Αυτό είναι το επίσημο χρώμα του 2013.

Το «Emerald» (Pantone 17-5641 TCX), η απόχρωση του πράσινου που βλέπετε στη φωτογραφία (και θα μπορούσε να χαρακτηριστεί ως… σμαραγδί) αποτελεί, σύμφωνα με την Pantone και τα γνωστά της χρωματολόγια, το χρώμα της χρονιάς που θα ακολουθήσει.

«Το πράσινο είναι το χρώμα που συναντά κανείς σε μεγαλύτερη αφθονία στη φύση και το ανθρώπινο μάτι βλέπει περισσότερο πράσινο από οποιοδήποτε άλλο χρώμα στο φάσμα» αναφέρει ο Leatrice Eiseman, εκτελεστικός διευθυντής του Pantone Color Institute. «Όπως έχει κάνει κατά τη διάρκεια όλης της ιστορίας, το πολύπλευρο σμαραγδί συνεχίζει να λάμπει και να συναρπάζει. Συμβολικά, φέρνει μία αίσθηση σαφήνειας, ανανέωσης και αναζωογόνησης, η οποία είναι σημαντική για το σημερινό πολύπλοκο κόσμο. Αυτός ο ισχυρός και «ελκυστικός» για ολοκληρο τον κόσμο χρωματικός τόνος μπορεί εύκολα να αξιοποιηθεί τόσο στη μόδα όσο και στους εσωτερικούς χώρους του σπιτιού.»
Να σημειώσουμε ότι το χρώμα της περσινής χρονιάς ήταν το «Tangerine Tango», μια κοκκινοπορτοκαλί απόχρωση, που, σύμφωνα με την Pantone, «παρείχε την ενεργειακή ώθηση που χρειαζόμασταν για να φορτίσουμε τις μπαταρίες μας και να προχωρήσουμε μπροστά…»

Aesthesis

One way of gauging the way that we are touched and affected by tactile properties of objects in space is through aesthetics [from Greek aesthesis, pertaining to the senses]. The aesthetic encounter with sculpture for example is a way of informing our visual sense with other senses, including the tactile, and the way that the senses are combined in our phenomenological perception of the world. Aesthetic contemplation of a sculpture is illustrative therefore of our everyday, embodied tactile-spatial experience.

The means by which this analysis can take place is through an examination of sculpture and architecture, in fact the set of forms between these plastic arts that form and shape space. These cause us to experience a set of embodied perceptions that highlight the unitary basis of the sensations, and particularly of touch and space. The body is central in perception for Heidegger and Merleau-Ponty, and they dwell on the constitution of objects, or more explicitly ‘things’, as arising from the body’s interaction with the world. For Heidegger especially, what makes the ‘thingness’ of things is important, and this can come forward to us through concrete or stonelike examples such as sculpture. But a more explicit analysis of touch and space needs to depart from the body per se and the thingness of things, to see how the senses interact in our everyday, embodied experience of space.

While aesthetic theory is involved in this consideration, chiefly Merleau-Ponty’s (1964) reading of Cézanne’s ability to evoke tactility through the visual medium of painting, this chapter is not primarily on the aesthetics of sculpture or architecture, although the aesthetic encounter heightens our appreciation of touch and texture and mass, those qualities which inform our visual perception. 

Instead, I want to examine in a series of phenomenological snapshots of the encounter with objects in space what the prerequisites are for the ability to synthesise touch and space.

 Moving on from the rather abstracted or extraordinary aesthetic encounter with a sculptural object, which engages in the debate in aesthetics of ‘touch-space,’ what can be gleaned from this will be applied to more quotidian encounters. The argument will therefore be extended into the objects that are crafted, that are the work of the hands; and in these, like sculpture, the reciprocality of crafted and crafter, of toucher and touched, will be investigated in order to pursue the links between touch-space and visual space through the mediation of objects. 

These encounters do not involve solely the senses of sight and touch but also, in the approach and the navigation around such objects or shaped spaces, the haptic senses generally, thereby including tactile-muscular, proprioceptive and vestibular senses in the everyday encounter with things.

The examination then considers the way that perception and body memory are involved in a set of sensory investments in space that unfold from the body. This is partly accomplished through Gibson’s ideas of ‘affordances’ and Deleuze’s concept of ‘affect’, tying together the body, the perceptions of mass, shape, colour, and the texture of the world, with body memory.

Thus the discussion will take a more neuropsychological turn, away from the incarnated phenomenology of early Merleau-Ponty, and equally away from the metaphysical concepts of the flesh of the later Merleau-Ponty (1968). What I hope to achieve is something that accommodates the complexity of sensuous experience that lies in the interaction of bodies and things not only in the immediacy of the physical encounter, but the layerings and unfoldings of sensory phenomena that come from body memory into the world as we perceive it. It is in the interactions of the past, of both being touched and touching, that allow us to project forward, to make investments in perceived spatiality, in the present. What Henri Bergson, via philosopher Deleuze (1991), would term the collapse from ‘virtuality’ into ‘actuality.’

From the position that our vision is informed by other senses and body memory, then, to the position that our everyday interaction with objects relies on a set of sensory investments in objects in space, is the purpose of this chapter. Taking this position, however, supports a wider definition of ‘haptic’ in the way that Iris Marion Young (1990) sees it, as “an orientation to sensuality as such.” So by examining spaces as being invested with a complex assemblage of sensory information and body memories, the everyday experience of objects in space will be shown to take place in what unfolds from the body, a space of sensuality as such, what I will term ‘haptic space.’

Deleuze, G. (1991) Bergsonism (Athlone: London)

Gibson, J. J. (1979) The ecological approach to visual perception (London, Houghton Mifflin)

Merleau-Ponty, M. (1964) The Primacy of Perception and Other Essays on Phenomenological Psychology, the Philosophy of Art, History and Politics, Tr. C Dallery, Ed. J M Edie (Evanston Il, Northwestern University Press)

Merleau-Ponty, M. (1968) The Visible and the Invisible, Tr. A Lingis, Ed. C Leforte (Evanston, Northwestern University Press)

Young, I.M. (1990) Throwing Like a Girl and Other Essays in Philosophy and Social Theory (Bloomington, Indiana University Press)

Haptics

from Greek haptesthai: of, or pertaining to, touch

We do not have only five senses. Psychologist J.J. Gibson (1979) argued, we have outward-orientated (exteroceptive) senses and inward-orientated (interoceptive) senses. But there are bodily senses that dancers and athletes know about that psychologists are only now getting to grips with. Proprioception is our awareness of our body’s position in space, and the vestibular sense is concerned with balance. 

Kinaesthesia is the sense of movement through space. 

I write about these somatic senses in an article ‘Haptic Geographies‘ for Progress in Human Geography (Paterson, 2009), in a review essay for Society and Space entitled ‘Charting the Return to the Senses‘ (Paterson 2008) and, more recently 

‘More-than visual architectures: vision, touch, technique‘ in Social and Cultural Geography (2011).

These bodily (somatic) senses inform our perception of ‘inside’ and ‘outside,’ of inner and outer space. 

Rather than discrete and separate, these senses act in concert to help give us our embodied perceptions of space. Touch is not only of the skin surface, but also involves the tactile-muscular and tactile-kinaesthetic senses, and these are inherently spatial.

The notion of ‘haptic space’ is not based purely on touch alone, nor on the duality between toucher and touched. It is “an orientation to sensuality as such that includes all senses” as Iris Marion Young in Throwing Like a Girl and Other Essays (1990) phrases it. Following French philosopher Luce Irigaray, Young states:

Touch immerses the subject in fluid continuity with the object, and for the touching subject the object reciprocates the touching, blurring the border between self and other…

Thus we might conceive a mode of vision, for example, that is less a gaze, distanced from and mastering its object, but an immersion in light and color. Sensing as touching is within, experiencing what touches it as ambiguous, continuous, but nevertheless differentiated.

