Over the last four years I have been drawing on aspects of my own visual art practice (‘data capture’ digital drawing performances, 2004–) in my drawing teaching at the University of Cape Town. For this article I would like to share these projects and discuss the relevance of incorporating multimedia engagement in the teaching of traditional drawing at a tertiary level. First, moving images, sound, digital devices such as smartphones, tablets and engagement in online platforms are primary mediators of (...) experience for many urban citizens. I find it relevant for students to not only reflect critically on the use of digital tools and online social platforms, but to experience and explore engaging with them directly as an experience by making them physical through drawing. In my experience through my teaching practice I have observed how this embodiment of the technology can provide useful tools of processing the volume of immaterial information that we engage with on a daily basis. A physical processing of multimedia material can also operate to provide an interesting engagement with perception, cognition and orientation. At another level, by bringing different media together in the physical studio of life drawing, there can be an interesting reflection and experience of different states of being in the world. These aspects are discussed through descriptions of a selection of my own creative practice and a second-year drawing project I teach at the Michaelis School of Fine Art, University of Cape Town titled, ‘Interface: Image and text, the portrait as Dialogue’. (shrink)

This article attempts to establish analogies between the recent introduction into architectural thought of notions such as the human body movement, events and scenarios, and the development of navigation and interaction principles and conventions in the computer world. The study of the human–computer interface contributes to an understanding of the major role of the computer screen as a point of convergence of different representational forms, and the emergence of new ones belonging to the digital culture. The compositional structure of interactive (...) multimedia works is on the one hand a visual, spatial composition and on the other a narrative and navigational structure. (shrink)

Many recent studies of technological change have focussed on the implementation of computer-based high technology systems. The research described here deals with the introduction of a new but ‘low’ technology into an ancient craft tradition in India. The paper describes a project to capture and archive aspects of the tacit knowledge content of the traditional cire perdue brass foundry (Dhokra) craft of Bikna village, near Bankura, West Bengal. The research involved collaboration between the Indian National Institute for Science, Technology and (...) Development Studies (NISTADS) and School of Art, Media and Design, University of Wales, Newport, UK in the context of the EU-India Cross-Cultural Innovation Network Project. NISTADS were proposing to introduce a new fuel-efficient furnace technology in place of the traditional form used in Bikna. It was expected that the introduction of the new furnace would catalyse major changes in the entire dhokra craft at Bikna. What was not anticipated, however, was the speed and extent of this change, to the extent that the old traditional way of doing things was changed within the space of a few months. A Multimedia record of the craft and the process was developed. These technologies make it possible to develop adequate representations of skilled performance mediated by the craftsman him- or herself. Particularly valuable in this respect is the capacity of multimedia systems to use a full range of modalities of description, including video, sound, still image, conventional text and technical diagrams. This enables the presentation of very complex information in a variety of formats and contexts. The context and process of developing this knowledge archive are described. (shrink)

This is a very short introduction to the "Installation Art" Symposium appeared on JAAC, which presents papers by Gemma Argüello Manresa, Eleen Deprez, Ken Wilder, and myself.

Intelligence augmentation was one of the original goals of computing. Artificial Intelligence (AI) inherits this project and is at the leading edge of computing today. Computing can be considered an extension of brain and body, with mathematical prowess and logic fundamental to the infrastructure of computing. Multimedia computing—sensing, analyzing, and translating data to and from visual images, animation, sound and music, touch and haptics, as well as smell—is based on our human senses and is now commonplace. We use data (...) visualization and sonification, as well as data mining and analysis, to sort through the complexity and vast volume of data coming from the world inside and around us. It helps us ‘see’ in new ways. We can think of this capacity as a new kind of “digital glasses”. The Internet of Living Things (IOLT) is potentially an even more profound extension of ourselves to the world: a network of electronic devices embedded into objects, but now with subcutaneous, ingestible devices, and embedded sensors that include people and other living things. Like the Internet of Things (IOT), living things are connected; we call those connections “ecology”. As the IOT becomes increasingly synonymous with the IOLT, the question of ethics that is at the centre of aesthetics and the arts will move to the forefront of our experience of and regard for the world in and around us. (shrink)

In 2015 the first mass migration and the first geopolitical and transnational crisis of the digital age began. This brought along the awakening of a new phase in slavery trade and trafficking of human beings (THB) at the European borders. In this article I introduce an ongoing field study I began in January 2016, in collaboration with experts from Spanish and European institutions, that so far has taken me to hotspots and borders, and to the accumulation of a vast (...) class='Hi'>multimedia archive. This led to the creation of zonaautonomamilitarizada.eu, an immersive/360°, interactive and reactive audio-visual performative system conceptually rooted in military technologies, second-order cybernetics and mass media developments. (shrink)

