This essay presents a mapping of the historical concepts that contributed to the emergence of post-digital aesthetics and their connections to the concept of post-media in historical terms. It also analyzes the transition from techno-positivism to discourse of resistance against the effects of the capital technological industrial complex and how these advances in technology influence artistic discourses, practices and are the leverage of art and technology which is nothing more than a representation of the aesthetics of capital. Following art and capitalism as an ideology of innovation. Is proposed an unstinting theory about technology, geology, and the importance of these conditions to the post-digital aesthetics in terms of material disponible and conceptual articulation. Producing a reconfiguration of the post-digital conceptual approach as I propose beyond the dysfunctional aesthetics and connected with the concept of radical ecology centered in the usability of electronic garbage and technical obsolescent technologies in the arts.
This essay analyze the impact of the sonification processes in the sound arts. This is achieved exploring the definition of their production methodologies, philosophical implications and conceptual significance taking as examples my artistic experiments with sonification of light and electromagnetic fields explored in my projects that are presented in this analyses. The sonification as an artistic practice consist of generating art works based in the data-flows. Originated a sound event outside the physic of sound as non-vibration force. That is associated in my argument as data-event-sound connected with a new ontology outside the forces that animate the understanding of sound as vibration. Opening the understanding of the work of art as a system of interdependent relations in digital-art. Generating new ways of understanding sound as mutation in which digital, culture and spiritual establish interconnections between the computer as a digital domain in a landscape of code, promoting complex regimes of laminar-perception.
Movies are stories that convey the viewer to intensely experiment deep-rooted emotional messages. Film contents are predominantly delivered through vision and audition perceptive channel senses, with a wide gamma of colour sets and sound atmospheres managed to create moods, able as well to generate equilibrium awareness effects, as motion pictures glide through our attention. They can trigger emotions, thoughts and memories, derived of personal ecosystem attention structures. Distinct behaviours at the message interpretation are predisposed by cultural antecedents, validation associations and a reflection of individual emotions. Communication is a process of interaction, that leads the individual to establish perceptual and cognitive relationships with the transmitted message, such as: sensing, selecting and signifying. Therefore, meanings generated by the movie scene unravelling can be enhanced by detailed scenic cinema photography composition, as well through electing specific hue palette, saturation and brightness on image implementation, features that drive to conform an involving narrative, modulating the communication space mediation on movie creation. The semiotic field understanding, at cinema photography aesthetics and color-grading, bring about new insights of how to achieve meaningful messages, that can produce enjoyment and connection between people, within the cinematic masterpiece.
After my practical-theoretical project - TRANSPERSONAL BODY - which seeks to question the meaning of the representing action of the transpersonal and numinous body in the context of the contemporary image (whether pictures and moving images). The practice is based on painting versus cinema as an expanded field, resulting from performative contexts, and on the relationship that is proposed in the experience of the poetry of the other.The paradigm underlying the pictorial processes as an extension of the performative will be considered, in the context of the practice of ritual performance, from an anthropological perspective of the body, the study of symbols and archetypes and the verification of psychology transpersonal. For this, the video will be considered not only a documentary medium of the performative records (Practice-led Research), as well as an independent artistic object — it results as another element in the construction of the narrative of the actions between the body and the image — the performative body ritualized as an video object.To the performativity intrinsic to the project, participative observation is proposed as a study method, using processes of personal and cognitive transformation in order to enhance expanded states of consciousness; as a contribution to the process of conquering the internal image (vision) and, in a concern with the transpersonal dimension, as well as for the visual (re) enchantment, relating art and spirituality.
The following article aims to address concepts related to archives and reflect on the organization and systematization of information.One of the distinctiveness of the contemporary archive is its versatility, it stores analog and digital content such as photos, movies, audio, etc.This comprehensive study aims to question the archival processes throughout time, it’s relation with memory and the relevance of photography as an atmosphere that enables recollections.In the words of Micheal Foucalt (1986), archives are an attempt to store everything, bringing into time and space the notion of knowledge.To understand what archive means within the context of our present lives, Paulo Bernardino Bastos (2006) advocates that along with the rise of digital technologies, there are increasingly more projects online that strive to transform the “archival sites”, this transformation is motivated by contemporary society’s velocity of visual consumption of images.With technological development, archives suffered many changes and as a consequence, drastically altered the way information is accessed and created, the technological applications we use on daily basis, whether it be by private or public institutions, have a great influence in document management archives.
Maravilhamento e (des)orientação no espaço urbano tem sido um recurso constante utilizado pelos artistas que usam a cidade como seu principal objeto de estudo. Enquanto versátil e prática ferramenta a plataforma móvel, smartphone, reúne num único dispositivo, a capacidade de fotografar, filmar, mapear e comunicar. Através da interface, pelo facilitismo, como equação potencial - a capacidade de se associar como um (o indivíduo + o dispositivo) -, se cultiva a capacidade de ligar, instantaneamente, o ambiente urbano offline com ambientes online. Estamos entrando numa nova era de “seres mistos” através dos usos do aparato smartphone (um conceito que oresceu no inicio da cinematogra a de Dziga Vertov - cine-truth e cine-eye). Portanto, vou tentar trazer para a discussão o ato de andar, enquanto proposta de criação de narrativas urbanas cinematograficas experimentais (conceitos como deriva, nomadismo urbano e “ser cibrido” serão conciliadas).
What is purposed in the article is the thinking of the body in perception from a single experience or from the body and its relationship with the camera and with the act of being photographed or portrayed. Thinking that the camera can be an expanded body and also referring to the photographer and his/her act not only with the shoot but loaded with all the circumstances that embrace the space. Here who proposes a thought around this relationship is not even the author, but the character explaining a revealing and impulsive experience about the creation of the movement and the statics, consciously. From this experience - The confrontation between the character and the author - taking the character to impose its ideas and work with the image, photographer, camera and body as his/her leitmotiv throughout the authorial work.
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