http://www.archiact.com/content/6th-gates-shines-no-more
19 Φεβρουαρίου 2013
Drawings by Michaël Borremans
http://www.archiact.com/content/6th-gates-shines-no-more
Δεν επιτρέπεται σχολιασμός στο Drawings by Michaël Borremans
Foucault’s spatial combat Peter Johnson Received 2 April 2007; in revised form 31 October 2007; published online 26 March 2008 Abstract. Many diverse spatial features within Foucault’s historical studies have been analysed productively within Anglophone human geography. Although much of this work has tended to focus on Foucault’s mid to later projects, especially around issues of health, surveillance, governmentality, and sexuality, his earlier archaeological studies have also produced fruitful avenues of research.
Concentrating on the latter, and taking up Elden’s notion of Foucault’s use of space as a tool of analysis, I explore how Foucault’s intense study of modern literature, particularly Roussel and Blanchot, contributes to underlying modes of spatialisation that drive his study of the history of clinical medicine, as well as the complex explanation of his archaeological approach.
Following Deleuze, I argue that these spatialisations are both the instrument and the object of his studies. They generate devices and tactics for dismantling established methods of analysis and manifest the powerful, multiple effects of discourse, whilst remaining meticulously at the level of description. Restricted material:
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18 Φεβρουαρίου 2013
http://thefunambulist.net/category/philosophy/foucault/
or the last ‘episode’ of this series of articles around the work of Michel Foucault, I would like to evoke the second favorite Foucauldian concept (the first one being the panopticon) that architects like to use, the heterotopia. As a matter of fact, this term, dropped in the architectural discourse became almost an argument in itself like an incantation – and I plead guilty about that myself for having used it often without any real meaningful deepening. The responsibility for that can only be half devolved to architects as this concept has been only loosely defined by Foucault himself, who was probably not considering it as one of his strongest inventions.
The word heterotopia is first used by Foucault in his preface of The Order of Things (1966) for which the topos (space) involved is a metaphorical space in the language. Few months later, he dedicates one of his two lectures for the radio broadcast France Culture (audio at the end of the article) -the other one being the Utopian Body quoted in another article– to this concept. In 1967 eventually, he writes a text entitled Of Other Spaces (text at the end of the article), which transcribes the radio lecture on paper and add to it a list of principles that defines the heterotopia. Two main characteristics of those ‘other spaces’ consists in their circumscription by a clear border as well as the prevalence of specific rules that are applied on this territory.
The examples given by Foucault are so various (gardens, ships, prisons, cemeteries, vacation village, museums, brothels) that we might want to wonder what they have in common. If we follow the concept of heterotopia, what they have in common is their difference (hetero) with the dominant space (topos). The problem, in that case, is that a space cannot be declared as heterotopia as such, but rather is an heterotopia from the point of view of another space. For the sailor, the ship is not an heterotopia; it is the milieu that he lives in and for which he participates to construct a norm. When he finally set foot on an island, he is experiencing this other space which establishes rules that he is not fully accustomed to. Every space is delimited and is subjected to rules, rites and norms and can therefore be considered as heterotopia from the point of view of another space.
We don’t live in a black and white neutral space, we don’t live […] in the rectangle of a paper sheet. We live, die and love in a squared space, cutted, variegated, with bright and dark areas, with drops, steps, depressions and bumps, with some hard regions and other crumbly, permeable, porous
Original French version: On ne vit pas dans un espace neutre et blanc ; on ne vit pas, on ne meurt pas, on n’aime pas dans le rectangle d’une feuille de papier. On vit, on meurt, on aime dans un espace quadrillé, découpé, bariolé, avec des zones claires et sombres, des différences de niveaux, des marches d’escalier, des creux, des bosses, des régions dures et d’autres friables, pénétrables, poreuses.
Michel Foucault, Les Hétérotopies, France-Culture, 7 décembre 1966.
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14 Φεβρουαρίου 2013
12 Φεβρουαρίου 2013
Koskela: ‘Cam Era’
http://www.surveillance-and-society.org/ojs/index.php/journal/issue/archive
http://www.surveillance-and-society.org/journalv1i3.htm
Deriving from Foucault’s work, space is understood to be crucial in explaining social power relations.
However, not only is space crucial to the exercise of power but power also creates a particular kind of
space. Through surveillance cameras the panoptic technology of power is electronically extended. The
article examines parallelisms and differences with the Panopticon and contemporary cities: visibility,
unverifiability, contextual control, absence of force and internalisation of control. Surveillance is examined as an emotional event, which is often ambivalent or mutable, without sound dynamic of security and
insecurity nor power and resistance. Control seems to become dispersed and the ethos of mechanistic
discipline replaced by flexible power structures. Surveillance becomes more subtle and intense, fusing
material urban space and cyberspace. This makes it impossible to understand the present forms of control
via analysing physical space. Rather, space is to be understood as fundamentally social, mutable, fluid and
unmappable – ‘like a sparkling water’. The meaning of documentary accumulation changes with the ‘digital
turn’ which enables social sorting. The popularity of ‘webcams’ demonstrate that there is also fascination in
being seen. The amount of the visual representations expands as they are been circulated globally.
Simultaneously the individuals increasingly ‘disappear’ in the ‘televisualisation’ of their lives. The
individual urban experience melts to the collective imagination of the urban. It is argued that CCTV is a
bias: surveillance systems are presented as ‘closed’ but, eventually, are quite the opposite. We are facing
‘the cam era’ – an era of endless representations.
The major effect of the Panopticon is, in Foucault’s words (1977: 201), ‘to induce in the
inmate a state of conscious and permanent visibility that assures the automate functioning
of power’. The emphasised meaning of visibility is perhaps the most obvious and often
recognised panoptic principle. The basic nature of the exercise of disciplinary power
‘involves regulation through visibility’ (Hannah, 1997a: 171). ‘Power is exercised
through ‘the “eye of power” in the disciplinary gaze’ (Ramazanoglu, 1993: 22). To be
able to see offers the basic condition for collecting knowledge, for being ‘in control’. In
urban space ‘absolute visibility is legitimated with the claim and the guarantee of
absolute security’ (Weibel, 2002: 207). Both in the Panopticon and in the space of
surveillance, social contact is – most often – reduced to visual (Koskela, 2002). It is,
however, worth noting that many surveillance systems include loudspeakers which can
mediate messages to the public – as per the idea of ‘a speaking tube system’ in the
Panopticon (Ainley, 1998: 88
‘Cam Era’ – the contemporary urban
Panopticon.*
Hille Koskela1
Koskela: ‘Cam Era’
Surveillance & Society 1(3) 297
He writes about ‘space of our dreams’, ‘internal’ and ‘external’ space, and ‘a space that
can be flowing like a sparkling water’. Foucault glorifies space – by talking about ‘the
epoch of space’ (1986: 22) which is replacing the important role of time (i.e. history) –
but simultaneously builds concepts that are disengaged from architecture and come close
to the idea of the social production of space. Rather than politics and economy (which
have quite often been the basis for the argument that space is socially produced) he
describes the spaces created by human habits, cultures and religions. This means that
Foucault’s ideas come close to Lefebvre’s concept of ‘representational space’ (1991: 39)
which he describes as ‘space as directly lived through its associated images and symbols,
and hence the space of “inhabitants” and “users” […] space which the imagination seeks
to change and appropriate’. Unfortunately, this work was never published by Foucault
himself and the concepts used were never developed further.