La manifestation artistique Mothership (Nantes, 2010), conçue par Michaël Sellam, artiste invité à l'école des beaux-arts de Nantes, autour d'un scénario inspiré du cinéma de science-fiction et de " mondes parallèles ", nous a permis de mener un questionnement inédit portant sur le travail d'artistes émergents faisant appel aux techniques du numérique (son, multimédia...) Si les oeuvres ont été abordées sous l'angle classique de l'analyse voire de la psychanalyse, et de la déconstruction, elles ont surtout été le point de départ (...) de discussions et réflexions philosophiques originales prenant appui sur une théorie des appareils - à distinguer des simples dispositifs et systèmes de communication - visant à appréhender les enjeux actuels de l'art et de la culture, innervés par une techno-science qui se voudrait porteuse d'espoir et d'utopie, quand elle se trouve bien souvent emportée dans des dérives commerciales, totalitaires et sectaires : l'individu, pris dans une temporalité vide, effrénée, et dépossédé d'une technique qu'il n'a pu intérioriser, se retrouve prolétarisé (Stiegler). Quelles seraient les alternatives à un tel phénomène? Comment, par l'expérience, matérialiser les immatériaux. La figure polymorphe - à la fois fantastique, imaginaire, sociale et politique - de l'extraterrestre (étranger, handicapé, hérétique, parasite, fou, génie, monstre, ange ou sauveur...) s'est progressivement imposée, nous conduisant à interroger les problématiques portant sur la différence et sur les différends qu'elle suscite, sur l'errance, la spectralité, l'événement et l'univers infini, l'archaïque et l'ultramoderne... Le rapport entre art et croyance, science et idéologie, foi et savoir (Derrida) s'est révélé déterminant dans notre réflexion, la pierre angulaire se situant dans la technique, potentiellement aliénante du fait des normes qu'elle met en jeu, ou au contraire émancipatrice, quand elle parvient à dépasser sa condition hylémorphique. (shrink)

The concept of simultaneity and contemporaneity is fundamental to and the core of my artistic practice but it also fits perfectly with the theme of my research. Creating multimedia art and installations with the help of new media is one way to best express the concept of non-separation, as evidenced by language itself. In Italian the word confusione, from the Latin term cunfusionem (mixing, blending), and in English confusion, is often used as a synonym for noise. In English, commotion (...) is a synonym for blare, and it has been derived from the Latin word cum movere, which means moving together. Contemporary art and installation are both staticity and change intermingled in a single place and time. The study of crowd, and the emotion that emerges from the deep immersive experiencing of art, is also strongly linked to another concept developed by Bergson: intuition. By ‘intuition’, Bergson meant an elementary, indivisible experience of sympathy, through which a person is moved into the inner being of an object and can comprehend what is unique and indefinable in it. I hypothesize the presence and expression of emotion in the collective experience of installation art, and both my creative efforts and theoretical research are aimed at facilitating the audience’s understanding or intuition of this emotion in an immersive multisensory environment. Using a range of both technological and classical tools and means of expression in my work, but more generally, artists create a product that can mediate and unfold the complexity of the phenomenological event by rendering it in a new form accessible to all. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer and telecommunications technology, and (...) cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer and telecommunications technology, and (...) cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

Imagining Dewey' features productive (re)interpretations of 21st century experience using the lens of John Dewey's 'Art as Experience', through the doubled task of putting an array of international philosophers, educators, and artists-researchers in transactional dialogue and on equal footing in an academic text. This book is a pragmatic attempt to encourage application of aesthetic learning and living, ekphrasic interpretation, critical art and agonist pluralism.0There are two foci: (a) Deweyan philosophy and educational themes with (b) analysis and examples of how educators, (...) artists, and researchers envision and enact artful meaning making. This structure meets the needs of university and high school audiences, who are accustomed to learning about challenging ideas through multimedia and aesthetic experience.00Contributors are: James M. Albrecht, Adam I. Attwood, John Baldacchino, Carolyn L. Berenato, M. Cristina Di Gregori, Holly Fairbank, Jim Garrison, Amanda Gulla, Bethany Henning, Jessica Heybach, David L. Hildebrand, Ellyn Lyle, Livio Mattarollo, Christy McConnell Moroye, Maria-Isabel Moreno-Montoro, Maria Martinez Morales, Stephen M. Noonan, Louise G. Phillips, Scott L. Pratt, Joaquin Roldan, Leopoldo Rueda, Tadd Ruetenik, Leisa Sasso, Bruce Uhrmacher, David Vessey, Ricardo Marin Viadel, Sean Wiebe, Li Xu and Martha Patricia Espiritu Zavalza. (shrink)

This article experiments with multimedia storytelling to re-vision difference outside biomedical and humanistic frames by generating new understandings of living dis/artfully with illness. We present and analyze seven short videos created by women and trans people living with illness as part of an arts-based research project that aimed to speak back to hegemonic concepts of disability that create barriers to healthcare.1 We call for a welcoming in of disability studies’ disruptive and re-imaginative orientations to bodily difference to unsettle medicine’s (...) humanistic accounts. In turn, we advance medical post-humanistic approaches that call on disability studies to re-embody its theories and approaches. (shrink)

