentes em diferentes técnicas, se jogam na exploração de novas tecnologias. Porém, ao longo dessa história, é comum reconhecermos períodos de vertiginoso crescimento seguidos por decepção, ostracismo e falência de técnicas, obras e indústrias. Se, por um lado, a atração dessas técnicas parece ser óbvia para aqueles envolvidos em sua fruição, questões triviais acerca do preço, disponibilidade e concorrência de novas tecnologias são normalmente relegadas a um segundo plano, posterior às possibilidades dessa fruição. Observando o mais recente desenvolvimento dessa aventura, por meio da realidade virtual dos novos head mounted displays, esta apresentação questiona se não caminhamos para o mesmo resultado visto por outras tecnologias similares ao longo do século XX, ou seja, em direção a uma eventual decepção. Assim, de modo especulativo, revisamos alguns eventos cruciais nessa história, tanto para a indústria quanto para as artes, que talvez possam elucidar o atual estágio e futuro dessa tecnologia.
German Alfonso Nunez recentemente completou seu PhD na University of the Arts London e é coeditor de Popular Culture and Biomedicine: Knowledge in the life sciences as cultural artefacts (Springer, segundo semestre de 2017). Por meio de sociologia da cultura e história social, sua pesquisa é dedicada a elucidar o desenvolvimento e as particularidades do grupo de produtores culturais envolvidos com aquilo que podemos rotular de mundo da Arte, Ciência e Tecnologia. Ele atualmente é membro editorial e do comitê do Computers and Art History (CHArt – Reino Unido) e crítico da Studio International. Paralelo ao seu trabalho acadêmico ele também é membro do trio de arte computacional conhecido por [+zero], nomeado para o prêmio PIPA em 2011.
Objecthood and Event: The 3rd Dimension in Expanded Cinema
Kathryn Siegel (King’s College London)
In cinema, 3D technology is often associated with a high degree of illusionism: a sensation of total immersion in an imaginary or virtual environment. At the same time, 3D designates instances in cinema where the image extends along a Z axis toward the spectator, appearing to occupy the space in front of, not merely beyond, the picture plane of the screen. In this literal sense, 3D moving images traverse the fourth wall that plays a part in maintaining cinematic illusion by using optical effects to generate volumetric bodies and relations that enter the immediate environment of the spectator. My paper highlights moving image works that engage this near side of the screen, placing special emphasis on historical examples of British and American expanded cinema as relevant for thinking through the issue of 3D. In the 1970s, Anthony McCall, Lis Rhodes, Malcolm Le Grice, Ken Jacobs and others experimented with expanded modes of filmmaking designed to activate the room rather than the screen as the active space of projection. Looking to early cinema instead of novel technologies, they created works at the intersection of the moving image, sculpture, and performance. Expanded cinema is useful for conceptualizing a mode of 3D practice that has potential to place primacy on objecthood and event rather than illusionism by extending the moving image into spatial configurations and temporalities that aim to immerse audiences in the here and now rather than an elsewhere beyond.
Kathryn Siegel is 2nd year postgraduate researcher in Film Studies at King’s College London. Her PhD looks at historical discourses surrounding experimental moving image practice in London between 1966 and 1980, focusing on the conceptualisation of these practices in writing by artists and critics at the time. She is supported in her research by LUX, the UK’s primary agency for the collection of distribution of artist’s film and video.
Hyperplanes of Simultaneity. A virtual reality experience on canvas
Malvina Giordana (Roma Tre)
Drawing upon Mauro Carbone’s hypothesis concerning our experience of screens as our current way of seeing, I mean to present Fabio Giampietro’s VR project Hyperplanes of Simultaneity, co-realized with the digital artist Alessio De Vecchi. The main theme of Giampietro’s canvasses are dystopian cities seen from the highest vertical point. A space-environment takes form in the interaction of the users with the work. The immersive relationship between the space of the canvas and the one experienced during vision is characterized by vertigo. The aesthetic qualities of virtuality are not based on visual content, but seems to be more linked to the interactive dynamics that generate the sense of vision. In this perspective, working on this VR experience of the “canvas space” opens up to the pervasive aspect of the medium and even more to a movement of virtualization of the imaginary (Diodato). Achieving the desire of exploring the space behind and beyond the canvas, Hyperplanes of Simultaneity shows how a painted work may no longer embody the pivotal opaque surface, but on the contrary it allows the vision, as the screen inaugurated by the cinematographic apparatus. It therefore advances the research on the classical framework started with the Futurist theories at the beginning of the 19th century and continued in the velocity of Lucio Fontana’s gesture of cutting the canvas to explore the space behind and beyond it. Simultaneously, it demonstrates how the canvas is transformed in an inhabited virtual interactive space.