In analysing the parallelisms and differences with the Panopticon and contemporary
cities, it is important to acknowledge that urban space is far more complex than the
concept of space in Foucault’s interpretations of the prison. In cities, people may
sometimes be metaphorically imprisoned but, nevertheless, they are not under isolation
but quite the opposite: a city is a space of endless encounters. Whereas a prison is an
extremely homogenous space, a city is full of diversity. This diversity – of both spaces
and social practices – makes it impossible to compare urban space simply and directly to
the Panopticon. ‘Too much happens in the city for this to be true’, as Soja (1996: 235)
points out. However, there are several principles, characteristic to the mechanism of the
Panopticon, which are clearly present in the surveillance of cities. Some are almost selfevident
some more unexpected, but yet, they are all worth specifying.
‘A dream of a transparent society’
The major effect of the Panopticon is, in Foucault’s words (1977: 201), ‘to induce in the
inmate a state of conscious and permanent visibility that assures the automate functioning
of power’. The emphasised meaning of visibility is perhaps the most obvious and often
recognised panoptic principle. The basic nature of the exercise of disciplinary power
‘involves regulation through visibility’ (Hannah, 1997a: 171). ‘Power is exercised
through ‘the “eye of power” in the disciplinary gaze’ (Ramazanoglu, 1993: 22). To be
able to see offers the basic condition for collecting knowledge, for being ‘in control’. In
urban space ‘absolute visibility is legitimated with the claim and the guarantee of
absolute security’ (Weibel, 2002: 207). Both in the Panopticon and in the space of
surveillance, social contact is – most often – reduced to visual (Koskela, 2002). It is,
however, worth noting that many surveillance systems include loudspeakers which can
mediate messages to the public – as per the idea of ‘a speaking tube system’ in the
Panopticon (Ainley, 1998: 88).
The Panopticon embodies the power of the visual. Visibility connotates with power.
Within surveillance, visibility does not just have an important role but its meaning
overpowers other senses. This has consequences, as I shall argue, to how prejudice is
structured. By increasing surveillance ‘[a] dream of a transparent society’ (Foucault,
1980:152), a society where everything is subjugated to visual control, has almost been
Δεν επιτρέπεται σχολιασμός στο Koskela: ‘Cam Era’
Panopticon
Από τη Βικιπαίδεια, την ελεύθερη εγκυκλοπαίδεια
Morals reformed— health preserved — industry invigorated — instruction diffused — public burthens lightened — Economy seated, as it were, upon a rock — the gordian knot of the poor law not cut, but untied — all by a simple idea in Architecture!
(Τζέρεμι Μπένθαμ (Jeremy Bentham), Panopticon. In Miran Bozovic (ed.), The Panopticon Writings, London: Verso, 1995, 29-95.)
Το Πανοπτικό είναι ένας τύπος κτιρίου-φυλακής που σχεδιάστηκε από τον Άγγλο φιλόσοφο και κοινωνιολόγο Τζέρεμι Μπένθαμ το 1785. Η ιδέα του σχεδιασμού επιτρέπει την συνεχή επίβλεψη (-opticon) όλων ( pan-) των κρατουμένων.
Η αρχή του διαχωρισμού του χώρου σε ατομικά κελιά εφαρμόζεται για πρώτη φορά στη φυλακή του Ghent το 1775. Η πρώτη, ωστόσο, ολοκληρωμένη αρχιτεκτονική έκφραση των πειθαρχικών μεθόδων και τακτικών είναι το Πανοπτικό του Τζέρεμι Μπενταμ[1], το οποίο παρουσιάστηκε στο κοινό το 1791.
Το Πανοπτικό μπορεί να χρησιμοποιηθεί «[…] χωρίς εξαίρεση, σε όλες τις εγκαταστάσεις στις οποίες ένας αριθμός ανθρώπων θα τεθεί υπό επιτήρηση σε έναν χώρο όχι πολύ μεγάλο για να καλυφθεί από κτήρια. Όσο διαφορετικός ή αντίθετος και να είναι ο σκοπός: είτε για να τιμωρηθούν οι αδιόρθωτοι, να φυλαχθούν οι άφρονες, να αναμορφωθούν οι φαύλοι, να επιβεβαιωθούν οι ύποπτοι, να εργαστούν οι άεργοι, να διατηρηθούν οι αβοήθητοι, να περιθαλπούν οι άρρωστοι, είτε για να διδαχθούν οι πρόθυμοι σε κάθε κλάδο της βιομηχανίας, ή να εκπαιδευτεί η ανερχομένη γενιά στο δρόμο της εκπαίδευσης: με μια λέξη, είτε να εφαρμοστεί στους αιώνιους φυλακισμένους στο δωμάτιο του θανάτου είτε στους προφυλακισμένους που περιμένουν τη δίκη είτε σε αναμορφωτήρια είτε σε κάτεργα είτε σε βιοτεχνίες είτε σε τρελοκομεία, είτε σε νοσοκομεία είτε σε σχολεία»[2].
Πίνακας περιεχομένων[Απόκρυψη] |
Περιγραφή του Κτιρίου [Επεξεργασία]
Μία πολύ απλή (φαινομενικά) αρχιτεκτονική λύση δίνει την απάντηση στο ζήτημα της επιτήρησης. Πρόκειται για ένα κυλινδρικό οικοδόμημα, στην περιφέρεια του οποίου τοποθετούνται τα κελιά των τροφίμων (των ασθενών, των εργατών, των μαθητών και οποιουδήποτε άλλου επιτηρούμενου ατόμου), ενώ στο κέντρο του βρίσκεται ο πύργος των επιτηρητών, ο οποίος διαθέτει μεγάλα παράθυρα που βλέπουν προς τα κελιά. Τα κελιά, ωστόσο, δε μοιάζουν με τα παραδοσιακά μπουντρούμια. Διαθέτουν δύο παράθυρα, ένα εσωτερικό και ένα εξωτερικό. Το εσωτερικό αντιστοιχεί σε ένα από τα παράθυρα του πύργου ενώ το εξωτερικό αφήνει το φως να διαπεράσει το κελί. Παράλληλα, ο κεντρικός πύργος ελέγχου διαθέτει, πέρα από τα σκίαστρα στα παράθυρα, και διαχωριστικά στο εσωτερικό του τέτοια, ώστε να μην προδίδουν την παρουσία του επιτηρητή. Με άλλα λόγια, Το κελί διακρίνεται από πλήρη διαφάνεια ενώ ο πύργος ελέγχου από πλήρη συσκότιση. Ο επιτηρούμενος δε γνωρίζει πότε επιτηρείται.
Ο κρατούμενος στο Πανοπτικό είναι πάντα «…αντικείμενο μιας πληροφόρησης αλλά ποτέ υποκείμενο μιας επικοινωνίας»[3]. Καταρχάς, είναι μόνιμα ορατός και τοποθετημένος ακριβώς απέναντι από τον επιτηρητή, κάτι που επιτρέπει την αδιάκοπη παρακολούθηση και την άμεση αναγνώρισή του. Ταυτόχρονα, η αξονική τοποθέτηση του κελιού σε συνδυασμό με τους πλάγιους τοίχους του εμποδίζουν κάθε πλάγια ορατότητα από το εσωτερικό του. «Από την άποψη του φύλακα, το πλήθος αντικαθίσταται από μια πολλαπλότητα αριθμήσιμη και ελέγξιμη• από την άποψη των κρατουμένων, από μια μοναξιά εγκάθειρκτη και επιτηρούμενη»[4].