A 37,641-word exegesis for thesis "sur travaux". Includes: Research methodology; "Expositions des textes"; Paralogisms for scholars; Conference, exhibition, and research tour details and itineraries. -/- PhD (Doctor of Philosophy) – Deakin University – 2011-2014 – Thesis by Publication (“sur travaux”): “Visual Agency in Art and Architecture” – Two monographs: Dossier Chris Marker: The Suffering Image (2012); and Not-I/Thou: The Other Subject of Art and Architecture (2014) – Two curated, multimedia group exhibitions: “‘Shadow-lands’: The Suffering Image” (2012), Dennys Lascelles Gallery, (...) Alfred Deakin Prime Ministerial Library, Deakin University; and “‘Shadow-lands’ II: Not-I/Thou” (2014), Dennys Lascelles Gallery, Alfred Deakin Prime Ministerial Library, Deakin University – Two archival submissions: “DCM Bequest” (2012), research dossier, Australian Film Institute/RMIT; “Shadow-lands”: The Suffering Image (2012), limited-edition, hand-made folio (exhibition dossier), Alfred Deakin Prime Ministerial Library, Deakin University, and St. Paschal Library, Yarra Theological Union – Supervision: David Jones, John Rollo, and Flavia Marcello – External examination: Tom Conley, Harvard University, Cambridge, MA, USA; Suzana Milevska, Academy of Fine Arts, Vienna, Austria; and Anonymous, Australia – Research conducted in Australia, England, France, Croatia, and Slovenia – Seven conferences attended in Australia (3), England (2), Italy (1), and Greece (1). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

Can we speak about a specific real-virtual spatiality in the contexts offered by the post-desktop technological philosophy and practice? Does Augmented Reality have the potential to produce a different type of space in which private and public converge up to the point of their cross identification? More exactly, to create, what media theoretician Jenny Edbauer Rice names a “zone of public intimacy”? The goal of this essay is to explore the possible answers to these questions. At the core of my (...) analysis is the idea that the hybrid character of Augmented Reality is effected by two conditions. On the one hand, by the process of converging real and virtual spaces into a single – although discontinuous – “multimedia” space-image and, on the other, by the tensions existent between private perception and public engagement. My conclusion is that by creating a hybrid convergent space of inclusions and exchanges, AR raises not only the prospect of a new sensorium, but, what is more, it confirms the possibility of a distinct aesthetic paradigm as well as of a different way to articulate social relations. (shrink)

This article contributes to understanding of Contemporary Art and of the temporality of contemporaneity, along with the philosophy of time more generally. I propose a diachronic contemporaneity over time gaps – elective contemporaneity – through examination of Kant’s Transcendental Aesthetic, the Third Analogy and the concept of ‘following’ among artistic geniuses; diachronic recognition and disjunctive synchronicity discoverable in William Kentridge’s multimedia artworks; as well as non-chronological temporal implications of superimpositions in late Palaeolithic cave art suggesting ‘graphic respect’. Elective contemporaneity (...) shows up complexity in relations to past and present, putting in question definitions of ‘Contemporary Art’ restricted to either chronology or supposedly definitive paradigms. (shrink)

Our society is experiencing a radical transformation through photographic multimedia. The photographic gaze is the dominant mode of the daily visual relationship with reality, due to the extreme pervasiveness of photography in every field of our experience. Starting from some empirical considerations, this paper will reflect on this trend in terms of visual perception of reality in general, focusing on works of art. Since visual art is made to be perceived as an object, this field of experience is congenial (...) to examine the implications of the capillary multimedia conveyance in our perceptive dependence on photographic images. The consequences are significant both in the historical-artistic methodology and in the education of the gaze applied to art, especially for the younger generations. The transformation in progress should not, however, be interpreted in negative terms, nor as an obstacle to the understanding of the world, but as a terrain of shared experience, on which to work with more conscious instruments. (shrink)

A journey through sound, memory, and landscapes, questioning the origins, perception, and cultural implications of music. A lifelong relation to sound and music underlies Latifa Echakhch’s work. On the occasion of her representation of the Swiss Pavilion for the 59th Venice Biennale, she has edited a volume on sound, memory, and perception. In the book, images of her installation in the Swiss Pavilion, The Concert, accompany her own writings along with this by Alexandre Babel and Francesco Stocchi, the co-curators of (...) the pavilion. The volume also includes interviews with and collected texts by François J. Bonnet, Emanuele Quinz, Maxime Guitton, Alvin Curran, Salomé Voegelin, Antoine Chessex, Jonathan Sterne, Juliette Volcler, and Raphaël Brunner. Confronting knowledge, reflection, and intuition, their combined concert of thoughts confirms how sound and music—and their absence—play a crucial role in our physical and cultural perception of the world, and how they allow us to expand our bodily and cognitive experience. This book is one of the three parts of the Swiss Pavilion; the other two are the installation and a vinyl edition of the piece composed by Alexandre Babel. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of which (...) are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of which (...) are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

