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Papers by Piergiorgio Giacchè

Forum Italicum: A Journal of Italian Studies, 2022

In his essay Pergiorgio Giacché discusses the art of Carmelo Bene, an exception that dictates the... more In his essay Pergiorgio Giacché discusses the art of Carmelo Bene, an exception that dictates the rule, as happens in all the arts and as it is usually denied to the theatre. In painting and sculpture and poetry and literature the measurements are taken and the 129 judgments are formed starting from the highest examples and experiments, while the theatre wants to be dejected as a "social game" or enslaved as a "public service", where the arrogant right of the spectator hangs over the humble duty of the actor. Not a triumphant need to be but an exhausting need to become, that Carmelo Bene has pursued with greater freedom and greater height than the other artists of the twentieth century scene "all'italiana".

Ricordo di Tullio Seppilli (1928-2017).

Revista Brasileira de Estudos da Presença, 2013

RESUMO O texto trata das reflexões de um antropólogo que seguiu durante anos a atividade performa... more RESUMO O texto trata das reflexões de um antropólogo que seguiu durante anos a atividade performativa de Thomas Richards, que dá prosseguimento à pesquisa de Jerzy Grotowski sobre a Arte como veículo. Não se entra no mérito das técnicas e dos métodos de trabalho, mas se levanta os efeitos, ou ainda, os reflexos de uma série de obras que não são concebidas como espetáculos destinados ao público, mas como desfechos progressivos e parciais de um trabalho baseado na união indissolúvel entre ação e visão no corpo do performer e no campo de sua cena autônoma. O que vê e sente e como o espectador pode sentir-se envolvido? Que forma de contato ou de contágio pode-se verificar frente a uma cena que não se oferece como espetáculo? E, no curso dos sucessivos ensaios dessa arte como veículo, como e quanto mudou o papel e o modo de ser do espectador-hóspede de uma ação interior, que não se abre para quem olha, mas se consuma na verticalidade do ato e do canto do Performer?

Antropologia Horizontes Esteticos 2010 Isbn 978 84 7658 952 6 Pags 153 182, 2010

Diogenes, 2002

Recent advances in full body 3D reconstruction methods have lead to the realisation of high quali... more Recent advances in full body 3D reconstruction methods have lead to the realisation of high quality, real-time, photo realistic capture of users in a range of tele-immersion (TI) contexts including gaming and mixed reality environments. The full body reconstruction (FBR) process is computationally expensive requiring comparatively high CPU, GPU and network resources in order to maintain a shared, virtual reality in which high quality 3D reproductions of users can be rendered in real-time. A significant optimisation of the delivery of FBR content has been achieved through the realtime compression and de-compression of 3D geometry and textures. Here we present a new, adaptive compression methodology that allows a TI system called 3D-LIVE to modify the quality and speed of a FBR TI pipeline based on the data carrying capability of the network. Our rule-based adaptation strategy uses network performance sampling processes and a configurable rule engine to dynamically alter the compression of FBR reconstruction on-the-fly. We demonstrate the efficacy of the approach with an experimental evaluation of system and conclude with a discussion of future directions for adaptive FBR compression.

Diogenes, 1999

study with a different orientation; sometimes, on the other hand, specific choices have been made... more study with a different orientation; sometimes, on the other hand, specific choices have been made to analyse structural components or generic elements of a Theatre that has nevertheless remained an impregnable and above all foreign, not to say unapproachable, domain:’ we are of course referring to ’art theatre’, that is, the art of the professional theatre, whose practices and secrets are normally ignored or rejected by the researcher’s interpretation even when they encroach upon or cross the ’anthropological reserve’ of popular theatre or the dramatic nature of ritual.

Forum Italicum: A Journal of Italian Studies, 2022

In his essay Pergiorgio Giacché discusses the art of Carmelo Bene, an exception that dictates the... more In his essay Pergiorgio Giacché discusses the art of Carmelo Bene, an exception that dictates the rule, as happens in all the arts and as it is usually denied to the theatre. In painting and sculpture and poetry and literature the measurements are taken and the 129 judgments are formed starting from the highest examples and experiments, while the theatre wants to be dejected as a "social game" or enslaved as a "public service", where the arrogant right of the spectator hangs over the humble duty of the actor. Not a triumphant need to be but an exhausting need to become, that Carmelo Bene has pursued with greater freedom and greater height than the other artists of the twentieth century scene "all'italiana".

Ricordo di Tullio Seppilli (1928-2017).

Revista Brasileira de Estudos da Presença, 2013

RESUMO O texto trata das reflexões de um antropólogo que seguiu durante anos a atividade performa... more RESUMO O texto trata das reflexões de um antropólogo que seguiu durante anos a atividade performativa de Thomas Richards, que dá prosseguimento à pesquisa de Jerzy Grotowski sobre a Arte como veículo. Não se entra no mérito das técnicas e dos métodos de trabalho, mas se levanta os efeitos, ou ainda, os reflexos de uma série de obras que não são concebidas como espetáculos destinados ao público, mas como desfechos progressivos e parciais de um trabalho baseado na união indissolúvel entre ação e visão no corpo do performer e no campo de sua cena autônoma. O que vê e sente e como o espectador pode sentir-se envolvido? Que forma de contato ou de contágio pode-se verificar frente a uma cena que não se oferece como espetáculo? E, no curso dos sucessivos ensaios dessa arte como veículo, como e quanto mudou o papel e o modo de ser do espectador-hóspede de uma ação interior, que não se abre para quem olha, mas se consuma na verticalidade do ato e do canto do Performer?

Antropologia Horizontes Esteticos 2010 Isbn 978 84 7658 952 6 Pags 153 182, 2010

Diogenes, 2002

Recent advances in full body 3D reconstruction methods have lead to the realisation of high quali... more Recent advances in full body 3D reconstruction methods have lead to the realisation of high quality, real-time, photo realistic capture of users in a range of tele-immersion (TI) contexts including gaming and mixed reality environments. The full body reconstruction (FBR) process is computationally expensive requiring comparatively high CPU, GPU and network resources in order to maintain a shared, virtual reality in which high quality 3D reproductions of users can be rendered in real-time. A significant optimisation of the delivery of FBR content has been achieved through the realtime compression and de-compression of 3D geometry and textures. Here we present a new, adaptive compression methodology that allows a TI system called 3D-LIVE to modify the quality and speed of a FBR TI pipeline based on the data carrying capability of the network. Our rule-based adaptation strategy uses network performance sampling processes and a configurable rule engine to dynamically alter the compression of FBR reconstruction on-the-fly. We demonstrate the efficacy of the approach with an experimental evaluation of system and conclude with a discussion of future directions for adaptive FBR compression.

Diogenes, 1999

study with a different orientation; sometimes, on the other hand, specific choices have been made... more study with a different orientation; sometimes, on the other hand, specific choices have been made to analyse structural components or generic elements of a Theatre that has nevertheless remained an impregnable and above all foreign, not to say unapproachable, domain:’ we are of course referring to ’art theatre’, that is, the art of the professional theatre, whose practices and secrets are normally ignored or rejected by the researcher’s interpretation even when they encroach upon or cross the ’anthropological reserve’ of popular theatre or the dramatic nature of ritual.