3,109 research outputs found
Keeping Live Media Art Alive
No full textQuesto testo esplora i nuovi paradigmi e pratiche di conservazione della Live Medi Art –ossia l’arte che combina elementi in tempo reale, interattivi o performativi (live), con vari dispositivi mediali e tecnologici. Queste pratiche—sviluppatisi a partire dagli anni ‘90—stravolgono particolarmente i principi tradizionali di conservazione, come i concetti di originalità e autenticità.
L’obiettivo principale di questo progetto di ricerca è stato quello di sviluppare e applicare un meta-modello per la conservazione, il Multilevel Dynamic Conservation (MDC) Model. Questo modello si propone di andare oltre la semplice definizione di modello (come suggerisce il prefisso ''meta") e di affrontare le limitazioni legate all’impossibilità di standardizzare le pratiche conservative. È progettato per supportare la descrizione e lo sviluppo di modelli di conservazione multipli, necessari per gestire l’eterogeneità delle opere di live media art e rispondere alla diversità degli enti coinvolti nella loro conservazione. A sostegno di questo modello, sono stati definiti un approccio per la riattivazione (il CATTA workflow) e un linguaggio visivo per documentare i dispositivi tecnologici e i loro processi (il Modular Instruction Framework).
I risultati di questa ricerca sono stati sviluppati attraverso una review delle risorse online, un’analisi della letteratura e, in particolare, una serie di studi di caso. Questi casi, molto diversi tra di loro, hanno avuto lo scopo di esplorare la documentazione e la riattivazione delle opere, il ruolo degli artisti nello sviluppo tecnologico, i sistemi di collaborazione interdisciplinare che supportano la creazione delle opere, le basi tecnologiche delle performance e delle installazioni, e il ruolo del pubblico negli ecosistemi interattivi.
L’applicazione del meta-modello, del processo di riattivazione e del linguaggio visivo nei casi studio ha dimostrato una forte adattabilità, consentendo di supportare le opere in una varietà di contesti performativi, installativi e di ricerca. In particolare, il modello MDC si è rivelato altamente flessibile in diverse circostanze e attraverso vari sistemi computazionali, come documentare un’opera utilizzando il database grafico Neo4j; supportare la collaborazione in progetti di ricerca artistica interdisciplinare tramite la piattaforma di sviluppo GitHub; e creare un “archivio d’attore” —e.g. documentazione personale di un performer — gestendo localmente la documentazione su un computer (nel nostro caso, attraverso il Finder dei sistemi macOS).
Questo studio evidenzia, da un lato, la complessità delle nuove pratiche di conservazione per live media art, che devono adattarsi e riformularsi in base a ciascuna opera; dall’altro, sottolinea i principi fondamentali dei nuovi paradigmi di conservazione su cui si basano i modelli. I nuovi paradigmi di conservazione e i modelli sviluppati non mirano a cristallizzare l’opera nel suo stato originale, ma piuttosto a consentirne l’evoluzione e la crescita. L’opera stessa viene vista come un organismo vivente o un processo che interagisce con l’ecosistema della installazione o della performance. Questo ecosistema include media e dispositivi tecnologici, spazi, esseri umani sia come pubblico sia come performer e, soprattutto, il momento socio-culturale, sempre in costante trasformazione. Pertanto, l’opera, come un organismo vivente, ha bisogno di adattarsi, crescere, prendere forma e sviluppare la propria identità in relazione agli ecosistemi espositivi in evoluzione. Di conseguenza, lo scopo della conservazione, così come dei modelli presentati in questo testo, è mantenere viva la Live Media Art, sostenendone lo sviluppo e il divenire.This text explores the new paradigms and conservation practices for live media art—a type of art that combines real-time, interactive, or performative elements (live) with various media and technological devices. These practices–which have developed since the 1990s–particularly challenge traditional principles of conservation, such as originality and authenticity.
The main objective of this research was to develop and apply a meta-model for conservation: the Multilevel Dynamic Conservation (MDC) model. This model aims to surpass the very definition of a model (as suggested by the prefix "meta") and address the challenges of standardising conservation practices. It is designed to support the description and development of multiple conservation models necessary for handling the heterogeneity of live media works and responding to the diversity of entities involved in their conservation. To support this model, an reactivation workflow (the CATTA workflow) and a Modular Instruction Framework (MIF) for documenting technological devices and their processes were also defined.
The outcomes of this research were developed through a review of online resources, literature analysis, and, especially, a series of diverse case studies. These case studies explored not only the documentation and reactivation of artworks but also the role of artists in technological development, the interdisciplinary collaboration systems that support the artwork’s creation, the technological basis of performances and installations, and the role of audiences in interactive ecosystems.