The article deals with the self-education of future specialists in the field of culture and art within the context of philosophical, psychological, and pedagogical studies of the postmodern era. This substantiates the need to use e-learning in professional training. The use of cloud computing technologies is one of the educational process’ innovations. As shown by our research and personal experience implementing cloud computing technologies into the educational process proves to be feasible for training future professionals in the field of culture (...) and art, including their self-education. The article shows that the aim of self-education of the future professionals in the field of culture and art is personal and professional perfection, and also achievement, at the maximum possible level, of the creative ideal. Today their professional training is focused on self-perfection, ability to self-educate, skill to foresee the consequences of their professional activity and search for the new ways to solve their professional tasks using ICT. The article justifies that cloud computing technologies allow spreading content in the Internet, they facilitate posting the text messages, photographs, pictures and musical files. Accessibility, openness, interactivity of the cloud computing technologies cause their wide use for both on-line and off-line communication, data sharing of text, multimedia and audio resources for all participants of the educational process that enriches the self-education of future professionals in the field of culture and art and makes it rich in content, practically-oriented and enhances professional competence. The article concludes that e-learning best meets methodological requirements of the postmodern society. (shrink)

Broken Theory is a jettisoned collection of fragmentary writing, collected and collaged by new media artist, writer, musician, and theorist Alan Sondheim. Folding theoretical musings, text experiments, and personal confessions into a single textual flow, it examines the somatic foundations of philosophical theory and theorizing, discussing their relationships to the writer and body, and to the phenomenology of failure and fragility of philosophy's production. Writing remains writing, undercuts and corrects itself, is always superseded, always produced within an untoward and bespoke (...) silo - not as an inconceivable last word, but instead a broken contribution to philosophical thinking. The book is based on fragmentation and collapse, displacing annihilation and wandering towards a form of "roiling" within which the text teeters on the verge of disintegration. In other words, the writing develops momentary scaffoldings - writing shored up by the very mechanisms that threaten its disappearance. Broken Theory is prefaced by a text from Maria Damon and followed by an extensive interview with art historian Ryan Whyte. Alan Sondheim is a new media artist, theorist, and writer concerned with the phenomenology of the virtual. He has collaborated with motion capture and virtual environment labs. His work is concerned with the inhabitation of the body in the virtual; with the textuality of the body; with the problematic of mixed reality and codework. His writing is known for its "somatic grit" and skeletal codes that partially appear within and determine the surface. This style embeds interferences among syntax, semantics, and formal systems. The textual body, body of text and writer, are deeply entangled. His current work is based on the psychogeography of real and virtual worlds and their modeling. Most recently he has focused on "semantic ghosting" - the body behind the virtual/symbolic body - and modes of viral dispersion in a series of videos and texts. Sondheim was born in Wilkes-Barre, Pennsylvania, attended Brown University, and has exhibited, taught, and lectured at a number of venues in the United States and abroad. (shrink)

Changescapes - an introduction -- Aqueous aesthetics -- The rise of multimedia systems -- Complex dynamics disciplines -- The known world -- Attunement and agility -- Camouflage and changefulness -- Narrative hunger - geographical information systems, google street view and the colonial prospectus -- Wayfaring strangers: artistic investigations of the mood of dark tourism in online mapping -- Ghosts of a better tomorrow: the volatile formalism of 1980s film workshop productions in Hong Kong -- Cast against type -- What (...) the eye can hear -- A forest. A clearing. -- Motility -- Deep water time. (shrink)

This paper reports on-going work in the eSCAPE Project (Esprit Long Term Research Project 25377) directed to the research and development of electronic landscapes for public use. Our concern here is to elucidate a sociologically informed approach towards the design of electronic landscapes or virtual worlds. We suggest — and demonstrate through ethnographic studies of virtual technologies at a multimedia art museum and information technology trade show — that members sense of space is produced through social practices tied to (...) the accomplishment of activities occurring within the locations their actions are situated. Space, in other words, is socially constructed and shaped through members’ practices for accomplishing situated activities. We explicate, by practical examples, an approach to discovering social practices in and through which a sense of space is constructed and outline how such understandings may be used to formulate requirements for the design of electronic landscapes. In explicating our ethnographically informed approach, we outline how future technologies may bedeveloped through the situated evaluation of experimental prototypes in public use. (shrink)

The Immersive Experience of Art: Deception or Emancipation? The immersive experience plays an increasingly important role in the contemporary experience of art. Digital and multimedia technologies are used to make works of art accessible to a broad and diverse audience. In popular discourse, this evolution is often framed in a narrative of democratization and social emancipation through the participation in art. In the background of that narrative resounds the Schillerian ideal of aesthetic Bildung, which regards the experience of beauty (...) as a necessary condition for achieving individual and political freedom. The question, however, is whether the contemporary immersive art experience is not fundamentally different from the pre-digital aesthetic experience, and what the repercussions of this would be for its emancipatory potential. This contribution examines the aesthetic characteristics of the immersive experience, including a case study of the work Sleep by the post-classical composer Max Richter, in order to assess the extent to which the contemporary immersive art experience can be understood as a continuation or, on the contrary, a departure from the Schillerian vision of art. (shrink)

