Bodycloud, MAS Scenography, English (original) (raw)
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The aim of this paper is to investigate the perception of space in the context of digital architecture. Our starting point is the French philosopher Merleau-Ponty’s concept of ‘flesh’ which is the common background to the dialogue between the body and the world and to the bodily intertwining of perception and the perceived world. In this paper we’ll analyze the relations between the body and space and we’ll try to answer this question: if architectural, urban structures are designed for the experience of the body’s motor faculties, does digital design, by modifying space-time categories of the lived-body and brain’s treatment of spatial perceptions, open new paths of experience? In our analysis architecture – as the fundamental science of inhabiting spaces – should be considered the existential and concrete counterpart of our being-in- the-world. This article is an extended version of a paper presented at ISEA International symposium on Electronic Art – Digital Media, Space and Architecture, Faculty of Arts and Social Sciences, Sabanci University, Istanbul, Turkey 2011.
Time and space. The drawing of the space in motion
2019
architect, PhD Representation Survey Architecture Environment, ASN Associate Professor 08/E1 Drawing. Teaches representation in Sapienza University Rome. Teaches in Uninettuno University. He has published monographs and articles on drawing and representation. Research on representation of physical and mental space, drawing and psychology, representation of space in movement and of space in literature and painting. Time and space. The drawing of the space in mo on The culture and nature of the contemporary world allows people and space to transform and "be reborn". Every day, every moment, the person changes. Even space is constantly changing, moving over me and changing. Networks, technologies, virtuality, allow con nuous and infi nite visions, diff erent in size and content. Space is represented through a succession of diff erent reali es that no longer depend on the classic no on of Time. In this way the space is defi ned in that representa on that mul plies its image, preserving its iden ty and aura. Dynamism passes from the purely abstract and symbolic season of literary and pictorial movements to a visible physicality and real concreteness, becoming an expression of the iden ty of space. Thus, while the narra ve plots become a necessary language to be inves gated, the cinematographic sequences of cinematographic genre take on a relevance that goes far beyond mere
LIMINALITY IN THE INTERPRETATIONS OF THE BODILY IN CONTEMPORARY ART - PhD Thesis - SUMMARY
LIMINALITY IN THE INTERPRETATIONS OF THE BODILY IN CONTEMPORARY ART , 2021
The dissertation at hand is approached with a profound understanding and reverence for the vast scope and intricacy of the subject that is the focus of this research. The multidimensional nature of the interpretations of the body in contemporary art, as a subject of analysis, gives rise to a complex and dynamic structure that can be defined as a zone of registration, parameterization, and systematisation - the very edge. It begs the question, is there a clear boundary to the corporeal, or can we only consider liminality as a recognizable drive or a need for articulation and interpretation? The spectrum of interpretations encompasses somatic and even visceral experiences beyond our awareness, through objectification, and culminates in levels of abstraction such as schema, symbol, sign, number, and the many nuanced iterations in between. The theses espoused in this dissertation are formulated from the presumption that the perceived complexity of the relationship to the corporeal in art cannot be subjected to definitive generalisations or categorizations. Rather, it endeavours to mark the boundary which oscillates between uncertainty and ambiguity, the zone that resists unambiguous definition or signification, and where the use and presence of the body and the corporeal in contemporary art are defined. A thorough analysis of the subject necessitates the excavation of the historical context and arriving at an understanding of the fragmented nature of the body in art. This approach also enables us to identify potential directions for the development of the subject. An in-depth study of the interpretations of the corporeal in contemporary art cannot be separated from the philosophical discourse of the body, the understanding of social phenomena, and identity formation, and the scientific domain of physics. It demands that we examine the physicality of bodies and the physiology thereof, as they are sensually perceived. When considering the "body" as an abstraction, its schematic representation becomes a defining characteristic of its status quo within the existing social structure and values. This tendency to view the body as a generalised quantity is critical in the disregard of its properties and specificities. The variety of states and aspects of the corporeal and the uncertainty of the body are often marginalised within a social context, making the unconventionality of corporeality inapplicable to the general socio-cultural and aesthetic status of the body. The discourse related to the question of the body inevitably leads to ambivalent concepts, resulting in a transgressive entropic structure of the paradigm. The artistic approach to the corporeal serves as a means of marking the field of research, which is closely linked to the research process itself as an indirectly determined, latent experience. My work on the subject of inquiry aims to explore the potential overflow of essences from object to subject, the capacity to distinguish and allocate moral categories to subjective sensations. In this sense, the body can be perceived as a correlation; it is accessible only outside of itself—a state of indeterminacy and unconventionality. These aspects of the "body," which do not conform to "convention," enable it to be viewed as a mental resource that is consumable in a transgressive form of "ekphrasis"—a record of an indeterminate material in an intermediate state. An essential element of my dissertation work involves my artistic exploration of the subject, which interprets, through a series of works, the body's reflection in relation to ethical categories and social prejudices. The image of the body, through its dialectical categorization, is inherently limited to a linguistic convention, considered at the limit where the transformation from one state of matter to another occurs- an allegory that is disconnected from its original form, akin to a reflection of a reflection. In order to ensure the representativeness of the present study, it is imperative to examine instances of artistic interpretations concerning the body and corporeality, specifically within the spectrum in which the body transitions from being a means to an object of art. The mechanism of synergistic interaction, known as logos-iconos, is crucial to the focus of the present study, as it possesses a distinct and inherent connection with bodily qualities. In the field of visual arts, this mechanism is observable when art is created by, through, with, and at times, within the body. The array of paradigms, or theoretical tools, available to comprehend knowledge about the body within contemporary art is endless, contingent upon the way in which the body is perceived in its independent state, prior to its classification within thought categories. Thus, assertions of a universal paradigm related to the body are implausible, as approximations of the artistic experience to specific contexts are instead more applicable. Within contemporary art, interpretations of the corporeal and its boundaries or parameters, i.e., whether they exist or not, represent further questions. Singular or plural, whole or composite, the varied applications of corporeality within art form a primary concern of the dissertation in terms of predicting the future directions of the relationship between contemporary art and the corporeal.