This is an example of the multisensory nature of our perception. We never perceive by vision alone; in fact, percipere means ‘to grasp’. We have many expressions about ‘knowing’ that invoke touch, such as wanting a ‘hands on’ experience. Especially in our relation to ‘things’, we desire to know them through closeness and the mediation of our touch.

“Seeing is believing, but feeling’s the truth.”We get to know objects, things in the world, through touch. We engage with the world proximally through touch, rather than merely encounter it in distanced, abstracted vision alone.

After art historian Alois Reigl’s haptic/optic distinction, Deleuze & Gauttari also widen the definition of haptic space in A Thousand Plateaus (1988), implying the ability to communicate or evoke touch by other means, for example Cézanne’s artwork. This haptic space is discussed by geographer Paul Rodaway (1994:55), who suggests that “each space and place discerned, or mapped, haptically is in this sense our space and because of the reciprocal nature of touch we come to belong to that space.” Cartesian optics leads to a sense of detachment from the world, from the thingness of things, and this is exemplified in the camera obscura and the perspective machines in use during the Renaissance (e.g. Crary 1990).

This detachment is of the eye, whereas the hand draws us into the world. Henri Focillon for example beautifully argues ‘In Praise of Hands’:

Sight slips over the surface of the universe. The hand knows that an object has physical bulk, that it is smooth or rough, that it is not soldered to heaven or earth from which it appears to be inseparable. The hand’s action defines the cavity of space and the fullness of the objects which occupy it. Surface, volume, density and weight are not optical phenomena. Man first learned about them between his finger and the hollow of his palm. He does not measure space with his eyes but with his hands and feet. The sense of touch fills nature with mysterious forces. Without it, nature is like the pleasant landscapes of the magic lantern, slight, flat and chimerical. (Focillon 1989:162-163)

CRARY, J. (1990) Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (London, MIT Press)

DELEUZE, G & GAUTTARI, F (1988) A Thousand Plateaus: Capitalism and Schizophrenia, Tr. B Massumi (London, Athlone)

FOCILLON, Henri (1989) The Life of Forms in Art, Tr. C B Hogan & G Kubler (London, Zone)

GIBSON, James J. (1979) The ecological approach to visual perception (London, Houghton Mifflin)

PATERSON, Mark (2008) ‘Charting the Return to the Senses’, Environment and Planning D: Society and Space 26(3), pp. 563-69

PATERSON, Mark (2009) ‘Haptic Geographies’, Progress in Human Geography

PATERSON, Mark (2011) ‘More-than-visual approaches to architecture. Vision, touch, technique’, Social & Cultural Geography 12(3), pp. 263-281.

RODAWAY, Paul (1994) Sensuous Geographies: Body, sense and place (London, Routledge).

YOUNG, Iris Marion (1990) Throwing Like a Girl and Other Essays in Philosophy and Social Theory (Bloomington, Indiana University Press)

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–
Haptic Space and Bodily Expressions: 
A Bi-directional Relation of Affect 
Myrto Karanika
1
Abstract.  Extensive research on bodily and emotional 
expression has followed the increased interest in virtual reality as 
well as the recent developments of motion tracking technologies. 
However, most of these technologies are vision-based, 
consequently lacking the physicality of bodily expression itself. 
Moreover, such technologies tend to isolate the expressive body 
from its surroundings, thus interfering in the  relationship 
between the body’s expressions and the environment that 
engenders it. This position paper presents an attempt to explore 
bodily expressions in a tactile manner through the tangible 
properties of physical space itself.  




1
1 INTRODUCTION

Investigating the bi-directional relation that we share with our 
surroundings, my work is narrowing down the focus on the 
relationship between spatial experience and bodily expression. 
Historically, spatiality has been addressed as a matter of 
measures and distances, with little room left for its tangible, 
affective dimension. As a result, the variable array of bodily 
senses has been greatly disregarded in an attempt to emphasise 
on a distant, idealized visuality. However, spatial experience is 
always embodied and multisensory, equally dependant on vision, 
hearing, smell and touch. 

In this paper, I will be briefly discussing the fundamental 
relation of the sensuous body with spatial experience, and I will 
be presenting my current work, which is an attempt to create a 
responsive haptic environment that shares a bi-directional 
relationship of affect with the body. 


I am proposing such an 
environment to be entirely constructed of a multi-textured fabric 
interface that not only evokes bodily expressions but also 
captures them in a tactile manner without use of sensors or 
vision-based tracking systems. 


Designed as a dense conductive 
grid, this textile spatial element can accurately translate bodily 
gestures into arrays of coordinates which are in turn fed into 
MAX/MSP to  be translated into sound. Therefore, user 
engagement with the interface not only depends on their bodily 
gestures but also requires a close interrelation of their senses of 
vision, touch and hearing. 




The following section will start with a short introduction to 
basic concepts of haptic space and its relation with embodied 
experience and emotional response. From there, I will continue 
with an overview of my work and how it is placed within the 
fore mentioned theoretical platform. The last section will be 
concerned with the technical details of the textile haptic interface 
I have designed and the gesture tracking method it employs. For 
the purposes of the AISB 2009 Symposium on  Mental States, 
                                               
1
Dept. of Computing, Goldsmiths Univ. of London, SE14 6NW, UK. 
Email: ma701mk@gold.ac.uk.
Emotions and their Embodiment, I am proposing a live 
demonstration  of gesture tracking, using a sample of the fabric 
prototype. 






2 HAPTIC SPACE: A CONTINUUM OF 
BODILY AND EMOTIONAL RESPONSE


Spatial experience is a synthesis of all of our senses; within this 
synthesis all senses are interrelated and co-dependent and that 
constitutes their distinctness or separation purposeless when it 
comes to spatial perception [1]. In their famous A Thousand 
Plateaus, Deleuze and Guattari [2] argue that haptic space ‘may 
be as much visual or auditory as tactile’, acknowledging that 
haptic embraces the sensory interrelation of the eye, the ear and 
the limbs.


 From this point of view, haptic is extended to address 
the essence of our embodied spatial perception; a perception that 
is simultaneously orchestrated
 by our vision, hearing and touch,
and that therefore reflects our bodily experience of space’s 
textural qualities: weight, mass, density, pressure, humidity, 
temperature, presences, and resonances. 





However, haptic can also be extended to involve emotional 
connotations and to reflect affective response. Translating the 
words haptic, sense and emotion in Greek, my mother language, 
the interconnection of the three concepts becomes obvious at 
once. Haptic originates in the Greek word  απτό, which means 
something that can be touched or grasp-ed. Sense, translated as 
aesthesi /  αίσθηση, in Greek involves notions of feeling, grasping and understanding. Consequently, the concept of ‘grasp’, in 
other words perceive, is core in both sense and haptic. Emotion 
on the other hand, translated in Greek as  αίσθηµα / aesthema, 
shares the shame root with aesthesi, as both derive from the word 
αισθάνοµαι / aesthanome, whose ambiguous meaning can be 
equally translated as  ‘I sense’ or ‘I feel’. Among these three 
words -haptic, sense, and emotion- there is an underlying relation 
that, if examined closely, reveals the very nature of haptic as a
sense that is ultimately bounded with emotional grasping. 
The idea of ‘haptic’ embodying notions of emotional 
experience / attachment has been repeatedly used by theoreticians 
like Merleau-Ponty [3], Kant [4] and Paterson [5]. Berenson [6] 
notes that our bodily response to the ‘tactile properties’ of our 
surroundings –and space- highly depends on our understanding of 
their ability to affect and ‘touch’ us, while Fisher [7] addresses 
haptic as the merging of the bodily senses and the affective aspect 
of what creates them.
Drawing on the above, my study on the relation of bodily and 
emotional response with the space that encompasses them starts 
with the design of a responsive haptic environment that addresses 
all sensory data as an inseparable narrative pathway upon which 
our spatial experience is unfolded. That is an environment whose 
qualities can trigger our senses, affect our bodily expressions and 
can be affected by them. Such an environment should be able to not only evoke bodily expressions but also to capture them and 
‘feed’ them back to its ‘organism’.