What might become of anthropology if it were to suspend its sometime claims to be a social science? What if it were to turn instead to exploring its affinities with art and literature as a mode of engaged creative practice carried forward in a world heterogeneously composed of humans and other than humans? Stuart McLean claims that anthropology stands to learn most from art and literature not as "evidence" to support explanations based on an appeal to social context or history (...) but as modes of engagement with the materiality of expressive media--including language--that always retain the capacity to disrupt or exceed the human projects enacted through them. At once comparative in scope and ethnographically informed, Fictionalizing Anthropology draws on an eclectic range of sources, including ancient Mesopotamian myth, Norse saga literature, Hesiod, Lucretius, Joyce, Artaud, and Lispector, as well as film, multimedia, and performance art, along with the concept of "fabulation" (the making of fictions capable of intervening in and transforming reality) developed in the writings of Bergson and Deleuze. Sharing with proponents of anthropology's recent "ontological turn," McLean insists that experiments with language and form are a performative means of exploring alternative possibilities of collective existence, new ways of being human and other than human, and that such experiments must therefore be indispensable to anthropology's engagement with the contemporary world. (shrink)

Digital media presents an array of interesting challenges adapting new modes of collaborative, online communication to traditional writing and literary practices at the practical and theoretical levels. For centuries, popular concepts of the modern author, regardless of genre, have emphasized writing as a solo exercise in human communication, while the act of reading remains associated with solitude and individual privacy. "The Community and the Algorithm: A Digital Interactive Poetics" explores important cultural changes in these relationships thanks to the rapid development (...) of digital internet technologies allowing near-instantaneous, synchronous, multimedia interaction across the globe. The radical shift in how we author and consume media as an online, electronic transmission effectively resituates the writing process across the liberal arts as less a solitary act of individual enquiry and reflection, and more an ongoing, collaborative process of creative interaction within a multimedia environment or network. Contributions in this anthology demonstrate a robust history and equally diverse contemporary approach to multimedia interaction for literary and artistic ends. Central to all media formats, computation is explored throughout this volume to critically examine how algorithmic procedures in writing help bring forward many key concepts to building creative communities in a digital environment. Each chapter in this book accordingly introduces readers to various new collaborative experiments using a broad range of different digital media formats, including VR, Natural Language Generation (NLG), and metagaming tools. This book will appeal broadly to students, instructors, and independent artists working in the digital arts, while its emphasis on social interactivity will interest theorists and teachers working in theatre, social media, and cyberpsychology. Its secondary focus on computation and media programming as a site of artistic experimentation will also interest programmers and web designers at various professional levels. (shrink)

Obóz Kultury 2.0 Mirosław Filiciak, Alek Tarkowski, Agata Jałosińska, Andrzej Klimczuk, Maciej Rynarzewski, Jacek Seweryn, Stunża M., D. Grzegorz, Marcin Wilkowski & Anna Orlik .

Final Circular for the multimedia exhibition, "'Shadow-lands': The Suffering Image" (April 18-May 18, 2012), in association with the PhD project, "Visual Agency in Art & Architecture," Deakin University, 2011-2014.

The subject of the article is the philosophical and cultural methodology of digital "virtual reality", comparing the declarations of developers with the practical possibilities and social consequences of using such technologies. The developers presented projects of online digital content services for all five senses using special equipment (glasses, headphones, interactive gloves, joysticks, costumes, printers of smells and tastes, etc.). It was assumed that virtual reality would surpass the reliability of previous multimedia content and interactive computer games, and the persuasiveness (...) and attractiveness of traditional technical means of art and the press. Failure to fulfill these promises has led to significant losses since 2022 for leading companies developing digital virtual reality technologies Meta (recognized by the court as an extremist organization on 03/21/2022, activity is limited in the territory of the Russian Federation), Microsoft HapticLinks, Cave, AlloSphere, Teslasuit, VRealizer. There was a need to assess how and to what extent the methodology used and the predicted capabilities of digital virtual reality were correct. Philosophical and cultural analysis as a research method reveals: the developers of digital virtual reality promised the methodologically impossible, reducing human perception to the "sum" of the external "five senses" out of connection with the "self", inner sensitivity, bodily self-perceptions. A person is only partially amenable to algorithmized digital interaction; a critical barrier to digital virtuality is the socio-cultural identity of society and personality. The novelty of the results of the analysis lies in the conclusion: digital virtual reality in many respects is fundamentally inferior in effectiveness to traditional technical means of sensory and emotional impact and cognition, used both for creative and destructive purposes. In terms of creative potential, digital virtual reality is inferior to the technical means of art, science, education, upbringing, etc., and in terms of destructive capabilities, it is already used in the press and other mass communications technologies for manipulating public and individual consciousness, as well as psychotropic substances that cause addiction. National regulation of the development of digital "virtual reality" is recommended, aimed at protecting and developing the socio-cultural identity of Russian citizens and society, as well as for cognitive and educational purposes. It is recommended to limit the remote use of such developments to trusted domestic Internet services. (shrink)

