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Sensing and Making Sense Photosensitivity and LighttoSound Translations in Media Art [Minkštas viršelis]

  • Formatas: Paperback / softback, 300 pages, aukštis x plotis x storis: 226x147x15 mm, weight: 666 g
  • Serija: Media Studies
  • Išleidimo metai: 20-Dec-2021
  • Leidėjas: Transcript Verlag
  • ISBN-10: 3837653315
  • ISBN-13: 9783837653311
Kitos knygos pagal šią temą:
Sensing and Making Sense Photosensitivity and LighttoSound Translations in Media ArtDidesnis paveikslėlis
  • Formatas: Paperback / softback, 300 pages, aukštis x plotis x storis: 226x147x15 mm, weight: 666 g
  • Serija: Media Studies
  • Išleidimo metai: 20-Dec-2021
  • Leidėjas: Transcript Verlag
  • ISBN-10: 3837653315
  • ISBN-13: 9783837653311
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9783837653311.html
Raktažodžiai:
Through a genealogy of photosensitive elements in media devices and artworks, this book investigates three dichotomies that impoverish debates and proposals in media art: material/immaterial, organic/machinic, and theory/practice. It combines a historical and analytical approach, through new materialism, media archaeology, cultural techniques and second-order cybernetics. Known media stories are reframed from an alternative perspective, elucidating photosensitivity as a metonymy to provide guiding criteria to art students, artists, curators and theoreticians – especially those who are committed to critical views of scientific and technological knowledge in aesthetic experimentations.

Through a genealogy of photosensitive elements in media devices and artworks, this book investigates three dichotomies that impoverish debates and proposals in media art: material/immaterial, organic/machinic, and theory/practice.

Recenzijos

Besprochen in:

http://neural.it, 16.08.2022

Abstract 7(2)
Kurzfassung 9(2)
Acknowledgements 11(2)
Introduction 13(16)
Chapter 1
29(62)
1.1 Light and photosensitive matter
32(16)
1.1.1 Molecules act
34(4)
1.1.2 Toward more complex technical ensembles: immediate and colourful
38(5)
1.1.3 The knife gets sharper: fragmenting, black-boxing, converging and operating
43(5)
1.2 Photosensitive materials and related operations
48(21)
1.2.1 Measuring
50(5)
1.2.2 Automating
55(7)
1.2.3 Controlling
62(4)
1.2.4 Self-regulating and self-organising
66(3)
1.3 (Im)materiality of an informational aesthetic
69(22)
1.3.1 Vestiges of the material-immaterial dichotomy
71(8)
1.3.2 (Invisible and (in)tangible: Blurring borders
79(12)
Chapter 2
91(68)
2.1 Light-sensing as vision
92(49)
2.1.1 Elementary structures, concepts and operations
96(24)
2.1.2 Parameters of vision
120(14)
2.1.3 Hybrid visions
134(7)
2.2 Photosensitivity beyond human subjectivity
141(8)
2.2.1 Skotopoeisis: Plants as agents
141(2)
2.2.2 Phototropy: light-sensitive artificial life
143(3)
2.2.3 Pulsu(m) Plantae: hacking photosensitivity
146(3)
2.3 Hybrid matters
149(10)
2.3.1 A brief conceptual-historical contextualization
150(4)
2.3.2 Hybrid artworks: What is at stake?
154(5)
Chapter 3
159(76)
3.1 On the search for correspondences
161(26)
3.1.1 Bell and Tainter's Photophone: In-between continuous and intermittent signals
161(5)
3.1.2 Hausmann's optophone
166(3)
3.1.3 Derivations: the photo-acoustic principle as creative matter
169(18)
3.2 Absence as creative matter
187(18)
3.2.1 Selected cases in history of media and media art
187(10)
3.2.2 Self-portrait of an absence
197(8)
3.3 Translation of materialities
205(23)
3.3.1 Merging conceptual and material approaches to media creativity
206(7)
3.3.2 (Un)translatability
213(3)
3.3.3 Metalanguage
216(4)
3.3.4 Transcreation
220(4)
3.3.5 Self-translation
224(4)
3.4 Epistemological materialities
228(7)
Final considerations 235(6)
List of figures 241(4)
References 245
Graziele Lautenschlaeger, born in 1983, is a Brazilian media artist and researcher, who conducted her PhD at the Humboldt University in Berlin. As a multi-skilled agent in the field, she acts upon the challenges of grasping the symbolic, poetic and critical dimensions of technological devices. Her artistic and academic practice has been exhibited and acknowledged in Europe, South and North America.