Of course, similar approaches 
have repeatedly taken place since the advance of computational 
systems that can provide interactive modes of communication 
between a space and its users. In most of the cases though, 
communication is established through distant modes of 
interaction such as sensors and vision-based tracking systems. 



It is my intention to engender a bi-directional relation of affect 
between the body and its surrounding environment that is entirely 
based on the two agents of the interaction: the space and the 
body, without having to embed ‘external’ systems into their 
channel of communication. This mode of interaction springs, like 
Palasmaa [8] puts it, from the tactile sensibility of ‘enhanced
materiality, nearness and intimacy’. 




To model such a form of 
intimate, tangible interaction, my focus has been on the design of 
a spatial interface that is capable of ‘perceiving’ bodily 
expressions itself, and which also presents a range of textural 
qualities that challenge bodily responses.



 My approach is greatly 
influenced by the work of Finnish architect Juhani Pallasmaa [9] 
who notes that space should be re-sensualised ‘through a 
strengthened sense of materiality, hapticity, [and] texture’; also 
by the work of Bloomer and Moore [9] which propose textural 
change as a generator of sensations that link the haptic materiality 
of a space with the bodies that inhabit it. 




3 AN AUDIO-HAPTIC INTERFACE 



To meet these goals, I have designed a custom-made fabric to 
be used as an enveloping interface for an installation space. This 
fabric prototype is knitted with non-conductive thread (PA, 
diameter of 0.20mm), and has conductive wire (tin copper, 
diameter of 0.10 mm) embedded on both its outer sides, 
horizontally on the one and vertically on the other, thus forming a 
conductive grid.
Figure 1. Example of Vertically Embedded Conductive Bands



 The conductive bands are wired to a complex of keypad 
encoders, which is in turn connected to an Arduino 
microcontroller. That allows for the physical textile nodes to be 
perceived within the Arduino programming environment as 
elements of a matrix whose rows and columns are accordingly 
equivalent to the parallel and vertical conductive bands of the 
fabric. Eventually, that enables the prototype to simulate a tactile, 
numerical interface whose resolution depends on the density of 
the conductive grid. The conductive elements do not make 
contact within the same plane unless they are compressed by 
touch. When the fabric is being  touched, the encoders detect 
which conductive elements make a connection. 
Figure 1. Interaction Design System
This way, the gestures of the users upon the interface are captured 
as arrays of compressed grid nodes, and are ‘transduced’ into 
arrays of integers that respond to the matrix elements. These 
integers are then passed to MAX/MSP to generate sound 
accordingly to the users bodily gestures. 
Before, explaining in more detail how sound is produced from 
the gestural movements of the users upon the fabric prototype, it 
is important to refer to the physical qualities of the interface when 
exhibited in space as well as to the reasons for which I have 
decided to relate the interface with sound generation.  Both sides 
of the prototype are layered with a translucent tulle surface upon 
which I am embroidering a variety of different stitches using 
yarns that vary in colour and weight. Apart from embroidery, I 
am also using a number of different techniques to process the 
tulle such as printmaking and collage. These processes result into 
a highly textured surface that acts as the skin of the prototype 
interface. 
Figure 3. Details of the Embroidered Surface
With the conductive grid acting as the ‘nerves’ of the interface 
and the processed tulle acting as its skin, a quite abstract 
representation of the textile spatial element as a living organism 
evolves; a representation that sets the ground for a bi-directional 
relation of affect between the interface-enveloped space and the 
bodies it encloses.  The textured surface of the envelope attempts 
to intrigue the users senses of vision and touch, aiming to evoke 
bodily engagement. As soon as the users engage with the 
interface through the medium of touch, their gestures are 
translated into sound. That enables a straightforward relation 
between the visual / haptic qualities of the interface and the 
generated sound, allowing for gestural patterns to be 
‘choreographed’ and perceived both by the haptic qualities that 
engender them and by the audio output they generate. 
A number of different audio samples map the different textural 
/ chromatic qualities of the processed prototype skin, with 
‘warmer‘ sounds mapping the interface areas that are dominated 
by warm colours and/or smooth materials and vice versa. Within 
each textural area, a central grid node is assigned a given sound, 
and acts as the ‘command centre’ for its peripheral nodes. That 
means that within a certain radius  –defined by the size of each distinct textural area- the sound of all neighbouring nodes is 
interpolating with respect to their distance from the central node.
Figure 4. Example of Audio Interpolation Mapping
 When more than one person is engaging with the interface the 
sound is being produced as the merged outcome of their 
embodied engagement with the interface and with each other. The 
envelope can be approached from both its inner and outer side; as 
its weaving allows a certain level of translucency, the users’ 
figures become part of the interface patterns. Thus, apart from an 
auditory-oriented collaboration of the users’ gestures, a visual 
level of interaction among them holds also an important role in 
the orchestration of their bodily expressions. 




4  CONCLUSION
In this paper I have presented my attempt to design a 
responsive haptic environment that explores bi-directional 
relations of affect between space and its users by addressing the 
close collaboration of the senses of vision, hearing and touch as a 
medium for a fully embodied spatial experience. Within this 
relation both space and body are considered as living organisms 
that can equally affect and be affected by each other. The mode of 
affection between the two agents is immanent in their interaction 
without the need for ‘external’ systems, such as sensors or camera 
tracking methods, into their channel of communication. 
Such an environment consists of a space that is being 
enveloped by a highly-textured conductive fabric prototype, 
which can ‘perceive’ the users gestures as arrays of matrix 
elements. These elements are then being translated into sound, 
thus merging vision and touch (input) with hearing (output / and 
input) into a sensuous loop that ‘orchestrates’ the users bodily 
expressions and changes the space’s audio qualities.  
The work presented in this paper is still in a very early stage of 
development. The description I have provided so far is strictly 
based on small scale sample testing I have practiced myself. I am 
expecting improvements considering the accuracy of gestural 
tracking and sound generation as soon as I have user testings in 
larger scale pieces of the prototype.  I therefore consider the 
AISB 2009 Symposium on  Mental States, Emotions and their 
Embodiment  to be an exceptional opportunity to present and 
perform the application live to a wider audience, and I am looking 
forward to their feedback. 
AKNOWLEDGEMENTS
The work presented in this paper is being developed as part of 
my MFA Computational Studio Arts degree. I would like to thank 
my tutors Janis Jefferies, Jane Prophet and Andrew Shoben as 
well as AHRC for supporting my studies. Also Olly Farshi and 
Jeremy Keenan for their contribution to the sound design. 
REFERENCES
[1] M. Paterson, The Senses of Touch: Haptics, Affects and Technologies. 
Oxford: Berg (2007). 
[2]  G. Deleuze and F. Guattari. A Thousand Plateaus: Capitalism and 
Schizophrenia. London: Athlone (1988).
[3] M. Mereau-Ponty. The Primacy of Perception and other Essays on 
Phenomenological Psychology, the Philosophy of Art, History and Politics. 
Evanston IL: Northwestern University Press (1964). 
[4] I. Kant. Critique of Pure Reason. London: Macmillan (1990). 
[5] M. Paterson. The Senses of Touch: Haptics, Affects and 
Technologies. Oxford: Berg (2007).
              [6] B. Berenson. The Florentine Painters of The Renaissance. London: G.P.     
Putnam’s Sons (1906). 
[7] J. Fisher. Relational Sense: Towards a Haptic Aesthetics. Parachute 
87, 1:4-11 (1997). 
      [8] J. Pallasmaa. Hapticity and Time. Notes on fragile architecture: 
Architectural Review, 207:78-84 (2000).
[9] J. Pallasmaa. The eyes of the skin: Architecture and the senses. London: 
Academy Editions (2005). 
[10] K. Bloomer and C. Moore. Body, Memory and Architecture. New Haven, CT, 
Yale University Press (1978). 