Η Λογική του Σχεδιασμού [Επεξεργασία]
Η αδιαφάνεια του πύργου ελέγχου έχει, όμως, άλλο σκοπό. Ο ίδιος ο Μπένταμ υποστήριζε πως η εξουσία πρέπει να είναι ορατή και ανεξέλεγκτη[5] και το Πανοπτικό λειτουργεί ακριβώς έτσι. Ο κρατούμενος, αν και βλέπει διαρκώς το σημείο απ’ όπου παρακολουθείται, δεν μπορεί ποτέ να ξέρει αν πραγματικά συμβαίνει αυτό και πότε. Πρέπει, όμως, να είναι σίγουρος πως παρακολουθείται κάθε στιγμή. Ο κρατούμενος γίνεται με αυτόν τον τρόπο η βάση της ίδιας του της καθυπόταξης, επωμίζεται ο ίδιος τους καταναγκασμούς της εξουσίας και τους προσαρμόζει αυθόρμητα στον εαυτό του. Μέσα στο Πανοπτικό τα αποτελέσματα της επιτήρησης μονιμοποιούνται, είτε αυτή ασκείται συνεχώς είτε όχι. «…η τελειότητα της εξουσίας να τείνει στο να καθιστά περιττή τη συγκεκριμένη άσκησή της», γράφει ο Φουκώ. «…το αρχιτεκτονικό τούτο συγκρότημα να είναι μια μηχανή για την εγκαθίδρυση και τη στήριξη ενός είδους εξουσίας ανεξάρτητης από εκείνον που την ασκεί• κοντολογίς, οι κρατούμενοι να παγιδεύονται και να υφίστανται μιαν εξουσία της οποίας οι ίδιοι είναι οι φορείς»[6].
Το ακριβές σχέδιο του Μπένθαμ δεν υλοποιήθηκε ποτέ, χωρίς αυτό να σημαίνει πως η γενική του μορφή δε μελετήθηκε διεξοδικά σε Ευρώπη και Αμερική. Στην πρακτική του εφαρμογή παρουσιάστηκαν πολύ σοβαρά ελαττώματα. Η θεμελιώδης αρχή του, αυτή της διαφάνειας, δεν μπορούσε να εφαρμοστεί σε μία μεγάλη κλίμακα, αφού το ένα τρίτο των κελιών ήταν χωρίς ήλιο, με συνέπεια να μην υπάρχει καλή οπτική επαφή μεταξύ του κεντρικού πύργου ελέγχου και των κελιών[7]. Επιπλέον, ο εγκλεισμός δεν μπορούσε να γίνεται σε συνθήκες απομόνωσης, κάτι που κρίθηκε απαραίτητο για όλες σχεδόν τις φυλακές από το 19ο αιώνα και μετά.
Η Αρχιτεκτονική Τομή [Επεξεργασία]
Στην τομή του «Πανοπτικού» είναι εμφανής αυτή η χάραξη των κελιών πάνω σε έναν αυστηρό ορθοκανονικό κάνναβο που εκμηδενίζει την ανθρώπινη υπόσταση στο εσωτερικό τους και την υποτάσσει στην απόλυτη όψη του εσωτερικού του κτιρίου. Ο εγκλεισμός πίσω από τα σίδερα του κάθε κελιού επαυξάνεται από την απειλητική εικόνα των κάθετων και οριζόντιων στοιχείων της τομής που σχηματίζουν ένα νέο απροσπέλαστο οπτικό όριο. Τα κάγκελα των κελιών, το σύστημα των κάθετων υποστηλωμάτων και των πατωμάτων περιμετρικά του περιβλήματος δεν αφήνουν κανένα περιθώριο διαφυγής, το ίδιο το κτίριο επιβάλλει την καθυπόταξη στο σύστημα αξιών της κοινωνίας που ο κρατούμενος τόλμησε να αψηφήσει. Το μέγεθος του κάθε θαλάμου κράτησης όπως φαίνεται από το εσωτερικό, σε αντίθεση με τις διαστάσεις του κτιρίου, είναι μηδαμινό∙ το ίδιο και το βάθος των κελιών σε σχέση με τη διάμετρο του κτιρίου.
Μια Σύγχρονη Εκδοχή του Πανοπτικού [Επεξεργασία]
Η εξουσιαστική σχέση ανάμεσα στα κελιά και τον «πύργο ελέγχου» είναι ξεκάθαρη καθώς ο «βωμός» της εξουσίας βρίσκεται στο κέντρο, τελείως αποκομμένος από τους φυλακισμένους. Με μοναδική οπτική φυγή από το κάθε κελί προς τον «πύργο», η επιστράτευση του συναισθήματος του τρόμου- κι όχι η ίδια η παρακολούθηση- υποβάλλει συμπεριφορές υπακοής χωρίς να είναι αναγκαία η βίαιη παρέμβαση των Αρχών. Αυτό το τέχνασμα ελέγχου και παρακολούθησης που ελαχιστοποιεί τα περιθώρια ιδιωτικότητας και διαφυγής – που αναπαριστάται διαγραμματικά στο «Πανόπτικον» του Bentham, έχει υιοθετηθεί στο έπακρο στο σύγχρονο κόσμο. Σε κτίρια κύρους και εξουσίας, είτε κρατικής – κρατικά κτίρια, σωφρονιστικά ιδρύματα, στρατόπεδα, μνημεία- ή ιδιωτικής – κτίρια τραπεζών, πολυεθνικών, πολυκαταστημάτων – αλλά ακόμη και στους δρόμους και τις πλατείες των μεγαλουπόλεων η φουκωική «πανοπτική κοινωνία» καταγράφεται στη σύγχρονη εκδοχή της.
Αναφορές [Επεξεργασία]
- ↑ Η ιδέα του Πανοπτικού ανήκει στον αδελφό του Μπένταμ, Samuel, ο οποίος σκόπευε αρχικά να την εφαρμόσει σε μεγάλα εργαστήρια και βιοτεχνίες. Ο Τζέρεμι Μπένταμ έδωσε μορφή στην ιδέα του αδελφού του, δημιουργώντας παραλλαγές του ίδιου κτηρίου και δημοσιεύοντάς τις στο βιβλίο του Panopticon: or, the Inspection-House το 1787. Το βιβλίο κυκλοφορεί ακόμα από διάφορους εκδοτικούς οίκους.
- ↑ Τζέρεμι Μπένταμ, σελ 40
- ↑ Μισέλ Φουκώ, Επιτήρηση και τιμωρία. Η γέννηση της φυλακής, Εκδόσεις Ράππα, Αθήνα 1989, σελ. 265
- ↑ Μισέλ Φουκώ, Επιτήρηση και τιμωρία. Η γέννηση της φυλακής, Εκδόσεις Ράππα, Αθήνα 1989, σελ. 266
- ↑ Μισέλ Φουκώ], Επιτήρηση και τιμωρία. Η γέννηση της φυλακής, Εκδόσεις Ράππα, Αθήνα 1989, σελ. 266
- ↑ Μισέλ Φουκώ, Επιτήρηση και τιμωρία. Η γέννηση της φυλακής, Εκδόσεις Ράππα, Αθήνα 1989, σελ. 266
- ↑ Winfried Reebs, Φυλακές και αρχιτεκτονική, Α/μηχανία 1988, σελ. 22
Δικτυακοί τόποι
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8 Φεβρουαρίου 2013
4 Φεβρουαρίου 2013
http://thefunambulist.net/2011/04/03/architectural-theories-diagrams-of-utopia-by-anthony-vidler/
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[vimeo 58297816 w=500 h=281]
Κατερίνα Ευαγγελάτου | Ο καλός άνθρωπος του Σετσουάν from SGT | OCC on Vimeo.