Malvina Giordana is a PhD student at at the Department of “Philosophy, Communication and Performing Arts” at the University of Roma Tre. She has worked on the configuration of the space in Andrej Arsen’evič Tarkovskij’s cinema and on the relation between territory, location and landscape in contemporary underground Italian cinema. Her current research mainly concerns film and media studies in relation to perception and technology. She is now a visiting PhD student at the Department of Media and Communication at Goldsmiths, University of London. She has presented several papers to international conferences and has published on international academic journals.
Elastic Spaces: projected narratives of being and belonging
Anthony Head (Bath Spa) & Santiago Tavera
This is a double presentation of projects by researchers who are part of Elastic Spaces, an international network employing artist-led methodologies for exploring the interface of urban spaces and the body through digital projection, volumetric installations, virtual and augmented reality (elasticspaces.hexagram.ca). Anthony Head will be presenting his project, SPHERE 3D House Visualisation, exploring real-time sensing in a home environment with University of Bristol. In his paper, Head talks about the processes involved in the visualization project and the role of real-life narrative, as well as pointing towards wider implications for creative works from this kind of technology. Santiago Tavera will present his research on translational and elastic spaces as digital and physical experiences of dislocation and disembodiment. In his paper, Tavera talks about the construction of digital architectural environments that narrate experiences of perceptual dislocation and notions of displacement through the exploration of 3D stereographic animations, online and virtual projects, as well as immersive and interactive installations. Head and Tavera’s immersive media works expand the cinematic experience into sensorial and interactive spaces that reframe physical sites, but through different approaches. Elastic Spaces: Projected Narratives of Being and Belonging will further develop by working together for a workshop Head and Tavera are organizing with collaborator and artist Laura Acosta for the International Symposium on Electronic Art and the International Images Festival in Manizales, Colombia in June 2017.
Anthony Head is a Senior Lecturer at Bath Spa University, digital artist and software designer. His practice often uses coding and realtime 3D graphics and he has exhibited digital media art in many exhibitions since 2001, focussing predominantly on public architectural projections since 2010. Recent projects include a participatory projection in 2014 in Stratford Upon Avon, UK for Shakespeare’s Birthplace Trust and an 80 metre wide projection, You, Me and Everyone in Portsmouth, 2013. Head is currently working as part of a health care research project using ubiquitous sensors in the home. Working in the digital realm for Head is not always about screen/projection based work. A recent project iMigration featured thousands of paper butterflies, created from software, but representing individuals, who often are ignored by the media, where statistics are used to manipulate public opinion. Head organises the Illuminate Bath light festival, in Bath, United Kingdom. www.anthonyhead.co | www.illuminate2015.org
Santiago Tavera is an interdisciplinary Canadian and Colombian artist. He explores narratives of dislocation and migration through the construction of interactive and immersive spaces that place the body in a state of translation between physical and virtual experiences. He designs models called digital architectural environments, to simulate the state of a displaced body in a constant process of being and becoming. He holds an MFA from Concordia University and a BA (Honors) Specialization in Visual Arts and Major in Psychology from Western University. His work has recently been exhibited in the pedestrian space of Agence TOPO (Montreal), at the Maison de la Culture Marie-Uguay during Montreal’s International Digital Art Biennial, as well as The Wrong- A New Digital International Art Biennial and Solange Guez + Arte Contemporaneo (Buenos Aires), among others. http://www.santiagotavera.com