The application of the meta-model, reactivation process, and modular instruction in the case studies demonstrated strong adaptability, enabling support for works in various performative, installation, and research contexts. In particular, the MDC model proved to be highly flexible in multiple circumstances and across different computational systems, such as documenting an artwork using the graphical database Neo4j, supporting collaboration in an artistic interdisciplinary research project through the development platform GitHub, and creating an “actor's archive”—personal documentation of a performer—by locally managing the documentation on a computer (in our case, Finder on macOS).
This study particularly highlights, on the one hand, the complexity of the new conservation practices for live media art, which must adapt and reformulate according to each artwork; on the other hand, it emphasises the fundamental principles of the new conservation paradigms upon which the developed systems are based. The new conservation paradigms do not aim to freeze the artwork in its original state but rather to allow it to evolve and grow. The artwork itself is seen as a living organism or process that interacts with the exhibition ecosystem. This ecosystem includes media and technological devices, spaces, humans as both audience and performers, and the socio-cultural moment, which is always in constant transformation. Thus, the artwork, like a living organism, needs to adapt, grow, take shape, and develop its identity in relation to the evolving exhibition ecosystems. Therefore, the purpose of conservation, as well as the systems presented in this text, is to keep live media art alive, supporting its development and becoming
Reactivating and Preserving Interactive Multimedia Artworks: An Analog Performance from the Seventies
No full textInteractive multimedia art shows a complex nature as it is time- and process-based, interconnected with technology, derived by the participation of several authors (artists, technicians, performers, to name a few) and an audience, and it is strongly tied to the moment and space of the original exhibition. These characteristics make the preservation of these artworks a multifaceted process. Building on the foundations developed since the 2000s by international projects focused on preserving and restoring these new art forms, the paper proposes an original model for achieving dynamic preservation, called "the multilevel preservation model". Since it is no longer possible to guarantee physical integrity for interactive multimedia artworks, dynamic preservation involves recording all the changes that occur to display the artworks in the future. In other words, it makes it possible to record the dynamic authenticity of artworks. The model proposes two fundamental properties: multiple layering, which allows to handle different levels of information about the artwork; multiple belongingness, which allows to represent the dynamic authenticity of the artwork at the archival level and achieving dynamic preservation.The paper demonstrates the high-level implementation of the model by presenting a case study: the reactivation and preservation of an analog video art performance from the 1970s. This case study proposes an interesting real scenario for testing the model, as the reactivation process involved the migration of the entire analog technological apparatus of the artwork into the digital domain
A multilevel dynamic model for documenting, reactivating and preserving interactive multimedia art
No full textA Signal-Processing-Based Simulation System for High-End Stereo Headsets
No full textIn recent years, headphones have become increasingly popular worldwide. There are numerous models on the market today, varying in technical characteristics and offering different listening experiences. This article presents an application for simulating the sound response of specific headphone models by physically wearing others. In the future, for example, this application could help to guide people who already own a pair of headphones during the decision-making process of purchasing a new headphone model. However, the potential fields of application are much broader. An in-depth study of digital signal processing was carried out with the implementation of a computational model. Prior to this, an analysis was performed on impulse response measurements of specific headphones, which allowed for a better understanding of the behavior of each set of headphones. Finally, an evaluation of the entire system was conducted through a listening test. The analysis of the results showed that the software works reasonably well in replicating the target headphones. We hope that this work will stimulate further efforts in the same direction
Toward a System of Visual Classification, Analysis and Recognition of Performance-Based Moving Images in the Artistic Field
No full textThis paper proposes a research program focused on the
design of a model for the recognition, analysis and classification of video
art works and documentations based on their semiotic aspects and audiovisual
content. Focusing on a corpus of art cinema, video art, and performance
art, the theoretical framework involves bringing together semiotics,
film studies, visual studies, and performance studies with the innovative
technologies of computer vision and artificial intelligence. The aim
is to analyze the performance aspect to interpret contextual references
and cultural constructs recorded in artistic contexts, contributing to the
classification and analysis of video art works with complex semiotic characteristics.