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30 Ιανουαρίου 2013
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ΜΕ ΤΟΝ ΑΝΑΓΚΑΙΟ ΠΡΟΣΔΙΟΡΙΣΜΟ
ΤΗΣ ΜΕΛΕΤΗΣ ΤΩΝ ΕΠΙΛΕΓΜΕΝΩΝ ΣΤΟΙΧΕΙΩΝ
ΤΟΥ ΧΩΡΟΥ ΣΤΗ ΔΙΑΡΚΕΙΑ ΤΟΥ ΧΡΟΝΟΥ
ΜΕ ΕΠΙΛΕΓΜΕΜΑ ΜΕΣΑ ΚΑΤΑΦΡΑΓΗΣ
(ΦΩΤΟΓΡΑΦΙΑ- VIDEO- ANIMATION-ΖΩΦΡΑΦΙΚΗ-ΚΕΙΜΕΝΟ-ΚΛΠ )
ΤΕΤΑΡΤΗ 16 ΣΤΗ ΛΑΙΚΗ
ΔΡΑΣΗ -ΣΩΜΑ ΤΗΣ ΠΟΛΗΣ
ΣΧΟΛΙΑ-BLOGS
……………………………………………………………………..
ΠΑΡΕΜΒΑΣΗ
ΣΕ ΣΥΝΕΧΕΙΑ ΤΗΣ ΠΑΡΑΤΗΡΗΣΗΣ ΣΑΣ
ΝΑ ΠΡΑΓΜΑΤΟΠΟΙΗΣΕΤΕ ΜΙΑ ΠΑΡΕΜΒΑΣΗ ΜΕ ΤΟ ΣΩΜΑ ΣΑΣ ΣΤΟ ΣΩΜΑ ΤΗΣ ΛΑΙΚΗΣ ΚΑΙ ΝΑ ΤΗΝ ΑΙΤΙΟΛΟΓΗΣΕΤΕ.
– VIDEO/ ΦΩΤΟΓΡΑΦΙΑ
(BLUE SCREEN- MASKS)
κατασκευή οργανικών μορφών- κατασκευή σε 3d- textures-mapping projection(liverpool)-
22-01
in situ performnce…
in situ refers to an art work that is connected with the …real-virtual // topos/xoros-heterotopies-ereipia
the body as an art object(abr.)the body as landscape/ art-biology-human body/boby art
the notebook projections-
networks-seperated but linked
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http://stunlaw.blogspot.gr/2012/09/new-aesthetic-argumentum-ad-hominem.html
http://v2.nl/organization/mission
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28 Ιανουαρίου 2013
Ιστορία πίσω από τη θεματική της πτυχιακής μου εργασίας (?) με τίτλο “Ήθος”
Η Ράια και ο Λευτέρης είναι παντρεμένοι. Αυτή είναι σκηνοθέτιδα και αυτός στιχουργός. Και οι δύο έχουν κατακτήσει υψηλές θέσεις στο πάνθεον του νεοελληνικού πολιτισμού. Η Ράια είναι ερωτευμένη με τον Σαίξπηρ και της αρέσει η κλασική μουσική και η Jazz. Ο Λευτέρης δε γνώρισε ποτέ τον Έρωτα, αλλά τον έχει υμνήσει όσο κανείς άλλος μέσα από τους στοίχους του. Και οι δυο αγαπούν περισσότερο απ’ όλα τον εαυτό τους. Είναι ένα ταιριαστό ζευγάρι από κάθε άποψη: προφίλ, ανφάς και όλα τα ενδιάμεσα κλάσματα.
Η Ράια υπηρετεί τον Σαίξπηρ ανελλιπώς. Είναι η Βίβλος της, το Α και το Ω στη ζωή της. Αν ζούσε σήμερα, θα του έπλενε τα πόδια με αλκοόλ. Υπό τη συνοδεία απαλής, Jazz μουσικής. Επειδή φυσικά κάτι τέτοιο δε γίνεται, βολεύεται με νεαρούς άντρες που την προσεγγίζουν λόγω της θέσης που έχει κατακτήσει.
Ο Λευτέρης είναι άνθρωπος του λόγου: Μπροστά στο γυαλί, πίσω από το μικρόφωνο, η αργή, σοβαρή φωνή του σε υποβάλει και νιώθεις ότι είσαι συμμέτοχος σε κάτι ανώτερο όταν τον ακούς. Την προσωπικότητα αυτή την αφήνει στο χαλί της πόρτας του σπιτιού του, μέσα στο οποίο χυδαιολογεί και κλάνει διαρκώς. Όμως οι στοίχοι του είναι χαραγμένοι στα εγκεφαλικά κύτταρα τουλάχιστον δύο γενεών. Ο ίδιος τους αποκαλεί “τα τραγούδια μου”. Δεν είναι σε θέση να τους τραγουδήσει, είναι θεόφαλτσος, αλλά η λεπτομέρεια αυτή δεν φαίνεται να τον πτοεί καθόλου. Όχι πως θα‘ πρεπε, ο Λευτέρης είναι υπεράνω κριτικής.
Αν η Ράια και ο Λευτέρης είχαν παιδί, θα ήταν κόρη, κομψή σαν υάκινθος. Θα υπηρετούσε με τη σειρά της την Τέχνη, όπως και οι γονείς της. Θα ξεχείλιζε από μετριοφροσύνη και σεμνότητα στα κουτσομπολίστικα περιοδικά, στα παρασκήνια όμως θα απειλούσε και θα εξόντωνε όποιον θεωρούσε εμπόδιο στο διάβα της.
Αυτή η οικογένεια είναι φυσικά φανταστική. Ζει σε ένα σύμπαν όπου δημιουργήθηκε μέσα σε 6 (έξι) ημέρες, περίπου πριν από 6017 (έξι χιλιάδες δεκαεπτά) χρόνια, από ένα Ον, ονόματι Γιαχβέ. Τα κίνητρά Του για τη δημιουργία αυτουνού του σύμπαντος, δεν είναι ακόμα γνωστά.
Δυστυχώς, το σύμπαν αυτό, όντας κάπως προχειροφτιαγμένο, έχει πολλές ατέλειες. Ο Γιαχβέ προσπάθησε ανεπιτυχώς πολλές φορές να το διορθώσει με λοιμούς, καταποντισμούς, κατάρες και μαζικές γενοκτονίες. Έφτασε μέχρι στο σημείο να κοπεί στα 3 (τρία), να γονιμοποιήσει μία δωδεκάχρονη Εβραιοπούλα, να γεννηθεί ως άνθρωπος και να υποστεί περιτομή. Α, και να βρει φριχτό θάνατο πάνω σε έναν ξύλινο Σταυρό. Μάταια όμως. Έκτοτε αποφάσισε να μην πολυασχολείται με το κατασκεύασμά Του και να το αφήσει στον αυτόματο πιλότο. Με πολλές δυσάρεστες συνέπειες για τους κατοίκους ενός μικρού, γαλαζοπράσινου πλανήτη που περιστρέφεται γύρω από ένα κοινό, κίτρινο άστρο (ή το αντίθετο, το εγχειρίδιο χρήσης που μας άφησε ο Γιαχβέ , δεν αποσαφηνίζει αυτήν τη λεπτομέρεια), στο οποίο τυχαίνει να κατοικούν η Ράια, ο Λευτέρης και η φανταστική τους κόρη.
[κείμενο υπό διαμόρφωση]
Σκηνή 1η-Υποκρισία.
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melani
Calibrated Cuisine: Telenoika Dinner Party
Date:9 June 2011 – 7:00pm – 10:00pm
Venue/Location:Furtherfield
Furtherfield will be hosting a Telematic Dinner Party at their gallery space. Invited artist Alex Haw in collaboration with Queen Mary PhD researcher Pollie Barden, will be hosting one of hisLatitudinal Cuisine Dinner Parties. The Dinner will be between invited guests in at the Furtherfield Gallery in London, UK and Telenoika in Barcelona, Spain.