December 14, 2012, Vienna
Conference 
A Haptic Space: Praxis and Discourse
Academy of Fine Arts Vienna

With Elke Gaugele, Josephine Pryde, Florian Pumhösl, Sascha Reichstein, Willem de Rooij, Yorgos Sapountzis, T’ai Smith, and Leire Vergara Introduction & Moderation: Sabeth Buchmann, Rike Frank, Grant Watson

The conference will focus on the interrelation between (social) history and the history of style. Looking at the related idea of “haptic space”, formulated by the Viennese art historian Alois Riegl, who also worked as curator of textiles at the Museum of Applied Arts, the critical involvement of (post-)formalist art practice and discourse in the debate about the dominance of the optical will thus be contrasted with specific phenomena within formalist modern art and art history. The presentations will discuss the traditional and current status of textiles as intermedia regarding the materiality of transsubjective forms of aesthetic production, cultural knowledge and social relations.

Program

Introduction & Moderation: Sabeth Buchmann, Rike Frank, Grant Watson


TEXTILES: OPEN LETTER is a project by Rike Frank (Berlin/Leipzig), Grant Watson (London), Sabeth Buchmann (Vienna), and Leire Vergara (Bilbao). In collaboration with Akademie der Bildenden Künste Wien; Bulegoa z/b, Bilbao; INIVA, London; Galerie für Zeitgenössische Kunst and mzin, Leipzig; Allianz Kulturstiftung, and Kulturstiftung des Freistaates Sachsen.

Academy of Fine Arts, Vienna 
Institut für Kunst- und Kulturwissenschaften
Schillerplatz 3, 1010 Wien
www.akbild.ac.at

Technologies

Embarking on an archaeology of the technologies of touch, in an article forEnvironment and Planning D: Society and Space (Paterson 2006) I have examined the history of haptic devices from telerobotics to the PHANToM™ desktop interface [Personal HAptic iNTerface Mechanism], and discuss tactile bodysuits and gloves, resulting in a narrative of the genesis of ‘presence’ and ‘immersion’ through various haptic technologies.

Furthermore, in a book chapter inNew Technologies and Emerging Spaces of Care (Paterson, 2010) I explore ideas of robot skin and the human-robot interface, and pursue various ideas of so-called ‘social presence’.

Looking at the role of technology in touch, where the synaesthetic basis of everyday perception is mediated through the use of interfaces and technological prostheses. For the idea of touch in technology is one that seems at last to be coming of age. Haptics, or the technologies of touch, is “one of the growth areas in human computer interaction or new types of sensory interaction with computers” (Steve Furner of BT, interview 8/9/00). While the concept of multimedia has been trumpeted for years, usually that has equated only with vision and sound. With smell devices in prototype form at MIT, it is haptics that is emerging as the next aspect of multimedia (Kramer in Hodges 1998; Furner 8/9/00). Haptics is, according to Salisbury (1995) “the newest technology to arrive in the world of computer interface devices.”

After many years of over-emphasis on the visual elements of computing for example, in PCs and videogame consoles, the other senses are beginning to become important. As processor speed and memory size increases dramatically in PCs especially, the “gap between capability and usability” of the computer is vast, in the words of Massie, co-inventor of the PHANToM haptic interface (in Mahoney 2000). Haptic technologies are making an appearance in high-end workstations for computer-aided design (CAD) as well as at the lower end, on home PCs and consoles, to augment the human-computer interface (HCI). Effectively this means adding a “new mechanical channel,” or a further strand, to human-computer communication so that data can be accessed and literally manipulated not just through visual means (Hayward in Hodges 1998). Whereas the keyboard is a passive mechanical channel between the computer and user, haptics enables a more active exploration, is programmable according to the type of data or object to be manipulated, and allows the user not just to see three dimensional shapes on the screen visually but also to feel them and mould them through the haptic interface.

The Logitech iFeel™ mouse (above)

Echoing Gibson’s (1968) distinction between passive and active touch, co-inventor of the PHANToM Kenneth Salisbury observes: “Unlike our other sensory modalities, haptics relies on action to stimulate perception… to sense the shape of a cup we do not take a simple tactile snapshot and go away and think about what we felt. Rather, we grasp and manipulate the object, running our fingers across its shape and surfaces in order to build a mental image of a cup” (in Hodges 1998). This is as true in the virtual world as in the real world, and so to get a true sense of touch in a virtual world through a haptic interface, the manipulation of the object must occur over time, in a synthetic world still with spatial and sensory continuity, so that tactile memory flows over time to build up a complex dynamic haptic image of the object under examination. This is easiest when the haptic is collocated with the visual and the auditory, so that interactions confirm each other for the user.

The SensAble PHANToM haptic device at BT Labs with the ‘thimble-gimbal’ (above)

This convergence is one that enables an augmentation for the user of the interface not just in the purely tactile realm but as a set of augmentations that begins to play with an emerging multisensory realm, one that talks often of ‘immersion’. This story is not therefore a straightforward history of tactile technologies, but an ‘archaeology’ (pace Foucault, especially 1994) of how the concept of multisensory immersion becomes an issue and begins to become explicitly articulated in the language.

It is some measure of the recent importance of haptic technologies that they are being incorporated into the hardware and software architectures of videogame consoles, perhaps the cheapest and most accessible forms of technological immersion currently available.

Foucault M (1994) The Order Of Things: An Archaeology Of The Human Sciences (Vintage: New York)

Hodges M (1998) ‘It Just Feels Right’ in Computer Graphics World, Vol. 21, No. 10

Mahoney D P (2000) ‘Innovative interfaces’ inComputer Graphics World, Vol. 23, No. 2

Paterson, M. (2006) ‘Feel the Presence: The Technologies of Touch’, Environment and Planning D: Society and Space 24(5), pp. 691-708

Paterson, M. (2010) ‘Electric snakes and mechanical ladders? Social presence, domestic spaces, and human-robot interactions’ in Schillmeier and Domenech (Eds).,New Technologies and Emerging Spaces of Care. Aldershot: Ashgate.