Until now, the mass spread of fake news and its negative consequences have implied mainly textual content towards a loss of citizens' trust in institutions. Recently, a new type of machine learning framework has arisen, Generative Adversarial Networks (GANs) – a class of deep neural network models capable of creating multimedia content (photos, videos, audio) that simulate accurate content with extreme precision. While there are several areas of worthwhile application of GANs – e.g., in the field of audio-visual production, (...) human-computer interactions, satire, and artistic creativity – their deceptive uses, at least as currently foreseeable, are just as numerous and worrying. The main concern is linked to the so-called “deepfakes”, fake images or videos that simulate real events with extreme precision. When trained on a human face, GANs can make the face assume hyper-realistic movements, expressions and (verbal and non-verbal) communication abilities. This technology poses an urgent threat to the governance of democratic processes concerning the production of public opinions and political discourses, with significant potential for reality-altering and disinformation. After a short introduction of their current technical state-of-the-art, in this paper we want to enquire the GANs` socio-technical system alongside different and intertwined philosophical accounts. Firstly, we will argue about the conditions that make perceived a GANs-generated content as trustworthy, arguing also about the general effects GANs might have on the perceived trustworthiness of individuals. Thereafter, we will discuss about the inadequacy to approach GANs only as perception-altering technology. Against this backdrop, we will propose a theoretical turn that considers the human-machine relationships of trustworthiness as elements of a broader hybrid socio-technical systems. This turn come up with political repercussions that we will discuss in the last part of the paper. (shrink)

The design office of Charles and Ray Eames was a collaborative, interdisciplinary, multimedia affair linking Hollywood, the State Department, universities, the corporate sector and international fairs during the height of the Cold War. Bringing together design, furniture, cutting-edge technology and experimental, avant-garde informed-multiscreen projections, the Eames Office operated as a humanities/IT/media/arts lab. For the 1964 World’s Fair, the Eameses created ‘The Information Machine’ for IBM. The techniques of display and experimental juxtaposition of images, sound and new media capacities later (...) migrated to the many ‘happenings’ following in the wake of Allan Kaprow’s medial and performative experiments. The Eames Office crafted for the 1964 World’s Fair a vision of global change and possibility grounded in avant-garde visual techniques and aesthetics that continue to constitute a specific globe crafted by the US Cold War military-industrial-university-entertainment complex that remains the grounds for our current collective nomos. (shrink)

A corpus made by online Canadian newspaper articles, coming from the archives of CBC News, Vice Canada and Huffington Post Canada, and related multimedia contents such us audio interviews, videos and especially links to images and comments shared on Twitter, allows us to reconstruct the debate on the seal hunt that involved Canadian media in 2014. In specific, we propose an interpretation of the pro-sealing discourse by Canadian Inuit and Newfoundlanders as an ironic and incisive answer to the serious (...) United States animal rights activists discourse, explaining how these two different points of view on animals come from a different experience of the environment and a different conception of nature. The image of the seal became the friction point between Western naturalism against Inuit animism: a multinaturalist clash in the North America post-colonial situation. A clash solved by people as Tanya Tagaq and other Inuit artists that belong to these two different semiospheres and thanks to their border placement can allow a dialog between Inuit and North American cultures traducing aesthetic forms, values and meanings. To study the structures of meaning at the base of this clash and iconoclash Iconoclash. Beyond the image-wars in science, religion and art, pp 14–37, ZKM and MIT Press, Boston, 2002) on the artic seal between opposite cultures, it has been necessary to use the socio-semiotic approach with the help of semiotics of culture tools (Lotman in Universe of the mind. A semiotic theory of culture. Indiana University Press, Bloomington, 1990, Culture and explosion. Mouton de Gruyter, Berlin, 2009]. (shrink)

The processes of constructing meaning in digital database environments entail a paradigm shift from previous models of audio-visual communication. Media emerging from the Electro-mechanical era (film/TV/video) present fixed spatio-temporal linearity and material conditions which objectify and render passive viewer and process. The problematic aspects of cinematic communication were addressed by Latin American filmmakers of the “Third Cinema” movement. Their concerns and approach presaged and assisted an understanding of the radical redefinition of audio-visual communication possible with digital databases. The conceptual and (...) aesthetic aspirations of “Third Cinema” artists such as Julio Garcia Espinosa and Fernando Solanas were ultimately contradictory to linear media and find their fitting medium in digital modular construction. The materiality of database expression lacks an intrinsic temporal or spatial state and permits a more dynamic and multidirectional set of power relationships between author/s, piece, viewer/s. Other important referents for contextualising database art are modern art practitioners that rejected linear representational space and fractured the centrality of authorship. The author's own work, “...two, three, many Guevaras,” an exploratory database environment, embraces the redefinition of process as artistic expression, the empowerment of interacting generative forces, and serves to illustrate the revolutionary potential of the new media. (shrink)

ABSTRACTWriting in 2007, in The Wordsworth Circle, Jeffrey Robinson remarked on the “ephemerality” of improvisational poetry, its fundamental resistance to being “preserved.” Printed poetry is typically regarded as “fixed” and static: what any poem represents as improvisation is, at best, only a record, executed in a fixed medium, of a performance whose infinite variability is inherent in the nature of improvisation itself. Partly an homage to Rene Magritte’s This is Not a Pipe and to Michel Foucault’s 1973 essay on that (...) painting, and using as a test case The Improvisatrice, the long poem by Letitia Elizabeth Landon, herself a devotee of interdisciplinary and multimedia performance, this essay considers the physical, structural, and methodological challenges and limitations posed to printed “word art” by works that purport to be, or aspire to the condition of, “improvisations.” The improvisatrice who is the poem’s narrator claims to be both a painter and a songstress, but her “speech,” ca... (shrink)