The Telematic Dinner Party is a series of events at Furtherfield for the month of June and July. The parties are running along side of the current exhibition “Made Real” Scott Kildall and Nathaniel Stern, the founders of Wikipedia Art.
Check out the Telematic Dinner Parties blog to see up coming parties and follow the progress.
If you would like to be a telematic dinner partner, contact Pollie Barden at pollie.barden[at]gmail.com
The Telematic Dinner Party is research project by Pollie Barden a PhD researcher in Media & Arts Technology at Queen Mary University of London. It is a project is created in collobaration with Furtherfield and Latitudinal Cuisine.
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27 Ιανουαρίου 2013
Perfectionism (psychology)
Perfectionism (psychology)
From Wikipedia, the free encyclopedia
Not to be confused with Perfectionism (philosophy).
Perfectionism, in psychology, is a personality disposition characterized by an individual striving for flawlessness and setting excessively high performance standards, accompanied by overly critical self-evaluations and concerns regarding others’ evaluations.[1][2] It is best conceptualized as a multidimensional characteristic, as psychologists agree that there are many positive and negative aspects.[3] In its maladaptive form, perfectionism drives individuals to attempt to achieve an unattainable ideal, and their adaptive perfectionism can sometimes motivate them to reach their goals. In the end, they derive pleasure from doing so. When perfectionists do not reach their goals, they often fall into depression.
Contents[hide] |
[edit]Definition
Perfectionists have also been described as those who strain compulsively and unceasingly toward unobtainable goals, and who measure their self-worth with their productivity and accomplishment.[4] Pressuring oneself to achieve such unrealistic goals inevitably sets the individual up for disappointment. Perfectionists tend to be harsh critics of themselves when they do not meet the standards they set for themselves.
[edit]Normal vs. neurotic perfectionists
Hamachek was one of the first psychologists to argue for two distinct types of perfectionism, classifying people as normal perfectionists or neurotic perfectionists. Normal perfectionists pursue perfection without compromising their self-esteem, and derive pleasure from their efforts. Neurotic perfectionists strive for unrealistic goals and consistently feel dissatisfied when they cannot reach them.[5] Today researchers largely agree that these two basic types of perfectionism are distinct.[6] They have been labeled differently, and are sometimes referred to as positive striving and maladaptive evaluation concerns, active and passive perfectionism, positive and negative perfectionism, and adaptive and maladaptive perfectionism.[7] Although there is a general perfectionism that affects all realms of life, some researchers contend that levels of perfectionism are significantly different across different domains (i.e. work, academic, sport, interpersonal relationships, home life).[3]
[edit]Perfectionistic strivings vs. perfectionistic concerns
Stoeber and Otto (2006) stated that perfectionism consisted of two main dimensions: perfectionistic strivings and perfectionistic concerns.[7] Perfectionistic strivings are associated with positive aspects of perfectionism, whereas perfectionistic concerns are associated with negative aspects (see below). Healthy perfectionists yielded high scores in perfectionistic strivings and low in perfectionistic concerns, whereas unhealthy perfectionists yielded high scores in both strivings and concerns.[7] As expected, non-perfectionists demonstrated low levels of perfectionistic strivings.[7] Prompted by earlier research providing empirical evidence that perfectionism could be associated with positive aspects (specifically perfectionistic strivings),[8] they challenged the widespread belief that perfectionism is only detrimental. In fact, people with high levels of perfectionistic strivings and low levels of perfectionist concerns demonstrated more self-esteem, agreeableness, academic success, and social interaction.[7] This type of perfectionist also showed fewer psychological and somatic issues typically associated with perfectionism, namely depression, anxiety, and maladaptive coping styles.[7]
Perfectionism has also been defined as a unitary combination of a desire to be perfect, a fear of imperfection, and an emotional conviction that perfection (not “near-perfection”) is the only route to personal acceptance by others.[9] Perfectionism itself is thus never seen as healthy or adaptive.[9] Greenspon also makes a distinction between perfectionism and striving for excellence.[9][10][11][12] The difference is in the meaning given to mistakes. Those who strive—however intently—for excellence can simply take mistakes (imperfections) as incentive to work harder. Unhealthy perfectionists consider their mistakes a sign of personal defects. For these individuals, anxiety about potential failure is the reason perfectionism is felt as a burden.
[edit]Measurement
[edit]Multidimensional Perfectionism Scale (MPS)
Hewitt & Flett (1991) devised the Multidimensional Perfectionism Scale (MPS), a 45-item measure that rates three aspects of perfectionistic self-presentation: self-oriented perfectionism, other-oriented perfectionism, and socially prescribed perfectionism.[13] Self-oriented perfectionism is having irrational expectations and standards for oneself that lead to a perfectionistic motivation.[14] An example is the constant desire to achieve an ideal physical appearance out of vanity. Other-oriented perfectionism is having irrational expectations and standards for others that in turn pressure them to have perfectionistic motivations of their own. Socially prescribed perfectionism is developing perfectionistic motivations due to the belief that significant others expect them to be perfect. Parents that push their children to be successful in certain endeavors (such as athletics or academics) provide an example of this type of perfectionism, as the children feel that they must meet their parents’ lofty expectations.
[edit]Almost Perfect Scale-Revised (APS-R)
Slaney and his colleagues (1996) developed the Almost Perfect Scale-Revised (APS-R) to identify perfectionists (adaptive or maladaptive) and non-perfectionists.[15] People are classified based on their scores for High Standards, Order, and Discrepancy measures. Both adaptive and maladaptive perfectionists rate highly in High Standards and Order, but maladaptive perfectionists also rate highly in Discrepancy. Discrepancy refers to the belief that personal high standards are not being met, which is the defining negative aspect of perfectionism.[15]Maladaptive perfectionists typically yield the highest social stress and anxiety scores, reflecting their feelings of inadequacy and low self-esteem.[6] In general, the APS-R is a relatively easy instrument to administer, and can be used to identify perfectionist adolescents as well as adults, though it has yet to be proven useful for children.[6] Interestingly, in one study evaluating APS-R in an adolescent population, maladaptive perfectionists obtained higher satisfaction scores than non-perfectionists. This finding suggests that adolescents’ high standards may protect them from challenges to personal satisfaction when their standards are not met.[6] Two other forms of the APS-R measure perfectionism directed towards intimate partners (Dyadic Almost Perfect Scale) and perceived perfectionism from one’s family (Family Almost Perfect Scale).