Salisbury K (1995) ‘Haptics: The Technology of Touch’ at http://www.sensable.com/haptics/haptwhpp.htm

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Marina Abramovic Webcam Capture Animation Video from Dimitri Chrysanthopoulos on Vimeo.

http://thewishproject.tumblr.com/

• μια σειρά από προσχέδια-σχέδια-ζωγραφιές  
• μια σειρά από λογοτεχνικά δημοσιογραφικά ιστορικά κλπ. κείμενα  η  σημειώσεις δικές σας
• φωτογραφίες-διαγράμματα

Στα κείμενα σας προσπαθήστε να ορίσετε τα χαρακτηριστικά του χώρου σας με βάση μια συνολική παρατήρηση του
μέσα από τη καταγραφή των χαρακτηριστικών του





θέμα  2.1 ———————- 14-11 (3-η εβδομάδα μαθημάτων -παράδοση θέματος)

Παρουσίαση και παράδοση :  Α φάση  21-23/11  Πρώτη παρουσίαση συζήτηση και επεξεργασία του υλικού σας
                                            Β φάση 26-27/11  Παρουσίαση  συζήτηση και επεξεργασία του υλικού σας
                                            Γ φάση Παρουσίαση- 3-5/12 Τελική Παρουσίαση και Παράδοση υλικού




Στο θέμα 1α επιλογής δημόσιου η ιδιωτικού χώρου και  συγκέντρωσης των κειμένων αλλά και παρατήρησης  (η επεξεργασία του υλικού  θα συνεχιστεί στη διάρκεια  της δεύτερης άσκησης)
επιλέξατε ένα χώρο συγκεκριμένο η αφηρημένο που σας ενδιαφέρει με βάση κάποια κείμενα είτε δικά σας είτε ξένα  η και  αντίστροφα- επιλέξατε το χώρο και αναζητήσατε η δημιουργήσατε τα κείμενα που τον αφορούν.
Εκτός από την επιλογή του χώρου κάνατε και μια πρώτη εξερεύνηση πρώτες καταγραφές με σκίτσα της μορφολογίας του καθώς και άλλες σημειώσεις σε σχέση με τα ευρύτερα χαρακτηριστικά του και τις δραστηριότητες που συντελούνται εντός.
Με βάση τις  σχέσεις εικόνα και ήχου που περιγράφονται να δημιουργήσετε μια σειρά από σύντομα (έως 20-30 sec) video αναφορικά με το χώρο σας.
Τα σύντομα video που θα δημιουργήσετε  εκτός από τη σχέση εικόνας και ήχου- που μπορείτε είτε να την σκηνοθετήσετε είτε απλά να την επιλέξτε και να την καταγράψετε-αποτελούν με κάποιο τρόπο ,όπως και το υπόλοιπο υλικό σας, σύντομες σκέψεις σας και σημειώσεις σας αναφορικά με  το σενάριο σας* .

*Προτείνω σε όσους η όσες έχουν η νομίζουν ότι έχουν κάνει την άσκηση να την επαναλάβουν
και να βάλουν μια επιπλέον διάσταση-περνώντας και σε μια επόμενη φάση-
προσπαθώντας να δημιουργήσουν σύντομα μικρά animations (stop motion-hand made or clay made – από πηλό – στον υπολογιστή-
από άλλα υλικά που μπορείτε να επινοήσετε -χειροποίητα η computer based…..) πάνω στις κατηγορίες σχέσης εικόνας και ήχου
και σε αναφορά με το χώρο όπου δομούν το σενάριο τους.
Θα αναφερθούμε για αυτό αναλυτικά στο εργαστήριο

ΧΡΟΝΙΚΗ ΣΥΜΠΤΩΣΗ- ΣΧΕΣΗ
ΨΥΧΙΚΗ ΣΥΜΠΤΩΣΗ-
ΣΥΓΧΡΟΝΙΣΜΟΣ-
ΜΕΡΙΚΟΣ ΣΥΓΧΡΟΝΙΣΜΟΣ-
σε ορισμένα αντικείμενα η άτομα / δίνεται έμφαση.

ΑΦΗΓΗΣΗ –
ΕΜΦΑΣΗ ΚΙΝΗΣΗΣ-
ΑΛΛΗΓΟΡΙΑ-
ΣΙΩΠΗ-
Ο ΗΧΟΣ ακούγεται αλλά η αντίστοιχη εικόνα δεν είναι ορατή.

Δράσεις που αναφέρονται στην άσκηση:
ΔΡΑΣΗ: 01 ΛΑΙΚΗ ΑΓΟΡΑ



——————————————————————————————————————————————————————————————————————————————————————–ΥΛΙΚΟ ΒΟΗΘΗΤΙΚΟ——————————————————


ΧΑΡΑΞΕΙΣ -ΑΡΜΟΝΙΚΕΣ ΧΑΡΑΞΕΙΣ
παράδειγμα απο σκίτσα-σχέση με cinematic view – deleuze