2018
Contributors: Horea Avram (Babeş-Bolyai University, Cluj-Napoca, Romania), Ulrike Gerhardt (Leuphana University Lüneburg, Germany), Sozita Goudouna (New York University, USA Robert Lawrence (University of South Florida, USA), Liviu Malița (Babeş-Bolyai University, Cluj-Napoca, Romania), Raluca Mocan (Université Paris-Est Créteil, France), Rodica Mocan and Ştefana Răcorean (Babeş-Bolyai University, Cluj-Napoca, Romania; Wheaton College, Illinois, USA), Georgina Ruff (University of Illinois at Chicago, USA), Miruna Runcan (Babeş-Bolyai University, Cluj-Napoca, Romania), Paul Sermon (University of Brighton, UK), Erandy Vergara (McGill University, Montreal, Canada). The book comprises a series of contributions by international scholars and practitioners of different backgrounds researching in the fields of contemporary visual culture and performance studies. This collection addresses the issue of corporeality as a discursive field (that asks for a “poetics”), and the possible ways in which technology affects and is affected by the body in the context of recent artistic and theoretical developments. The common denominator of the chapters in this volume is the focus on the relationship between body and image expressed as the connection between reality and fiction, presence and absence, private and public, physical and virtual. The essays cover a wide range of topics within a framework that integrates and emphasises recent artistic practices and current academic debates in the fields of performance studies, visual studies, new aesthetics, perception theories, phenomenology, and media theory. The book addresses these recent trends by articulating issues such as: the relationship between immediate experience and mediated image; performing the image; body as fictional territory; performative idioms and technological expression; corporeality, presence and memory; interactivity as a catalyst for multimediality and remediation; visuality, performativity and expanded spectatorship; the tensions between public space and intimacy in (social) media environments. The main strength of this volume is the fact that it provides the reader a fresh, insightful and transdiciplinary perspective on the body–image complex relationships, an issue widely debated today, especially in the context of global artistic and technological transformations.
Form mind body space time – the geometry of human movement
2017
Movement happens in three-dimensional space: an interaction is established with the body as agent of movement and the space surrounding the movement. The doctoral study "Form Mind Body Space Time: The Geometry of Human Movement" explores this interaction focusing on human movement and the geometry of space as defining and defined by the moving human body. Forms are produced by the moving body as space-time configurations and geometry is both a framework and source of inspiration. This creative practice-led research demonstrates the ways in which human movement embodies and expresses geometry and how movement exists in relationship with three-dimensional space. The project presents theoretical explorations in design, making and movement, through a phenomenological firstperson practice approach, where designing, making and moving are the methodological actions. The researcher’s body is the primary source of investigation and data collection. The geometry-inspired movement pr...
Body and Space on Artistic Cartographies
Alonso-Sanz, A., & Ramon, R. (2020). Body and Space on Artistic Cartographies. In R. Vella, Â. Saldanha, M. Maksimovic, & J. Johnston (Eds.), Art Education: Conflicts and Connections (pp. 29-45). Viseu: Insea., 2020
The field of identity as a concept of interest in education needs to be thoroughly researched. All the students in initial teacher training should confront and juxtapose their own identity with the identity of others. This is an educational aptitude in adults that we want to improve through artistic practices. Through art practices we can portray reflections about what concerns us regarding identity-related problems. As artists, researchers and teachers, we use art-based research to explore the possibilities of drifting, associated with cartographies in order to promote deeper knowledge of ourselves. In this text we present the analysis of three educational and artistic practices that focus on the creation of cartographies through the body. Two of the actions were performed in València, the first as a part of the curriculum in master's degree in Secondary Education Teaching at the University of València and the third as a part of Educafalles Seminar and the third took place as a part of InSEA Seminar 'Conflicts and
Movement and Immobility: The Two Faces of Representation
Graphic Imprints, 2018
If images were invented to try and replicate human vision and freeze time, then representation seems to have a lot in common with the way a person uses his eyes while taking a walk or when he stops to rest. This paper examines whether it is possible to associate walking and standing still with the two basic representation methods in order to see if, in history, drawing with contour lines can be associated with movement, and luminist, chiaroscuro and coloured drawings with standing still and reflection. Actually this game of linking movement-line and idleness-colour/surface/light/matter is not new: probably rooted in antiquity, it has been taken into consideration in the last hundred and fifty years when it was approached by exploding representation limits and trying to put pieces together in a different context, where dimensions where added or reduced: let's think about Abbot's Flatland and of Dewdney's Planiverse. Both operations seem to be strictly linked to the course of non-euclidean geometries, which where indicating new horizons for geometry and representation science since Euclidean space was put under discussion. In fact, it doesn't look so uncommon to relate representation codes to the way we move in space and occupying space is not really far from an aesthetic experience. In his Walkscapes, Careri writes: "apart from being an action, walking is also a sign […]. The world becomes a vast aesthetic land, an enormous canvas on which we draw when we walk". Clearly, the aesthetics considered in this context involves the creation of space and architectures rather than representation. But if this distinction between full and empty spaces associated respectively either with being sedentary or with erratic wanderings holds true, then perhaps representation itself may be considered rooted in this duality. Even if we mean to limit our discussion to the dynamics of bodies in space, avoiding to afford dynamic representations, literature leads today to new and wider borders spacing from territory to fashion and the issue is not limited to representation but involves visual approaches in a broader meaning.