[edit]Physical Appearance Perfectionism Scale (PAPS)
The Physical Appearance Perfectionism Scale (PAPS) explains a particular type of perfectionism – the desire for a perfect physical appearance.[3] The PAPS is a multidimensional assessment of physical appearance perfectionism that provides the most insight when the sub-scales are evaluated separately.[3] In general, the PAPS allows researchers to determine participants’ body image and self-conceptions of their looks, which is critical in present times when so much attention is paid to attractiveness and obtaining the ideal appearance.[3] The two sub-scales it uses to assess appearance concerns are Worry About Imperfection and Hope For Perfection. Those that obtain high Worry About Imperfection scores are usually greatly concerned with maladaptive aspects of perfectionism, physical appearance, and body control behavior.[3] They also demonstrate low positive self-perceptions of their appearance, whereas those scoring highly on Hope for Perfection yielded high positive self-perceptions.[3] Hope For Perfection also corresponded with impression management behaviors and striving for ambitious goals. In sum, Worry About Imperfection relates to negative aspects of appearance perfectionism, while Hope For Perfection relates to positive aspects. One limitation of using the PAPS is the lack of psychological literature evaluating its validity.[3]
[edit]Psychological implications
Daniels & Price (2000) refer to perfectionists as “ones“. Perfectionists are focused on personal integrity and can be wise, discerning and inspiring in their quest for the truth. They also tend to dissociate themselves from their flaws or what they believe are flaws (such as negative emotions) and can become hypocritical and hypercritical of others, seeking the illusion of virtue to hide their own vices.[16]
Perfectionism can be associated with various mental disorders, particularly depression, anxiety, OCD, and eating disorders. However, each disorder has varying levels of the three measurements.[14] Socially prescribed perfectionism in young women has been associated with greater body-image dissatisfaction and avoidance of social situations that focus on weight and physical appearance.[17]
The book “Too Perfect: When Being in Control Gets Out of Control” by Jeanette Dewyze and Allan Mallinger contends that perfectionists have obsessive personality types.[18] Obsessive personality type is different from obsessive-compulsive disorder (OCD) in that OCD is a clinical disorder that may be associated with specific ritualized behavior. According to Mallinger and DeWyze, perfectionists are obsessives who need to feel in control at all times to protect themselves and ensure their own safety. By always being vigilant and trying extremely hard, they can ensure that they not only fail to disappoint or are beyond reproach but that they can protect against unforeseen issues caused by their environment. Vigilance refers to constant monitoring, often of the news, weather, and financial markets.[18]
[edit]Positive aspects
Perfectionism can drive people to accomplishments and provide the motivation to persevere in the face of discouragement and obstacles. Roedell (1984) argues:
“In a positive form, perfectionism can provide the driving energy which leads to great achievement. The meticulous attention to detail, necessary for scientific investigation, the commitment which pushes composers to keep working until the music realises the glorious sounds playing in the imagination, and the persistence which keeps great artists at their easels until their creation matches their conception all result from perfectionism.”[19]
Slaney and his colleagues found that adaptive perfectionists had lower levels of procrastination than non-perfectionists. In the field of positive psychology, an adaptive and healthy variation of perfectionism is referred to as Optimalism.[20]
Exceptionally talented individuals who excel in their field sometimes show signs of perfectionism. High-achieving athletes, scientists, and artists often show signs of perfectionism. For example, some contend that Michelangelo‘s perfectionism may have motivated him to painstakingly complete his masterpieces including the statue David and the Sistine Chapel. Scientists that intently pursue their interests in the laboratory are often considered perfectionists. This obsession with an end result may motivate them to work diligently and maintain an impressive work ethic. Famous figures have publicly admitted that they have perfectionist tendencies. Martha Stewart once described herself to Oprah Winfrey as a “maniacal perfectionist.”[21] An intense focus on one’s passion can lead to success.
The adaptive form of perfectionism is typically considered the positive component of this personality trait. Adaptive perfectionism includes preferences for order and organization, a persistent strive for excellence, and conscientious orientation to tasks and performance.[22] All of these characteristics are accompanied by low criticism and negativity, and high support and self-esteem.[22] The positive, adaptive forms of perfectionism are more closely associated with the Big Five personality factor of Conscientiousness, whereas maladaptive forms are more similar to Neuroticism (see below).[22]
[edit]Negative aspects
In its pathological form, perfectionism can be damaging. It can take the form of procrastination when used to postpone tasks and self-deprecation when used to excuse poor performance or to seek sympathy and affirmation from other people. In general, maladaptive perfectionists feel constant pressure to meet their high standards, which creates cognitive dissonance when one cannot meet their own expectations. Perfectionism has been associated with numerous other psychological and physiological complications as well.
Author Hillary Rettig has identified more than a dozen characteristics of perfectionists, including:[23]
- Grandiosity – The deluded idea that things that are difficult for other people should be easy for you.
- Focus on Product over Process – Neglecting the journey of work while fixating on the outcome.
- Focus on External Rewards over Internal Ones
- Deprecation of the True Processes of Creativity and Career-Building
- Labeling – Harshly branding oneself with terms like stupid, lazy, wimpy, etc.
- Hyperbole – Overstating the negative.
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22 Ιανουαρίου 2013
21 Ιανουαρίου 2013
- Ask the pupils to make a sequence of drawings based on one particular image to show how it might be adapted and developed to convey the idea of change over time or to communicate the idea of movement.
- Ask them to develop their series of drawings using line and colour to convey a particular mood, emotion or feeling. Encourage pupils to work on a variety of scales and seek out unusual interpretations.
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Introduce the unit by discussing images that represent a variety of moods, emotions or feelings, eg panic, happiness, anger, anxiety. Ask the pupils to analyse and comment on the visual qualities of these images and to highlight key features,
eg gesture, harmony, movement, framing.
Ask them what they think and feel about these images
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http://webarchive.nationalarchives.gov.uk/20061104184552/http://www.tate.org.uk/modern/exhibitions/juanmunoz/rooms/default.shtm
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2dfield
The 2D Field: Area
Screen Space: fixed borders that defines the new aesthetic characteristics
• Aspect ratio: relationship of screen width to screen height
• Horizontal orientation
• Standard ratios
• Standard TV / computer screens adopted 4×3 ratio of early motion
pictures (1.33:1 ratio)
• Digital / HDTV – 16×9 (5.33×3 or 178:1)
• Standard wide screen of motion pictures (5.33×3 or 1.85:1)
• Panavision / Cinemascope has extremely wide aspect ratio – 7×3
(2.35:1)
• Wide-screen – format of most U.S. films
• Framing
• 4×3 frame (film standard was established as early as 1889)
• advantage is that the difference between screen width & height
does not emphasize one dimension over another
• works well with close-ups
• 16×9 frame
• have to pay more attention to the peripheral pictorial
elements/events
• Changing the Aspect Ratio
• Matching aspect ratio
• Letterboxing: wide screen letterbox is created by showing the whole
width & height of the original format, and masking the top and
bottom of the screen with black, white, or colored bands called
dead zones
• Pillarboxing: fitting a standard 4×3 image onto a 16×9 screen
(vertical pillar bars)
• Cutting, stretching, squeezing
• Secondary Frames
• Masking – blacking out both sides of the screen (ex. D.W. Griffith –
Intolerance)
• Multiple screens
• Moving camera
• Object size > context
• Knowledge of object
• Relation to screen area
• Environment & scale
• Reference to a person
• Image size
• Size constancy – we perceive people and their environments as
normal sized regardless of screen size
• Image size & relative energy
• Power of image is related to screen size & format
• People & things
The 2D Field: Forces within the Screen
Main directions
• Horizontal (ex. Renaissance architecture)
• Vertical (ex. Gothic Cathedrals)
• Horizontal/Vertical combination
• Tilting the horizontal plane
• Level horizon: stability
• Tilted horizon: dynamism
• Tilted horizon: stress
Magnetism of the Frame
• Top edge (ex. Headroom)
• Sides (ex. Positive /negative pull)