We began by…implying a comparison between Duchamp and the swindlers; we lately find ourselves . . . implying a comparison between Duchamp and the child. I believe that in the end both comparisons are essential to a thorough understanding of Duchamp's significance; it is also, however, essential that each comparison temper and qualify the other. The swindlers begin and end as aliens to the community on which they practice their art. Duchamp is as much inside the artworld as is the (...) child inside his community. On the other hand, Duchamp is not disenfranchised, as is the child, though, like the child, he is innocent of certain illusions typical of full enfranchisement. Like the swindlers, and unlike the child, Duchamp is full of guile. He pointedly produces something ambiguous, something which supports diametrically opposed readings, depending on where one's bets are placed. One of the readings amounts to a critique of the other reading as a hoax. But unlike the swindle, whose effectiveness depends on the degree to which the critique remains hidden and the hoax enjoys full rein, Duchamp's gesture is effective, as is the child's unambiguous announcement, to the degree that the critique embarrasses the hoax. It seems, then, that Duchamp embodies some rare and interesting combination of guile and innocence which the fable keeps apart by dividing them between agents whose activities are at cross-purposes. The limitation of the fable as an analogy is that it provides no model for the combination. The fable contains the figures of the swindler, of the gullible mark, and of the observer so innocent as to be incapable of duplicity. What we are confronted with in Duchamp is the figure of the wise guy.Joel Rudinow, a conceptual artist, created a multimedia satire entitled Higher Learnin'; or, The Song and Dance of Socrates: In Which the Love of Wisdom Leads to the Discovery that the Unlived Life is Not Worth Examining. (shrink)

This is a broad-ranging and ambitious attempt to rethink aesthetic and literary studies in terms of an “anthropology” of symbolic media generally. Central to the author’s argument is the proposition that the idea of literature—at least as it has been understood in the West since the eighteenth century—as the paradigm for artistic experience is both limited and limiting. In its place, the author offers a more general theory of aesthetic experience appropriate to a wide range of media and geared toward (...) performativity and bodily experience. The author develops the idea of the “protoliterary” as a cultural-aesthetic discourse prior to and external to the “literary” as traditionally conceived in Western aesthetics. Manifestations of the protoliterary tend to occur within forms of multimedia theatricalization in which suggestive images of the body loom large. The appeal of the protoliterary lies in its ability to function on both cognitive and somatic levels, thereby neutralizing such distinctions as self/society and reality/fiction. The author’s argument is indebted to John Dewey’s belief in a basic human need for aesthetic experience, a need that can be met in a variety of ways, from tattoos and scarification, through sports, parades, and cosmetics, to literature, opera, and film. From this basis the book theorizes a history of the development of separate, hierarchical arts in the West while suggesting that independent histories of single arts and artistic experience are no longer desirable or even possible. Although the genesis of particular forms of media are inextricably linked to specific historical, sociological, and technological conditions, their potential functions and effects are not tied to those conditions, nor should they be. (shrink)

The place of poetry in modern democracy is no place, according to conventional wisdom. The poet, we hear, is a casualty of mass entertainment and prosaic public culture, banished to the artistic sidelines to compose variations on insipid themes for a dwindling audience. Robert Pinsky, however, argues that this gloomy diagnosis is as wrongheaded as it is familiar. Pinsky, whose remarkable career as a poet itself undermines the view, writes that to portray poetry and democracy as enemies is to radically (...) misconstrue both. The voice of poetry, he shows, resonates with profound themes at the very heart of democratic culture.There is no one in America better to write on this topic. One of the country's most accomplished poets, Robert Pinsky served an unprecedented two terms as America's Poet Laureate and led the immensely popular multimedia Favorite Poem Project, which invited Americans to submit and read aloud their favorite poems. Pinsky draws on his experiences and on characteristically sharp and elegant observations of individual poems to argue that expecting poetry to compete with show business is to mistake its greatest democratic strength--its intimate, human scale--as a weakness.As an expression of individual voice, a poem implicitly allies itself with ideas about individual dignity that are democracy's bedrock, far more than is mass participation. Yet poems also summon up communal life.. Even the most inward-looking work imagines a reader. And in their rhythms and cadences poems carry in their very bones the illusion and dynamic of call and response. Poetry, Pinsky writes, cannot help but mediate between the inner consciousness of the individual reader and the outer world of other people. As part of the entertainment industry, he concludes, poetry will always be small and overlooked. As an art--and one that is inescapably democratic--it is massive and fundamental. (shrink)