ΙΣΤΟΡΙΑ & ΘΕΩΡΙΑ 8 2011-2012
ΚΑΤΕΥΘΥΝΣΗ Α: ΜΟΝΤΕΡΝΑ ΕΛΛΗΝΙΚΗ ΑΡΧΙΤΕΚΤΟΝΙΚΗ
Η ΘΕΩΡΙΑ ΤΟΥ ΔΟΞΙΑΔΗ
Το καλοκαίρι του 1936 ο Κωνσταντίνος Α. Δοξιάδης παρουσιάζει τη διδακτορική διατριβή του με τίτλο Die Raumgestaltung im Griechischen Städtebau στο Berlin Charlottenburg Technische Hochschule. Αντικείμενο της διατριβής του Δοξιάδη είναι η ελληνική πολεοδομία και συγκεκριμένα η αρχαία ελληνική πολεοδομία από τον 7ο έως τον 2ο αιώνα π.Χ. Σύμφωνα με τον Κωνσταντίνο Δοξιάδη, στα πολεοδομικά συγκροτήματα της αρχαίας Ελλάδας η τοποθέτηση των κτηρίων στον χώρο δεν ήταν τυχαία αλλά βασιζόταν σε ένα ακριβές σχέδιο. Οι αρχαίοι αρχιτέκτονες χρησιμοποιούσαν ένα γεωμετρικό σύστημα πολικών συντεταγμένων για να ορίσουν τη θέση και τη διεύθυνση της κάθε κατασκευής. Βασίζονταν, δηλαδή, σε γεωμετρικές σχέσεις που είχαν να κάνουν με ένα σταθερό σημείο (έναν πόλο) και περιμετρικά σημεία τα οποία ορίζονταν γεωμετρικά με βάση την απόσταση και τη γωνία τους ως προς αυτό το σημείο. Το σημείο αυτό βρίσκεται πάντα στο πρόπυλο κάθε πολεοδομικού συγκροτήματος και ταυτίζεται με το σημείο εισόδου. Είναι τοποθετημένο ακριβώς εκεί από όπου γίνεται αντιληπτό για πρώτη φορά το αρχιτεκτονικό σύνολο, εκεί όπου κάποιος στέκεται για πρώτη φορά και παρατηρεί τον χώρο γύρω του. Όλα τα σημεία του χώρου ορίζονται με βάση αυτό το σημείο παρατήρησης του χώρου ώστε όλες οι κατασκευές να είναι τοποθετημένες μέσα στο οπτικό πεδίο του παρατηρητή. Έτσι, το κέντρο της αρχιτεκτονικής σύνθεσης, που είναι το άνοιγμα της εισόδου, αντιστοιχεί στο άνοιγμα-κοίταγμα του ματιού.
ΒΙΒΛΙΟΓΡΑΦΙΑ
Για τη θεωρία Δοξιάδη
Δοξιάδης, Κωνσταντίνος, «Περί του τρόπου συνθέσεως των μνημειακών πολεοδομικών συγκροτημάτων υπό των αρχαίων Ελλήνων», Τεχνικά Χρονικά, τ. 145-146 Ιανουάριος 1938.
Δοξιάδης, Κωνσταντίνος, «Ο χώρος και τα πολεοδομικά συγκροτήματα των αρχαίων Ελλήνων», Τεχνικά Χρονικά, έτος Ζ/ΧΙΙΙ, αρ. 156, 15 Ιουνίου 1938.
Doxiadis, C. Α.. Architectural space in ancient Greece, Cambridge, Mass.: MIT press, 1972.
Μιχελής, Παναγιώτης. «Ο χώρος και τα πολεοδομικά συγκροτήματα των αρχαίων Ελλήνων», Τεχνικά Χρονικά,
έτος Ζ/ΧΙΙΙ, αρ. 151, 1η Απριλίου 1938.
Μιχελής, Παναγιώτης. «Επί των πολεοδομικών συγκροτημάτων των αρχαίων Ελλήνων», Τεχνικά Χρονικά, αρ.157,1η Ιουλίου 1938.
Τσιαμπάος, Κώστας. Κατασκευές της όρασης, από τη θεωρία του Δοξιάδη στο έργο του Πικιώνη, Αθήνα: Ποταμός, 2010. (Κεφάλαιο 1)
Τσιαμπάος, Κώστας. «Για μια αρχιτεκτονική του βλέμματος: Η διατριβή του Δοξιάδη και οι αισθητικές θεωρίες της εποχής της», στο Τετράδια του Μοντέρνου 04: Εκδοχές του μοντέρνου στην Αθήνα του μεσοπολέμου, Αθήνα: Futura, 2010, σ. 51-67.
Tsiambaos, Kostas. «The Creative Gaze: Doxiadis’ discovery», The Journal of Architecture, vol. 14, n. 2, Απρίλιος 2009, σ. 255-277.
Για θεωρίες οπτικής
Damisch, Hubert. L’origine de la perspective, Παρίσι: Flammarion, 1987.
Simon, Gérard. Le regard, l’être et l’apparence dans l’Optique de l’Antiquité, Παρίσι: Seuil, 1988.
Crary, Jonathan. Techniques of the Observer, Cambridge, Mass.: MIT Press, 1991.
Levin, David Michael (επ.) Modernity and the Hegemony of vision, Berkeley: University of California Press, 1993.
Frontisi-Ducroux, Françoise Jean-Pierre Vernant. Στο Μάτι του Καθρέφτη, Αθήνα: Ολκός, 2001.
Shapiro, Gary. Archaeologies of Vision, Σικάγο: The University of Chicago Press, 2003.
Ράμφος, Στέλιος. Μυθολογία του βλέμματος, Αθήνα: Αρμός.
Zeki, Semir. Εσωτερική όραση: Μια εξερεύνηση της τέχνης και του εγκεφάλου, Ηράκλειο Κρήτης: Πανεπιστημιακές Εκδόσεις Κρήτης, 2002.
Για αρμονικές οπτικές χαράξεις στην αρχιτεκτονική
Sitte Camillo. Η Πολεοδομία σύμφωνα με τις Καλλιτεχνικές της Αρχές(1889), Αθήνα: ΕΜΠ, 1992.
Ghyka, Matila C.. Le nombre d’or: rites et rythmes pythagoriciens dans le developpement de la civilisation occidentale, 2 τόμοι, Παρίσι: Gallimard, 1931.
Wittkower, Rudolf. Architectural principles in the age of Humanism, Λονδίνο: Studies of the Warburg Institute, vol. 19, 1949.
Pérez-Gómez, Alberto και Pelletier, Louise. Architectural Representation and the Perspective Hinge, Cambridge,
Mass: MIT press, 1997.
Παπανικολάου, Αλέξανδρος. Μαθηματικά, Μουσική, Αρχιτεκτονική στην Αρχαία Ελλάδα, Αθήνα: ΤΑΠ, 2000.











βιβλιογραφία

links
Endropic gardens–

http://entropic-gardens.blogspot.gr/

http://0708circle02a.blogspot.gr/


http://www.youtube.com/education?category=Lifelong-Learning


http://www.youtube.com/watch?v=2k-2IlJcaHg&list=UL


http://synaesthesia-anaesthesia.blogspot.gr/


ΑΝΑΡΤΗΣΕΙΣ ΣΧΕΔΙΩΝ-
http://pastdrawings.blogspot.gr/



http://www.grammatron.com/
http://www.emst.gr/EN/exhibitions/emst_exhibitions/main.aspx?ID=144
http://www.emst.gr/GR/collections/archives/artists/emst_artists/main.aspx?List=948a73bb-6d8c-4793-9dcf-c3542ddaf71e&ID=2926
http://www.yhchang.com/

http://www.youtube.com/topic/LCU2V_GT0kw/shirin-neshat
http://www.youtube.com/topic/WDVVtBQlMEU/pipilotti-rist
http://www.youtube.com/topic/VvjgWAqboRA/matthew-barney
http://www.youtube.com/topic/l5S1tQ4b0rM/the-cremaster-cycle
http://www.youtube.com/topic/LCINfeKcJHk/bill-viola
http://www.youtube.com/topic/iEh_NGsbEXU/douglas-gordon
http://www.youtube.com/topic/VSOkPuEhqms/art
http://www.youtube.com/topic/tjt1hKoiyEw/stop-motion

http://pastdrawings.blogspot.gr/

1. http://topergasias.blogspot.com/ ).  
2. http://pharmakis.pbwiki.com/city-passage-texts η και άλλα κείμενα επιλογής σας

να σχετίζονται με τη μελέτη/ανάλυση μιας συγκεκριμένης κατηγορίας και όχι με μια απλή περιήγηση του χώρου.
Καλή δουλειά

—————-laikis
—————————————–ktirion?





>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Ε1 30/31-10  —Ε2  6-7/11——Ε3-13-14/11———Ε 4 23-11—————————–24/11
Ε5 εβδομάδα συναντήσεων Δευτέρα 26-11
Παρουσιάσεις (vimeo)καταγραφές χώρων μεθοδολογίεςΤρίτη (27-11)       Storyboard on the roadstoryboard on screenstoryboard on anything κνηματογραφικό μονταζ
metropolis-odysse stairshttp://pastdrawings.blogspot.gr/αναρτήσειςΤετάρτη 28-11 λΑΙΚΉ ΑΓΟΡΆ- ΟΜΑΔΙΚΕΣ ΚΑΤΑΓΡΑΦΕΣΠΑΡΑΤΗΡΗΣΗ ΧΩΡΟΥ
Συνάντηση 9.00

Ε6 εβδομάδα συναντήσεων


3-4-5/12


3-
Τη Δευτέρα μπορείτε να επεξεργαστείτε το υλικό σας..μόνοι σας στο εργαστήριο
η αλλού…
Δουλέψτε μόνοι σας τη Δευτέρα ώστε τη Τρίτη να έχετε έτοιμο και ταξινομημένο το υλικό σας απο τη λαική σε ένα φάκελλο σας σε σκληρό δικό σας η στηνεπιφάνεια εργασίας ενός υπολογιστή απο τη σχολή..