Underlying the conceptual framework is the simultaneous use
of a set of technologies, such as pose estimation, facial recognition, object
recognition, motion analysis, audio analysis, and natural language processing,
to improve recognition accuracy and create a large set of labeled
audiovisual data. In addition, the authors propose a prototype application
to explore the primary challenges of such a research project
Longevity in NIME research: a case study using time-based media art preservation models
No full textThis paper presents the reactivation of Soundrise, an interactive multimedia application for deaf children, as a case study to demonstrate the application of time-based media art preservation and reactivation strategies in NIMEs. Drawing upon the Multilevel Dynamic Preservation (MDP) model and the Digital Preservation Object (DPO), structured frameworks designed to comprehensively document time-based media art across different levels of information and iterative processes, this article introduces a novel decision-making process for reactivating NIMEs, outlined in five steps: Collection, Assessment, (re)Design, Implementation, and Archiving. Through an exploration of the Soundrise reactivation, the article elaborates on each step of the proposed reactivation process, illustrating the application of the DPO and MDP model to ensure the preservation of the application. From the analysis of the previous iterations of the application, we also provide design reflections on obsolescence and longevity. By aligning our work with recent NIME literature on documentation and reuse, we aim to offer insights on how to preserve, reuse, or maintain and document research
A imagem de Alessandro Baricco no Brasil
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2013.Com a intenção de delinear o modo pelo qual o escritor italiano Alessandro Baricco se inseriu no sistema literário brasileiro e os caminhos percorridos pelos seus livros traduzidos, esta dissertação dá voz às experiências tradutórias de seus tradutores. A inserção de Bariccono Brasil tem seu início em 1997, através de uma proposição da Profa. Dra. Roberta Barni à editora Iluminuras da tradução de Oceano Mare. A partir daí, outras sete obras foram publicadas no Brasil, sendo três delas traduzidas por Roberta Barni e as outras quatro por quatro tradutores diferentes. De um lado, considera-se o tradutor como figura principal namediação entre culturas, e, de outro, se analisa a realidade desta figuradentro do sistema literário, sua invisibilidade, seus limites e o exercíciode sua profissão. A pesquisa conta, ainda, com críticas e resenhas referentes ao autor italiano publicadas em jornais consagrados no Brasil, considerando estas como parte constituinte da imagem de Baricco refletida em território nacional. Abstract : Intending to delineate the way the Italian writer Alessandro Baricco has been inserted in the Brazilian literary system and the paths his translated books have followed, this thesis gives voice to the translating experiences of his translators. Baricco's insertion in Brazil began in 1997, through a personal project of Dr. Roberta Barni, with her translation of Oceano Mare. Since then, seven other of his works have been published in Brazil, three of which were translated by Roberta Barni and the other four by four different translators. On the one hand,the translator is considered as the main figure in mediation betweencultures and, on the other, this figure's reality is analyzed within theliterary system: its invisibility, its limits and its professional practice. Criticisms and reviews of this Italian author published in well established Brazilian newspapers are also considered, with the understanding that they are part of Baricco's image reflected here
La maturità di Alessandro Fei del Barbiere, in bilico tra Maniera e Riforma
No full textThis article studies the mature career of the Florentine painter Alessandro Fei del Barbiere (1537-1592), beginning with the rediscovery of the 'Ascension' altarpiece formerly in the Albizi Chapel in the destroyed church of San Pier Maggiore, Florence. Studying this painting and others recorded in 1584 by the biographer Raffaello Borghini, such as the two altarpieces for Santa Maria delle Grazie and the Madonna dell'Umiltà in Pistoia, the author reconstructs a body of works showing how in the 1580s Fei gradually went beyond the archaic style of his apprenticeship - he had been trained by Ridolfo del Ghirlandaio and Pierfrancesco Foschi, but was also marked by the Maniera of Vasari - evolving towards naturalism in both mimesis and pictorial handling. In Florence, his development partly parallels that of Santi di Tito and his circle, but Fei was also influenced by a probable sojourn during the early part of that decade in Rome, where he could have been inspired by Girolamo Muziano and the painters working for Pope Gregory XIII. Among other proposals, the author suggests that the artist was responsible for decorating the chancel of Fiesole Cathedral (c. 1584-1589), which consisted of an altarpiece, only rarely discussed by scholars, and a cycle of frescoes hitherto attributed to Nicodemo Ferrucci
Tra socialdemocrazie e Perestrojka. Le relazioni internazionali del Pci attraverso le carte di Alessandro Natta
No full textThis essay reconstructs the foreign policy of the Italian Communist Party during the four
years of Alessandro Natta’s secretariat (1984-1988) through largely original archival documentation,
from the Alessandro Natta Fonds of the Historical Archive of the Chamber of
Deputies. Natta’s papers are also cross-referenced with those kept in the PCI Archive at the
Gramsci Foundation. The author analyses the relationship that the PCI establishes with
Gorbachev’s Perestroika, Deng’s China, and European social democracies during the last
years of the Cold War
Volta Alessandro
No full textThe New Dictionary of Scientific Biography (extension and updating of the Dictionary of Scientific Biography) is one of the most substantial reference works in the field of the history of science. An up-to-date overview on Alessandro Volta's science with new perspectives offered by the author. Information and critical analysis is also provided on the main secondary literature produced on this main protagonist of enlightenment science after the 1976 entry "Volta Alessandro" in the Dictionary of Scientific Biography
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