Camilla Jaller | University of Copenhagen (original) (raw)

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Papers by Camilla Jaller

BCS Learning and Development Ltd., 2018

Looking back at debates within cultural theory and philosophy, the intersection of technology and... more Looking back at debates within cultural theory and philosophy, the intersection of technology and human perception has been discussed for quite some time. But what happens when technology becomes embedded within the body itself thereby changing the very framework and starting point for perceiving the world? Cyborgism is described as a specific art movement in which artists produce their artworks through new senses created by the union between cybernetics and their organism. These fundamentally new perceptions within cyborgism on the one hand result in a new type of cyborg artworks but may also result in a new way of re-perceiving existing artworks and the world in general. This new field of cyborg perceptions within the production and experience of art poses a new perspective and new questions regarding the intersection of technology and human perception, as both concepts change their fixed meanings by ways of the artistic hybridizations of human perception within cyborgism as an artistic movement.

Thesis Chapters by Camilla Jaller

This thesis intends to develop a new methodology aimed at describing, how casual viewers and comm... more This thesis intends to develop a new methodology aimed at describing, how casual viewers and commuters meet and experience video projection artworks integrated in public train station buildings. The primary focus is on two selected video projection artworks: LoopLoop (2008) by Patrick Bergeron which was shown at DIAS Art Space in Vallensbæk, Denmark in 2014 and Elsewhere / Annorstädes / Ailleurs (2010) by Tania Ruiz Gutiérrez which is a permanently inte-grated commission piece for the Malmö Central Station in Southern Sweden.
The main assumption of the thesis is that video projection artworks have important artistic potentials when placed in transit spaces. By analysing the two artworks I will make visi-ble how they permit a specific type of gaze, perception, and sense of time due to their location in the train station transit spaces. As such, the artworks function as catalysts for what I term "time travel spaces", which as an artistic strategy responds to the contemporary accelerated and com-pressed temporality and spatiality by enlarging the human experience of space and time. The "time travel space" takes its departure from the time-space compression initiated by the Industri-alisation and evolves in relation to historically and technologically conditioned sight perceptions including train travel, the panorama, and the diorama.
By focusing on the human experience of the artworks I wish to insist on the em-bodied human subject as the focal point for investigations of visual phenomena and visuality in general, but also for any studies regarding contemporary urban space. The viewers’ experiences do matter and we need to take affective and perceptive experiences seriously as co-creative forc-es sculpturing our shared urban space.
LoopLoop and Elsewhere / Annorstädes / Ailleurs establish travel perceptions to "no-where" and "every-where" but by further coupling the "time travel space" with affectivity and a resulting time consciousness, the possibility for a travel in time itself emerges. This is not only an expansion of space but of time as space. The "time travel space" thereby not only condi-tions a specific gaze, perception, and sense of time, but also a specific time consciousness which comments on our contemporary world of time-space compression.

BCS Learning and Development Ltd., 2018

Looking back at debates within cultural theory and philosophy, the intersection of technology and... more Looking back at debates within cultural theory and philosophy, the intersection of technology and human perception has been discussed for quite some time. But what happens when technology becomes embedded within the body itself thereby changing the very framework and starting point for perceiving the world? Cyborgism is described as a specific art movement in which artists produce their artworks through new senses created by the union between cybernetics and their organism. These fundamentally new perceptions within cyborgism on the one hand result in a new type of cyborg artworks but may also result in a new way of re-perceiving existing artworks and the world in general. This new field of cyborg perceptions within the production and experience of art poses a new perspective and new questions regarding the intersection of technology and human perception, as both concepts change their fixed meanings by ways of the artistic hybridizations of human perception within cyborgism as an artistic movement.

This thesis intends to develop a new methodology aimed at describing, how casual viewers and comm... more This thesis intends to develop a new methodology aimed at describing, how casual viewers and commuters meet and experience video projection artworks integrated in public train station buildings. The primary focus is on two selected video projection artworks: LoopLoop (2008) by Patrick Bergeron which was shown at DIAS Art Space in Vallensbæk, Denmark in 2014 and Elsewhere / Annorstädes / Ailleurs (2010) by Tania Ruiz Gutiérrez which is a permanently inte-grated commission piece for the Malmö Central Station in Southern Sweden.
The main assumption of the thesis is that video projection artworks have important artistic potentials when placed in transit spaces. By analysing the two artworks I will make visi-ble how they permit a specific type of gaze, perception, and sense of time due to their location in the train station transit spaces. As such, the artworks function as catalysts for what I term "time travel spaces", which as an artistic strategy responds to the contemporary accelerated and com-pressed temporality and spatiality by enlarging the human experience of space and time. The "time travel space" takes its departure from the time-space compression initiated by the Industri-alisation and evolves in relation to historically and technologically conditioned sight perceptions including train travel, the panorama, and the diorama.
By focusing on the human experience of the artworks I wish to insist on the em-bodied human subject as the focal point for investigations of visual phenomena and visuality in general, but also for any studies regarding contemporary urban space. The viewers’ experiences do matter and we need to take affective and perceptive experiences seriously as co-creative forc-es sculpturing our shared urban space.
LoopLoop and Elsewhere / Annorstädes / Ailleurs establish travel perceptions to "no-where" and "every-where" but by further coupling the "time travel space" with affectivity and a resulting time consciousness, the possibility for a travel in time itself emerges. This is not only an expansion of space but of time as space. The "time travel space" thereby not only condi-tions a specific gaze, perception, and sense of time, but also a specific time consciousness which comments on our contemporary world of time-space compression.