• Corners
• Centered object: even pull (ex. pull of entire frame)
• Large disc: expansion (ex. attraction of mass)
• Small disc: compression
Asymmetry of the Frame
• Up/Down diagonals
• Screen left/right asymmetry
• Tend to pay more attention to the right side than the left
• Figure & Ground
• Characteristics
• Figure is “thing like” – you perceive it as an object
• The line that separates the figure from the ground belongs to the
figure not the ground
• The figure is less stable than the ground
• The ground seems to continue behind the figure
• Superimposition – ambiguous figure/ground relationship
• Figure/Ground reversal
Psychological Closure: tendency to mentally fill in gaps in visual information to
arrive at complete & easily manageable patterns & configurations
• Gestalt – pattern that results from applying psychological closure (whole that
is larger than the psychological sum of its parts)
• Example 3 notes played together become a chord
• High & Low definition images: high definition images has more information
than a low definition image
• High – HDTV/film
• Low – standard TV
• Requires constant psychological closure
• Facilitating Closure – low definition image is helpful only if it facilitates,
rather than inhibits, closure
• Proximity – when similar elements lie in close proximity to one
another we tend to see them together
• Similarity – similar shapes are seen together
• Continuity – once a dominant line is established its direction is not
easily disturbed by other lines cutting across it
Vectors – directional forces that lend our eyes from one point to another (force
with direction & magnitude)
• Vector Field – combination of vectors operating within a single picture field;
picture field to picture field; picture sequence to picture sequence; screen to
screen; on screen to off screen events
• Vector Types
• Graphic Vector – stationary element that guides our eyes in a certain
direction
• Ambiguous direction
• Index Vector – points in a specific direction
• Vector Magnitude – determined by screen direction, graphic mass, perceived
object speed
• Z-axis vector: points toward or away from the camera
• The larger the graphic mass in motion, the higher its vector magnitude
• The faster the speed of an object the higher its vector magnitude
• Vector Directions
• Continuing Vectors – point in the same direction
• Converging Vectors – point toward each other
• Diverging Vectors – point away from each other
Chapter 8 – Structuring the 2D Field: Interplay of Screen Forces
Stabilizing the Field Through Distribution of Graphic Mass & Magnetic Force
• Graphic Weight
• Dimension
• Shape
• Orientation
• Location
• Color
• Hue
• Saturation
• Brightness
• Screen Center – most stable position of an object
• Off Center – the more the object moves off center the greater its
graphic weight and the attraction of the frame increases
• Counter weighting – achieve balance with another object of similar graphic weight
Stabilizing the Field Through Distribution of Vectors
• Structural Force of Index Vectors
• Nose room & Lead room – need to leave enough room otherwise it will feel cramped
• Nose room for index vectors
• Lead room for motion vectors
• Converging Vectors – can balance an index vector with a converging one within the same screen
• Graphic Vectors – can use mass to contain other graphic vectors Stages of Balance
• Stabile Balance – symmetrical structuring of visual elements
• Neutral Balance – graphic elements are asymmetrically distributed
• Golden Section – division of the screen into roughly 3×5 units
• Rule of Thirds – divide screen into 3 horizontal and 3 vertical fields
• Modular Units – adapted golden section proportions into a modular concept
• Labile Balance – distribution of graphic weight, frame magnetism, and vectors are pushed to their structural limit, creating a tendency for imbalance (high tension)
Object Framing
• Facilitating closure – organize structures into easily recognizable patterns
• Graphic Cues – facilitate psychological closure by arranging the vector field within the screen area so that all the vectors extend easily beyond the screen into the off screen space
• Premature Closure – improper framing can lead to early psychological closure
• Natural Dividing Lines –premature closure when framing at natural dividing lines
• Illogical Closure – tendency to group objects together into patterns regardless
of whether they belong together
The Aesthetic Edge Unusual Compositions – breaking compositional rules for emphasis
• Emphasis through off-center placement
• Emphasis through partial onscreen placement
Multiple Screens
• Increased information
Dividing the Screen: screens within a screen
• Graphic Blocks
• Secondary Screen
• 2-axis vectors in split screen
• Temporal & spatial contexts
• Temporal – when several simultaneous events are shown in separate, isolated secondary screens, the direction of the index & motion vectors within such screen is relatively unimportant
• Spatial – placement of screens in the primary screen space, and the direction of the index & motion vectors with a secondary frame become significant structural considerations
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20 Ιανουαρίου 2013
The Yiynova MSP19U Cintiq Alternative Swings for the Fences
With the release of their second generation budget Cintiq alternative, Yiynova gets it right
Yiynova took on Wacom’s tablet display monopoly last year with their release of the DP10 and MSP19. I reviewed those units and they left me wanting.
The Yiynova used Waltop digitizers (digitizers being the bit of hardware that senses stylus position and pressure variance). There was significant jitter in the line quality. Creating straight lines was near impossible especially when making a deliberate, slow effort and the cursor jumped around like a ferret on meth. The display quality and fit and finish were fine, but the underlying tablet tech was a let down. My conclusion? The Waltop digitizer was junk and it let the otherwise competent hardware hanging.
After, I reviewed Monoprice’s graphics tablets. Those use UC Logic digitizers. They’re snappier in OSX than Wacom equivalents with less cursor lag and crisper fidelity in small movements. They sensed light pressure with more accuracy than any Wacom hardware I’ve owned. I was so pleased with the UC Logic based tablets that I purchased a heap of other equipment by them. I sold my Cintiq. I sold my Intuos. Eight months, four tablets and around nine styli later, I became an all UC Logic studio.
I wished that someone could pair the underlying, fantastic UC Logic digitizer tech with a tablet monitor enclosure. I even bought some hardware to try and make my own. But now I don’t have to. Yiynova must have been listening. The MSP19U is a second generation product that jettisons the inferior Waltop digitizers of the first model and replaces them with UC Logic internals.
Does the pairing live up to the sum potential of its disparate parts? Can a relatively unknown $569 tablet monitor compete with a $1999 Wacom Cintiq? Yes, it competes. It even bests the Cintiq in a few key areas. But I’m jumping ahead.
Unboxing, Specs, and the Physical Properties of the Unit
The Yiynova MSP19U is a 19,” 1440×900 tablet monitor with an adjustable, VESA-compatible stand and mounting bracket. It comes with one stylus, one battery, and several additional pen nibs. It has 2048 levels of pressure sensitivity and a 4000lpi digitizer.
The unit is light but not flimsy. Thinner than a Cintiq thanks to its LED backlighting, I find myself occasionally sitting the Yiynova in my lap like a digital art board.
At 19,” 1440×900, and 89.37 PPI, no one will mistake the Yiynova for a retina level display. It’s nearest Wacom neighbor, the 22HD, has a 22,” 1920×1080, and 100.13 PPI, screen. While the Wacom beats the Yiynova in sheer PPI, I always found the color of Cintiqs to be quite muddy thanks in part to an antiglare coating present on the monitors and dim backlighting. I went so far as to remove the glass from my Cintiq to scrape the coating off its back. It helped a little, but was still less than ideal and was not an activity for the faint of heart. Prying, scraping, and modding a $2,499 device to make it useable is a bummer and I went into a lot of detail about the shortcomings of Cintiq tech in my previous review if you want to learn more.
The LED backlighting on the Yiynova makes for a brighter overall display. It’s a little cool out of the box, but was fine once calibrated. If I had to choose between lower PPI or dimmer, muddier colors, I’d pick slightly lower PPI. This particular category is probably a draw.
The glass of the display sits above the LCD by around an 1/8th of an inch and looks to be about the same distance as my previous Cintiq. Until a manufacturer creates a unit with an iPad-like fused LCD and glass display, cursor parallax will be a concern (and is present for both the MSP19U and Cintiqs).
The stand allows for either complete verticality or nearly horizontal viewing angles and is easy to operate. Rotation is not possible, but I find it to be less of a necessity these days. Photoshop, Painter, Manga Studio, and nearly any art app worth it’s salt allow users to rotate the canvas arbitrarily.
There’s a VGA out port on the back of the monitor that will mirror the activity on your tablet to yet another external display. It’s an odd inclusion, but could be handy for making presentations or when teaching a digital art class. I do both from time to time, so it may be of some use.
