TIMAEUS: Three-dimensional Illuminated Media Augmented Sculptures (original) (raw)
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1995
This study is a critical documentation and investigation into the production of a set of digital film artworks installed in the College of Fine Arts gallery as the culmination of the Master of Art (Film, Video, Sound, and Computing), Media Arts. The digital film artworks are comprised of : (i) Worship Sculpture Dance: Odissi : Movements in Stone, the imaging an ancient devotional classical Indian dance form Odissi, from the state of Orissa, India; (ii) Zang Tumb Tumb 1, inspired by the Futurist sound poetry of Filippo Tommaso Marinetti, and the Luigi Russolo and The Art of Noise; (iii) A Few Small Snaps, the digital animation of a series of autobiographical self-portraits stimulated by a study of the Mexican self-portrait painting of Frida Kahlo; and (iv) Strange Cities2 an interactive CD-Rom new media script. Strange Cities script (writing) has been included to the Worship Sculpture Dance study as blueprint for potential future research and development. The aim of this creative research has been to focus on new technology as a contribution to a questioning of traditional (analogue) modes of art production. The approach has been to explore & image traditional classical Indian forms of representation (dance, choreography, and music culture) and to re-interpret and translate these ancient forms as a new form of engagement. At the same time, the objective of this creative research has been interrogate transforming notions of the filmic, televisual, radio(audio)phonic, sonic and the (digital) computer medium, and to investigate questions of authorship and to challenge the uniqueness of the art object. This creative work is the outcome of conceptual and art historical research, focusing on the potential of an articulation of the philosophical, historical, cultural, formal and spiritual in a digital (computer) landscape.
The Shapes of Memory. Selected Aspects of Contemporary Art
The Shapes of Memory. Selected Aspects of Contemporary Art , 2019
Eleonora Jedlińska, The Shapes of Memory. Selected Aspects of Contemporary Art, Wydawnictwo Uniwersytetu Łódzkiego 2019. The Shapes of Memory. Selected Aspects of Contemporary Art consists of fourteen essays devoted to questions addressed in the art of selected artists hailing from Poland and other countries. The works discussed in the book, which have been chosen from the extensive oeuvres of the artists it presents, relate to the question of preserving, in memory, events of fundamental significance to anyone endeavouring to face up to the history of the Second World War and the Holocaust. The artistic attitudes and works of art considered here are an expression of a desire to understand and, perhaps, a warning to future generations in order to avoid a repetition of a tragedy which has forever cast a shadow over the present and the future. The accomplishments of the group of artists discussed in the book are linked by a common motif; they point to the significance of the role played by memory in the process of commemorating and adopting a stance toward that most tragic experience of modern history which was the horror of the extermination of the Jews of Europe during the Second World War. The fourteen essays were written over the course of recent years and published in dispersed and various ways, appearing in scholarly journals and post-conference publications and given as papers at Polish and international congresses. Together, they form a cohesive and coherent narrative and they constitute a consistent endeavour to encapsulate and analyse the artists' individual, in a sense 'reclusive', facing up to the extreme experience of the Holocaust and the memory bound up with it. One aspect of their work is presented here, namely, the question of remembrance and commemoration, the feeling of sorrow and pain and the sense of the constant instability, the ambiguity of the world's understanding in respect of a problem crucial to contemporary art; an ethical attitude toward the Holocaust; a problem in which every artist seeking allusions to the human condition in today's reality is entangled. Jacques le Goff wrote: The Greeks of the archaic age made Memory a goddess-Mnemosyne. She is the mother of the nine muses, whom she has [sic] conceived in the course of nine nights spent with Zeus. She reminds
The Aura in the Age of Digital Materiality. Rethinking Preservation in the Shadow of an Uncertain Future, 2020
A 15-inch laptop screen may not seem like an ideal window into a painting. The digital image depicts an abstracted version of reality that only bears comparison to the original work of art in some ways. Nevertheless, all eyes were on the screen during the recording of St Lucy (Francesco del Cossa, c. 1473) at the National Gallery of Art, Washington, D.C., in October 2015. The object of rapt attention was an image simulating the painting’s relief that was appearing on the screen in real-time. As the Lucida 3D Scanner moved over the surface of the painting, the data materialising on-screen revealed an image that felt strangely familiar: one could quickly discern the punch marks delineating St Lucy’s golden halo and the radial furrows on the golden background. It was also possible to distinguish the fi gure of the saint and her habit from the surrounding areas, as well as the painting’s uneven surface, its subtle craquelure, the slight curvature of the panel, or even areas of paint loss around the edges. The digital image reconstructed the painting’s texture by means of light and shadow, with clarity and precision, as though it were an aerial photograph exposing the relief of the Earth’s surface. _______ Written by: Carlos Bayod Lucini, architect and Project Director at Factum Foundation Published in: The Aura in the Age of Digital Materiality, edited by Adam Lowe, Elizabeth Mitchell, Nicolas Béliard, Giulia Fornaciari, Tess Tomassini, Blanca Nieto and Guendalina Damone, Silvana Editoriale, 2020