![]() ![]() It leads to the phenomenal world that lies inside the auditory cortex about one’s personal space perception. She proposes an expansion to all what is humanly possible to listen to. The project focuses in particular on the American composer Pauline Oliveros’ concept of deep listening (Oliveros 2005). The paper explores mechanisms of listening in the sonic arts through an ongoing research based on art process informed by cognitive science. Listening requires attention, engagement toward an environment, and relies on subjectivity and (self) consciousness. Supported by the case of the Bang Bang Club and the artwork of Kevin Carter, this reflection analyzes different forms of visual manipulation, not intended as an ethical judgment, but as recognition of a constant phenomenon through the history of this practice. ![]() This paper is intended to make a brief description of the evolutional process of photography from a historical and technical view, and the transformation of this concept, from the early analog cameras and systems in the 19th century to the digital advances in the 21st century, analyzing the idea of visual manipulation, as an inherent activity to the different cameras and technologies, based on the definition of photography as a form of art. Industrialization and new technologies applied to visual arts have affected the way people see these practices, have changed its values and pushed its boundaries, forcing artists and amateur perform- ers to reevaluate the limits and possibilities of their disciplines to ap- proach new territories through innovation and exploration. Keywords Free Libre Software, Open Source Software, New Art Practices, Art Institution, Commons-Based Peer-ProductionĮtymologically, photography can be understood as an image painted with light, but in a more complex view, its definition has evolved from the analog processes used since its early days to the digital practices we witness today. As ‘Acts of Transition’ they aim to support more commons-based peer-production processes, by reimagining the arts organisation as an open source civic organisation. The paper presents a set of processes, defined as ‘Acts of Transition’, whereby the values of Free Libre and Open Source are collaboratively explored with the institution’s staff and executed together, across and within the organisation’s teams. Framed as an artistic intervention, the art institution’s structure and its existing forms are considered as the living materiality of the practice. Providing a brief history of FLOSS, this paper presents a hypothetical situation, whereby elements of FLOSS are applied to reimagining institutional change within the context of a contemporary arts venue and organisation. Full paper can be viewed here: Free Libre Open Source Software (FLOSS) is an encompassing term, which refers to the licenses associated with making the source code that is the instructions and language per se, which define how software works and is made available for others to read, modify and share. ![]()
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