This article reflects on the conceptual and aesthetic practices engaged in the development of a performance work by Thenjiwe Niki Nkosi and Pamela Phatsimo Sunstrum titled DISRUPTERS, THIS IS DISRUPTER X. Nkosi/Sunstrum liberally describe this multimedia performance work as an ‘anti-opera’. In 2014, the Iwalewahaus African Art Archive at the University of Bayreuth invited Nkosi and Sunstrum to make further developments to an anti-opera they had been conceiving since 2013. The invitation formed part of ‘Mashup The Archive’, an artist (...) residency encouraging contemporary artists from Africa to engage with the Iwalewahaus Archive. The resulting performance was presented at the Schokofabrik, Bayreuth and was a tour through a ‘maquette’ of the anti-opera. It was a ‘living maquette’ in which audiences (termed ‘Safarists’) travelled through stations illustrating sketches of scenes, histories of characters, and other fragments of narrative exposition. The artists illustrated these stations using both ‘relics’ from the Iwalewahaus Archive, and newly generated digital and analogue content. Using a common tactic found in electronic music known as ‘sampling’, Nkosi/Sunstrum recontextualized and reinvented these artefacts to form part of the anti-opera narrative. The world of the anti-opera was created by video projections, sound streamed live to Bayreuth from Johannesburg, handmade replicas of archival objects, original music created from archival instruments, live performers and a professional opera singer. South African literary theorists Delphi Carstens and Mer Roberts suggest that the sci-fi genre ‘offers a potential vehicle for expressing the African oral mythical mode and a (re)writing of the continent’s marginalized oral histories in the mythopoeic mode’.1 Nkosi/Sunstrum are interested in the radical implications of this view and are using sci-fi as a tactic for imagining and ‘occupying’ new African futures. (shrink)

The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the (...) “dogmatic” (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (shrink)

From the thirteenth century to early modern times, Venetian church interiors gleamed with brilliant gold and silver altarpieces and frontals, enlivening dim naves and providing awe-inspiring backdrops for the celebration of the liturgy. Grand in scale and materially sumptuous, these artworks were ingenious viewing machines. Many could be opened and closed horizontally to reveal and conceal multiple layers of imagery. When closed, they were further screened behind purpose-made panel paintings, called contropale or pale feriali. These multimedia ensembles - the (...) best known of which is formed by San Marco’s Pala d’Oro and Pala Feriale - played a vital role as intermediaries between architecture and rite, and they represented the radiant core of rich religious rituals that dramatized Christian notions of divine revelation. Yet, despite their attraction, Venetian gold and silver pale remain insufficiently studied. This article brings an initial analysis of these artifacts into dialogue with broader art historical debates about the materiality and the performativity of medieval artworks. By doing so, it demonstrates the significance of gold and silver pale in defining Venice’s religious and aesthetic cityscape, and it lays the methodological groundwork for future research into these complex artifacts and their environment. (shrink)

Together with the first volume “Inquiries in philosophical pragmatics: Theoretical developments,” this book collects contributions that represent the state of the art on the interconnection between pragmatics and philosophy. While the first volume presents the philosophical dimension of pragmatics, showing the path from theoretical advances to practical uses and approaches, this second volume offers a specular view on this discipline. Instead of adopting the top-down view of the first volume, this collection of eleven chapters starts from the analysis of linguistic (...) data – which include texts and discourses in different languages, different types of dialogues, different types of interactions, and different modes for expressing meaning – looking for the regularities that govern our production and processing. The chapters are ordered according to their relationship with the themes and methods that define the field of pragmatics. The more explored and classical linguistic issues such as prototype-based generalizations, scalar implicatures, and temporal ordering, lead gradually to the more recent and debated topic of slurs and pejorative language, and finally to the interdisciplinary and more pioneering works addressing specific context of language use, such as marketplace interactions, courtroom speeches, schizophrenic discourse, literary texts for children, and multimedia communication. (shrink)

In order to exchange knowledge, humans need to share a common lexicon of words as well as to access the world models underlying that lexicon. What is a natural process for a human turns out to be an extremely hard task for a machine: computers can’t represent knowledge as effectively as humans do, which hampers, for example, meaning disambiguation and communication. Applied ontologies and NLP have been developed to face these challenges. Integrating ontologies with (possibly multilingual) lexical resources is an (...) essential requirement to make human language understandable by machines, and also to enable interoperability and computability across information systems and, ultimately, in the Web. This book explores recent advances in the integration of ontologies and lexical resources, including questions such as building the required infrastructure (e.g., the Semantic Web) and different formalisms, methods and platforms for eliciting, analyzing and encoding knowledge contents (e.g., multimedia, emotions, events, etc.). The contributors look towards next-generation technologies, shifting the focus from the state of the art to the future of Ontologies and Lexical Resources. This work will be of interest to research scientists, graduate students, and professionals in the fields of knowledge engineering, computational linguistics, and semantic technologies. (shrink)

This article is about an original virtual reality and multimedia system named Visorama, with dedicated hardware and software aimed at the following fields: digital art, entertainment, historical tourism and education. On the software level, the Visorama system includes the research of a new methodology to build and visualize a stereoscope panorama; a high-level language to provide a transition mechanism between panoramas (wipes, blending, etc.); and multipleresolution panoramas to assure the image's resolution level. On the hardware level, the Visorama simulates (...) an optical device that uses a binocular display to show the image generated by the panorama system. This display is attached to a support base that can rotate around vertical and horizontal axes, which have high-resolution sensors that together capture the current viewing orientation. In addition, three buttons allow the control of zoom angle and the generation of discrete events. This form of direct manipulation of the viewing parameters provides a natural interface for virtual panoramas. On the level of its applications, the system as a whole is designed to promote a more natural interaction with the real space, since its basic characteristics allow the possibility of visualization of the real through a virtual window. The viewer travels in space and time following the several link points contained in it, as various possible navigation routes. (shrink)