1,721,139 research outputs found
Dal caleidoscomane al cybernerd: Note per un'archeologia dei media
No full textUno dei primi articoli a usare l'espressione mediarcheologia: Huthamo definisce il proprio approccio come incentrato sui topoi e la storia cultural
Pantomime in Stone: Performance of the Pose and Animal Camouflage
No full textUnder the influence of J.-F. Delsarte, the performing arts in the United States took the pose in the first instance as a part of an actor’s training and then as a stage number in its own right, whose charm was that the public was challenged to discriminate between statue and body, object and subject, stone and flesh. The essay interrogates the meaning of this type of spectacle at the cusp of dance, theatre and cinema within the wider process of the de-humanising of the actor’s body in the era of silent fijilm, in which the leading model is that of animal mimicry. Charlie Chaplin’s work with gesture is situated among pantomime, mimesis and mimicry, as we see in his encounters with statues in his first films and which is the underlying allegory of City Lights (1933). This last was being filmed in precisely the years that Roger Caillois was developing his theory of animal mimicry as at once creative and psychasthenic. More in general, this was a period in which aesthetics and anthropology were investigating imitative processes, their pathological roots and their potential for knowledge gathering. Chaplin’s body, at once animal and mineral, camouflages itself in a marble group, bringing to the screen in a wholly novel way the dialectic between the actor and his archive of gestures; this is then the highpoint of the reassessment initiated by modernity of the statue as an emblem of a state that is only partially inanimate
Foto(gram)metrie
No full textLa fotografia astronomica come archeologia del postfotografico, e in particolare il passaggio dalla rappresentazione degli astri alla misurazione della loro luce
Passing through. Gesture interfaces in virtual reality
No full textAnalyzing the pre-immersive experience produced by the passthrough interface in the Oculus Quest headset, this essay deals with the role of the consumer’s gestures in the use of VR devices with fictional content. It tackles the problems of operative gestures required for the interaction: gestures triggered by the objects affordances as well as spontaneous and involuntary gestures, made possible thanks to the 6DOF of some VR content but at the same time limited by the Oculus Insight tracking system
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