Camila Mangueira Soares e Simone Rocha de Campos – Desafios contemporâneos de publicação e representação de arquivos de fotografias estereoscópicas do século XIX e XX [PT]

A crescente publicação de arquivos estereoscópicos fotográficos em acervos online, plataformas digitais, livros e exposições físicas e/ou virtuais – com recursos de imersão e multimídia – tem chamado a atenção para a emergência de diferentes processos de remediação desses materiais, sejam eles de organização, apresentação ou de reposicionamento. Apesar de grande parte desses projetos expositivos proporcionarem o acesso e o desenvolvimento de novas formas de pesquisa e documentação de estereoscopias desconhecidas e raras, a necessidade de circulação dos arquivos parece se sobrepor a de geração de uma representação digital mais próxima às imagens estereoscópicas de origem. Questões como o problema da escala e das publicações isoladas de imagens em livros e exposições; a não menção e não disponibilidade do visor; e a recente disposição bidimensional de imagens estereoscópicas em ambientes 3D pelo uso de realidade aumentada, são alguns exemplos que têm comprometido tanto a experiência imersiva promovida por esses materiais, como também o conhecimento sobre sua historicidade e valor intrínseco como objeto fotográfico. Diante desse contexto, este trabalho discute as relações entre documentação e visibilidade e questiona formatos e visualidades desses ambientes de publicação de estereoscopias fotográficas. Para isso, tomamos como corpus de pesquisa as remediações de fotografias estereoscópicas do fotógrafo brasileiro Marc Ferrez. São analisadas as publicações de suas produções de fotografia estereoscópica no catálogo e exposição Marc Ferrez: Território e Imagem (2019), no acervo online do Instituto Moreira Salles (IMS) e no acervo online (web e aplicativo móvel) fotografado e publicado pelo Instituto Google Arts & Culture. O artigo oferece perspectivas críticas de preservação e publicação de fotografias estereoscópicas entendendo suas novas formas de representação e veiculação em ambientes físicos e virtuais como fotomediações.

Azadeh Nichiani – Commutators and urban sonic spaces [EN]

The notion of commutators – as introduced by Paul Claval (1999) in the field of urban geography – outlines the contours of social interactions in the context of the city. The commutator plays a crucial role in the organizational vision of urban space in that, it ensures connections and provide the possibility of crossing territories. The interconnections of beings within the shared urban environment come partially from their ability to move and cross places. The urban commutators enable “multiple connection structures”, to quote Abraham Moles. But most urban commutators of our time such as train stations and airports have their own conditions and limits. Airports and train stations as urban commutators are in charge of connecting spaces much larger than their territorial expanses and beyond their geographic location. The sonic dimension of these places has been the subject of much reflection and site specific sound pieces. The famous jingle by Bernard Parmegiani (1969) for Paris Charles de Gaulle Airport, lasting just 3 seconds, describes the commutator status of this airport. The sound installation Study for Strings, by Susan Philipsz as part of Documenta 13 (2012), was located in Kassel Hauptbahnhof as an urban commutator. Philipsz’s piece alludes both to the memory of the place as well as the human beings crossing this central station, which provided mission-critical connections in rail transport during the Second World War. This paper sets out to analyze the role of urban commutators in their sonic dimensions by focusing on site specific sound creations. Azadeh Nilchiani is an artist and a Ph.D. fellow in laboratory LISAA at the Université Paris-Est Marne-la-Vallée. Her artwork is based on interdisciplinary connections between the visual mediums, sound and space, specifically by installation and video art. She holds a Diploma in sculpture, University of Tehran, Faculty of Fine Arts (2003) then in Space-Art from the Ecole Nationale Supérieure des Arts Decoratifs of Paris (2007), Diploma in Sound Art and Electroacoustic Composition from the Pantin National School of Music (2009) and Masters degree in Art, Music, and Media at the University Paris-Est (2010). She has been a research associate at Bibliothèque nationale de France on archives of Institut international de musique électroacoustique de Bourges (IMEB) 2016-2019. She is a Temporary research and teaching assistants (ATER) at The University of Lille, in music and musicology since October 2019.

Immersion, Transparency and Disappearance: a paradoxical aesthetics [EN]

João Carrilho

 

The concept of “immersion” is commonly associated with developments in audiovisual media, particularly to the technological capability to produce an “as if” experience (Breitsameter, 2018), indistinguishable from reality itself.

This technological dream of constructing a “mirror of nature” is further ignited by the belief in a future of unprecedented computational power. When computers have evolved to make hyper-realistic copies of the world around us, we may no longer know whether we are experiencing a simulation or real-life. According to the “simulation hypothesis” (Bostrom, 2003), it is almost inevitable that we already live in a computer program.

However, such a philosophy of “immersion” may be reproached in several ways. First, it assumes that the physical world is completely computational, which is not necessarily the case (Penrose, 1989). If the act of understanding or the activity of listening, for instance, are shown to require non-computational ingredients, then no traditional machine will be able to replicate them, independently of how powerful or complex it is. Secondly, it requires a debatable treatment of the anthropic principle: maybe we are not near the mean value of a gaussian distribution for what happens in the Cosmos. And even if the universe was filled with uncountable simulations, then the strongest probability would be that we should find ourselves in one of the lowest types (Carroll, 2019).

This article traces critical aspects of “immersion”, from its inception as technological utopia to the implications of its contemporary aesthetics. Following Andrew Parkers’ hypothesis that the Cambrian explosion could have been triggered by a sudden transparency of the oceans and atmosphere, allowing for distal perception, the text juxtaposes the digital revolution, considered as a second great transparency (Dennett, 2015) to Paul Virilio’s aesthetics of disappearance. The result is thus paradoxical: as sounds and images get coded into electromagnetic waves traveling at light speeds, mankind immerses itself in virtual worlds, at the risk of its own obliteration.

The discussion is centered on sound, where it is clear that the “reality” of sensory experiences is not something passive or unchanging, but rather a time-dependent endless recursion: Mankind transforms the soundscape and the soundscape changes man. Hearing and the sonic environment are co-discovered and co- created. They are unpredictable co-evolving processes. Today, sounds of any kind may appear from any spatial direction, at any distance, through any medium. They can inhabit any real or imagined location and should be free to propagate with arbitrary radiation patterns. But sounds also have the potential to transform the listening experience itself.

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