Τη Δευτέρα θα γίνει επεξεργασία -ταξινόμηση του υλικού σας απο τη λαική.
ΤΗ ΤΡΙΤΗ ΘΑ ΓΙΝΕΙ ΣΥΛΛΟΓΙΚΗ ΕΠΕΞΕΡΓΑΣΙΑ  ΚΑΙ ΑΝΑΡΤΗΣΗ ΤΟΥ ΥΛΙΚΟΥ
Η κάθε ομάδα/μονάδα  θα κάνει τη δική της ανάρτηση σε δικό της blog που θα το ονομάσει ανάλογα
Όλα τα blogs θα τα ενώσουμε κάτω απο ένα συλλογικό χάρτη με τα ‘ακριβή’ μέρη της μελέτης της λαικής της  κάθε ομάδας.
Η ανάρτηση του υλικού σας μπορεί να γίνει και σε δίκτυα της προτίμησης σας()


Δευτέρα-10μμ-2μμ
επεξεργασία υλικού -ψηφιοποίηση σχεδίων
ΑΝΑΡΤΗΣΗ ΚΕΙΜΕΝΩΝ
http://nonlinearscripts.blogspot.gr/
υλικό απο λαική – (τόποι εργασίας)
επεξεργασία υλικού απο την επίσκεψη στη λαική αγορά
χρήση κονού χάρτη/ υλικό ιστορικό- προτάσεις – συλλογή υλικού
δημιουργία blog λαικής-
συλλογική διαχείριση υλικού- πως
μελλοντικές χρήσεις και στόχοι του υλικού ()-γιατί
συνέχεια παρουσίασης της άσκησης ήχου -εικόνας/ κειμένων /σεναρίων κ.λ.π.
όπως προκύπτουν απο τα δύο μέρη των ασκήσεων που έχετε επεξεργαστεί…
optimizations (audio-video-..)
– δημιουργία ατομικών blogs ανάρτησης υλικού απο λαική – σύνδεση σε κοινό ίχνος
συζήτηση-διαδρομή με τρένο
(χάρτης-gps/itp-coordinators-games-σενάριο/α)
συζήτηση διαδομή – χάρτης – σημείο συνάντησης – χρονικές χρωματικές-ηχητικές καταγραφές
δημιουργία αρχείου κτιρίων (υλικό)





4-Τρίτη συνάντηση στη σχολή στις 10μμ η… εξωτερική δράση  
υλικό απο λαική – (τόποι εργασίας)
blog λαικής – market patras-ny
http://elaikiflorinas.blogspot.gr?
συνέχεια επεξεργασίας υλικού απο την επίσκεψη στη λαική αγορά
-χρήση κοινού χάρτη/  ιστορικού υλικού- προτάσεις – συλλογή υλικού
– δημιουργία ατομικών blogs ανάρτησης υλικού απο λαική – σύνδεση σε κοινό ίχνος
  συλλογική διαχείριση υλικού- εισαγωγή στα δίκτυα-
  μελλοντικές χρήσεις και στόχοι του υλικού ()-
-συνέχεια παρουσίασης της άσκησης ήχου -εικόνας/ κειμένων /σεναρίων κ.λ.π.
 όπως προκύπτουν απο τα δύο μέρη των ασκήσεων που έχετε επεξεργαστεί…
 optimizations (audio-video-..)

–συζήτηση-διαδρομή με τρένο
—-(χάρτης-διαδρομή-gps/itp-coordinators-games-σενάριο/α)
συζήτηση διαδομή – χάρτης – σημείο συνάντησης – χρονικές χρωματικές-ηχητικές καταγραφές
δημιουργία αρχείου κτιρίων (υλικό)
http://ehousesflorinas.blogspot.gr/





5-Τετάρτη—
λαική καταγραφή
12μμ -2μμ



10-12                     




( δεν υπάρχουν σχέδια-
















12-2.30μμ

αναρτήσεις












ΜΕΡΟΣ Β.  ΘΕΜΑΤΙΚΕΣ-ΑΣΚΗΣΕΙΣ  ΠΟΥ ΕΚΤΕΛΟΥΝΤΑΙ ΣΤΟ ΕΡΓΑΣΤΗΡΙΟ

Αναρτήσετε το  υλικό σας ..

—————————————————————————————————————




Α. χωρος -χρόνος –
ήχος-σώμα-δράση-διάδραση-οικείο-ανοίκειο-ουτοπία-δυστοπία-οικολογία-ταυτότητα-διασκέδαση-διάβασμα-περπάτημα-ξεκούραση-όριο-τόπος-προέκταση-προσθήκη-ετεροτοπία-  είναι λέξεις κλειδιά  που μπορούν να υποκινήσουν το ενδιαφέρον σας για τα χαρακτηριστικά του χώρου σας αλλά και της επακόλουθης ιστορίας σας και δράση σας

y [youtube https://www.youtube.com/watch?v=sK86McTbkIQ]yyyyy [youtube https://www.youtube.com/watch?v=53Fpk0kRjpI]

[edit]Overview

Opening shot

[edit]Vertov’s intentions

In this shot, Mikhail Kaufman acts as a cameraman risking his life in search of the best shot

“The film Man with a Movie Camera represents
AN EXPERIMENTATION IN THE CINEMATIC COMMUNICATION
Of visual phenomena
WITHOUT THE USE OF INTERTITLES
(a film without intertitles)
WITHOUT THE HELP OF A SCENARIO
(a film without a scenario)
WITHOUT THE HELP OF THEATRE
(a film without actors, without sets, etc.)
This new experimentation work by Kino-Eye is directed towards the creation of an authentically international absolute language of cinema – ABSOLUTE KINOGRAPHY – on the basis of its complete separation from the language of theatre and literature.”

[edit]Stylistic aspects

Poster by Stenberg brothers (1929)

“The producer, Dziga Vertof, does not take into consideration the fact that the human eye fixes for a certain space of time that which holds the attention.”^[6]

[edit]Production

This section requires expansion. (August 2012)

[edit]Soundtracks

• 1995 – New composition was performed by the Alloy Orchestra of Cambridge, Massachusetts, based on notes left by Vertov.^[7] It incorporates sound effects such as sirens, babies crying, crowd noise, etc. Readily available on several different DVD versions.^[8]
• 1996 – Norwegian composer Geir Jenssen (aka Biosphere) was commissioned by the Tromsø International Film Festival to write a new soundtrack for the movie, using the director’s written instructions for the original accompanying piano player. Jenssen wrote half of the soundtrack, turning the other half to Per Martinsen (aka Mental Overdrive). It was used for the Norwegian version Mannen med filmkameraet at the 1996 TIFF [1][2]. Scored movie not available after the festival. The soundtrack was released in 2001 on Substrata 2.
• 1999 – In the Nursery version,^[9] made for the Bradford International Film Festival. Currently available on a few DVD versions, often paired with the Alloy Orchestra score as an alternate soundtrack.
• 2001 – Steve Jansen and Claudio Chianura recorded a live soundtrack for a showing of the film at the Palazzina Liberty, in Milan on 11 December 1999. This was subsequently released on CD as the album Kinoapparatom in 2001.
• 2002 – A version was released with a soundtrack composed by Jason Swinscoe and performed by the British jazz and electronic outfit The Cinematic Orchestra (see Man with a Movie Camera (The Cinematic Orchestra album)). Originally made for the Porto 2000 Film Festival. It was also released on DVD in limited numbers by Ninja Tune. This DVD edition is currently very much in demand and goes for prices higher than the other DVD versions.
• 2002 – A score for the film by Michael Nyman was premiered performed by the Michael Nyman Band on May 17, 2002 at London’s Royal Festival Hall. A British Film Institute DVD of the film was released with Nyman’s score. This score is readily available on several different DVD editions. It has not been issued on CD, but some of the score is reworked from material Nyman wrote for the Sega Saturn video game Enemy Zero, which had a limited CD release, and Nyman performs a brief excerpt, “Odessa Beach” on his album, The Piano Sings.
• 2003 June – Boston-based multi-theremin ensemble The Lothars performed a semi-improvised soundtrack accompanying a screening of the film at the Coolidge Corner Theatre in Brookline, Massachusetts. They repeated their performance three years later, in December, 2006 at the Galapagos Art Space in Brooklyn, New York.
• 2006 Absolut Medien, Berlin released a DVD with the 3soundtracks from Michael Nyman, In the nursery, and a new soundtrack from Werner Cee
• 2007 November – France based group Art Zoyd presented a scenic version of the film with addition video by artist Cecile Babiole. A studio recording of the soundtrack was released on CD in 2012: Eyecatcher/Man with a Movie Camera.
• 2008 – Norwegian electronic jazz trio Halt the Flux performed their interpretation of the soundtrack for Man with a Movie Camera^[10] in Bergen International Film Festival. The trio consists of Anders Wasserfall, Jørgen Vaage & Bjørnar Thyholdt.
• 2008 October – London based Cinematic Orchestra undertook a show featuring a screening of Vertov’s film, which preceded the re-issue of the Man With A Movie Camera DVD, in November.
• 2008 November – San Francisco Bay Area based Tricks of the Light Orchestra accompanied a screening of the film on Sunday, November 30 at Brainwash Cafe in San Francisco.
• 2009 July; Mexican composer Alex Otaola performed live a new soundtrack for the film at Mexico’s National Cinematheque. Aided by the ‘Ensamble de Cámara/Acción’ (Adrian Terrazas-bass clarinet, Daniel Zlotnik-clarinet/flute, María Emilia Martínez-flute, Luca Ortega-flute/piano, Carlos Maldonado-upright, Jose María Arreola-drums/percussion), which consists of members from The Mars Volta, Los Dorados, San Pascualito Rey, Klezmerson and LabA
• 2009 The New York City based Voxare String Quartet performed music by Soviet Modernist composers to accompany a screening of the film.
• 2010 August – Irish instrumental post-rock band 3epkano accompanied a screening of the film with an original live soundtrack in Fitzwilliam Square in Dublin ^[11]
• 2010 July – Ukrainian guitarist and composer Vitaliy Tkachuk with his quartet performed his own soundtrack for the film at a first Ukrainian silent cinema festival “Mute nights” in Odessa, the city where this movie was made.^[12]
• 2011: The French pianist Yann Le Long, the violoncellist Philippe Cusson and the percussionist Stéphane Grimalt performed for the first time the soundtrack written by Le Long for the film (20 May 2011) at the Centre Culturel du Vieux Couvent, Muzillac, France.

[edit]References

[edit]Further reading

• Annette Michelson ed. Kevin O’Brien tr. Kino-Eye : The Writings of Dziga Vertov, University of California Press, 1995.
• Feldman, Seth R. Dziga Vertov. A Guide to References and Resources. Boston: G. K. Hall, 1979.
• Devaux, Frederique. L’Homme et la camera: de Dziga Vertov. CrisnÈe, Belgique: Editions Yellow Now, 1990.
• Nowell-Smith, Geoffrey. The Oxford history of World Cinema. Oxford; New York: Oxford University Press, 1996.
• Tsivian, Yuri. Lines of Resistance: Dziga Vertov and the Twenties. edited and with an introduction by Yuri Tsivian; Russian texts translated by Julian Graffy; filmographic and biographical research, Aleksandr Deriabin; co-researchers, Oksana Sarkisova, Sarah Keller, Theresa Scandiffio. Gemona, Udine : Le Giornate del cinema muto, 2004.
• Manovich, Lev. “Database as a Symbolic Form”. Cambridge: MIT Press, 2001.

[edit]External links

• Man with a Movie Camera (Alloy Orchestra), 01:06:40, 1929 on YouTube
• Man with a Movie Camera is available for free download at the Internet Archive [more]
• Man with a Movie Camera at the Internet Movie Database
• Man with a Movie Camera at AllRovi
• Man With a Movie Camera on the Reviews Of The Rare And Obscure By John DeBartolo
• Roland Fischer-Briand on the Storyboard
• Listed as one of the Great Movies by Roger Ebert
• Man With a Movie Camera: The Global Remake participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man With A Movie Camera

[youtube https://www.youtube.com/watch?v=sOjqX4rgS9c]

[youtube https://www.youtube.com/watch?v=qsechFfg5ts]

[youtube https://www.youtube.com/watch?v=NDv4oPpj8vs]

[youtube https://www.youtube.com/watch?v=-cto649nkjY?list=PLF26E81358F8738C6&hl=en_US]Post Newtonianism Uploaded on May 14, 2010 Post Newtonianism (War Footage/Call of Duty 4 Modern Warfare Footage) This piece is a two channel video with sound. The video on the left consists of a loop of actual war footage taken from cameras mounted on American military aircraft, from both airplanes and helicopters. Taken during the first Gulf War in 1991, and the current occupation of Iraq the footage shows the bombing of vehicles, military targets as well as the shooting of insurgents and oppositional forces. In contrast the footage on the right is from the popular video game “Call of Duty 4: Modern Warfare”. The sound track is a mixture of audio taken from the video game and the footage released by Wikileaks approximately two months ago in which the US military killed two reporters working for Reuters as well as a number of unarmed civilians. Read from left to right the video acts as a timeline, showing the ways in which war has been presented to my generation. First as surreal black and white (sometimes green from night vision) grainy video, to the hyperrealist, slightly less grainy representation in the video games many Americans have grow up playing . As the first true, real time, television war the first Gulf War was experienced by many as grainy, soundless video, devoid of people, clear representations of devastation or human loss. Instead we were confronted with this amazing, surreal, real time footage that was disembodying. Instantly and for the first time the reality of war was primetime entertainment merging both reality and simulacrum. Each step in this binary timeline desensitized us further from the horrors of war. Through hearing the audio we experience the result of our collective desensitization in the brutally insensitive, numbed and distant language used by American soldiers in Iraq. Additionally as the audio plays we become aware of the encroachment upon reality by the media driven simulacrum. At the start of the piece we hear the audio taken from the Wikileaks video, gradually as the video plays the audio becomes entwined and merged with audio pulled from the video game. The end result is an approximately equal mix of sound from real and unreal sources, blurring the line of reality a little further. Additionally this piece is about the power of the internet, as both a political and artistic tool. Every piece of footage and sound in this video was intentionally harvested from the internet for that purpose. My intention was to make something “high Art” using the internet and youtube, creating a work both political in content and form. Constructed using the “mash up” technique familiar to anyone watching youtube videos it looks and sounds like a youtube video and is made on one of the two platforms most if not all youtube video’s are constructed on (final cut/premiere) . My inspiration for making this piece comes from three sources; one the conversation we had as a class revolving around the Wikileaks video, two from reading Edward Said’s “Orientalism” and three from reading Alan Lightman’s “Reunion” . The title “Post Newtonianism”, references Henry Kissinger’s essay “Domestic Structure and Foreign Policy” in which he surmised that the inferiority and backwardness of the east lay in its refusal to acknowledge the Newtonian (read scientific) revolution. This video has been short listed for You Tube Play. See the short list at youtube.com/play Category Gaming License Standard YouTube License

[youtube https://www.youtube.com/watch?v=U16kMIrWAHQ]

[youtube https://www.youtube.com/watch?v=Szc8dWQf3zc]

[youtube https://www.youtube.com/watch?v=S7SY2uWGIJY]
VIRTUAL-REAL-SLAVOK ZIZEK PASSAGES

[youtube https://www.youtube.com/watch?v=S7SY2uWGIJY]

που ο καθένας θα πει την ιστορία του με  ήχους +αφήγηση και δυο τρείς εικόνες!!???

[youtube https://www.youtube.com/watch?v=AGoAPGSdxhM]

Version 2 was a live sculptural sound map of the bells of Big Ben, as a network of live microphones monitored the sound field of the bells. It was transmitted live to Tate Britain and to the BBC. It now exists as a 12 hour 8 channel recording.
…………………..http://archive.aec.at/#15674

http://archive.aec.at/#41528