Software & Hardware Installation
Setup was quick. I tested the unit on maxed 2012, 13” Macbook Air. The Air has a mini display/thunderbolt port, so an adapter was required to pair it with the Yiynova. All in, the MSP19U needs a VGA port, a wall socket, and a USB port to get rolling.
I already had UC Logic drivers installed on my system from my Monoprice tablets, so I only had to plug in the tablet to begin. The bundled driver software is the same version as the downloadable driver on the UC Logic, Panda City, and Yiynova websites, so use whatever is most convenient.
A quick note about drivers. Like with Monoprice tablets, I recommend installing drivers before plugging the tablet in, especially in Windows. Windows will install generic HID (Human Interface Device) drivers otherwise. They’re horrible and you’ll think your tablet is broken. It’s not. You’ll have to uninstall the generic HID driver from device manager, install the proper drivers, and only then plug in your tablet. This mistake accounts for five to ten support emails in my inbox a week.Some stubborn apps enable tablet specific features (like pressure sensitivity options) only after detecting Wacom drivers present on a system. I install Intuos 3 drivers alongside any alternative tablet hardware to fool these apps into thinking a tablet is present. Painter and Illustrator are the two biggest culprits in my experience in both Win and Mac environments.
Does it work?
I tested the monitor with Photoshop CS6, Painter 12, and Manga Studio 4 and 5 in OSX and Windows. Much like the Monoprice tablets that came before, I found performance even better in OSX than Windows, but fine in both.
There are cursor calibration options in Windows, but no such options in OSX. I didn’t find cursor offset or parallax to be as bad on the Yiynova as on a Cintiq, and never found myself wanting or needing to futz with the cursor offset anyhow.
Cursor lag is similarly less pronounced on the Yiynova than a Cintiq and drawing felt more natural as a result.
A note on Paint Tool SAI. I’ve heard there are some issues running a multiple monitor setup with Paint Tool SAI, specifically, but that’s hard to blame on the Yiynova. SAI has been largely abandonware for some time, and it’s starting to show. I recommend using Clip Paint/Manga Studio 5. It’s a bit like a mashup of SAI, Painter, and Photoshop, and has largely replaced all those other apps in my workflow. My Windows box is a single monitor setup, so I was unable to verify these reports.
The drawing surface is slicker than that of a Cintiq and took a little getting used to. I found that long, deliberate lines could sometimes wobble a bit as my stylus tip slid on the glass, but it was a user limitation, not a failure of the digitizer panel.
Viewing angles on the monitor are worse than a Cintiq, but brightness is better. Viewing angles never veered into unusable territory, but the resolution and viewing angles of the LCD are the single largest area I’d like to see improved in the future.
Bottom line? Is it perfect? No. Are Cintiqs? No.
The Cintiq 22HD costs $1999. It has a slightly laggier feel to drawing, but a higher resolution display and has programmable hotkeys. It’s heavy and cumbersome. At the time of writing, the Yiynova MSP19U costs $569. It has a superior drawing experience in terms of lag and cursor offset to my eye, but a lower quality display and no hotkeys. It’s light and easier to move around a desk or sit in your lap.
Even without the price disparity, I would opt for the MSP19U. Cursor lag was the single biggest complaint I could muster against the Cintiqs and I think the 19U is the winner there. How well it draws trumps how good the image looks for me every time.
But, price matters and we should talk about it. The 19U costs 72% less than the Cintiq 22HD and 77% less than the 24HD. Even if it were marginally worse in all regards – and I find it neither heads and shoulders above or below, simply different – it would still be a steal.
My 19U is now a permanent member of the household. I don’t plan on, or feel the need to, replace it with a Cintiq.
Wacom has genuine competition on both the tablet and tablet monitor fronts. Spread the word. Make them feel some heat. There’s no reason this technology should be so expensive. The underlying hardware has been largely stagnant for a decade with no real innovation.
At $569, and with performance that often meets or exceeds Wacom’s hardware, the MSP19U is more than a viable alternative. It’s the disruptive agent of change the industry needs.
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19 Ιανουαρίου 2013
Christ, what an asshole” seems a fitting caption for nearly every New Yorker cartoon, and yet it’s only been submitted 27 times out of well over 1.5 million entries in the magazine’s caption contest. We’ve found one place the Internet’s trolls haven’t managed to permeate.
The “CWAA” revelation dates all the way back to February 2006, from a blog post by Charles LaVoie at modernarthur.com entitled “How ‘Christ, What An Asshole!” is the Answer to the New Yorker Magazine Caption Contest” (the blog is no longer maintained, but the page is viewable via the Wayback Machine). LaVoie displays several example caption contest cartoons demonstrating the broad applicability of the phrase to near every New Yorkercartoon.
The blog entry was discovered by reddit just over 4 years later, with the most prominent entry stating “Every New Yorker cartoon can be captioned with ‘Christ, what an asshole!’ without reducing its comedy value.” Another blog, robertsinclair.net, noted that the phrase also works in the last panel of “virtually all comics, old and new.” “CWAA” remains a popular caption across artistic disciplines on the Internet.
Ars inquired at the New Yorker (a sister publication of Ars) to see how many times the phrase has actually been submitted as an entry in the caption contest. “A total of 27 times for the first 332 contests, and there were 23 contests in which it occurred,” said Bob Mankoff, cartoon editor at theNew Yorker—a mercifully low number, for a contest with a Web submission form. Mankoff noted that the average number of submissions for each contest is over 5,000, so there is remarkably little “CWAA” noise.
There are many meta-humor takes on New Yorker caption contest cartoons, said Mankoff. This includes “What a misunderstanding!,” from a blog maintained by Cory Arcangel, which Mankoff said probably fits more contests than “CWAA.” Others are “mashups with Kanye West tweets, Charlie Sheen rants, and Rick Santorum’s political pontifications,” said Mankoff. “We take no umbrage at any of these, although we don’t think that meta is necessarily beta.” We’re glad to see the Internet can goof around without making Mankoff’s job any harder.
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katefthinsi
Digital Technology as a Tool
Process v. Production: What are the distinctive characteristics of digital
media reflected in its language and aesthetic?
• Multiple kinds of manipulation
• Analog v. digital
• Real v. unreal
• Blurring distinctions between different media and seamless combination of
art forms
• Recontextualization through appropriation and collage (dada, cubism,
surrealism)
• Relationship between copy and original
INTRODUCTION NOTES 2DFIELD
Screen Space: fixed borders that defines the new aesthetic characteristics
• Aspect ratio: relationship of screen width to screen height
• Horizontal orientation
• Standard ratios
• Standard TV / computer screens adopted 4×3 ratio of early motion
pictures (1.33:1 ratio)
• Digital / HDTV – 16×9 (5.33×3 or 178:1)
• Standard wide screen of motion pictures (5.33×3 or 1.85:1)
• Panavision / Cinemascope has extremely wide aspect ratio – 7×3
(2.35:1)
• Wide-screen – format of most U.S. films
• Framing
• 4×3 frame (film standard was established as early as 1889)
• advantage is that the difference between screen width & height does not emphasize one dimension over another
• works well with close-ups
• 16×9 frame
• have to pay more attention to the peripheral pictorial elements/events
• Changing the Aspect Ratio
• Matching aspect ratio
• Letterboxing: wide screen letterbox is created by showing the whole
width & height of the original format, and masking the top and
bottom of the screen with black, white, or colored bands called
dead zones
• Pillarboxing: fitting a standard 4×3 image onto a 16×9 screen
(vertical pillar bars)
• Cutting, stretching, squeezing
• Secondary Frames
• Masking – blacking out both sides of the screen (ex. D.W. Griffith – Intolerance)
• Multiple screens<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
• Moving camera<<<<<<<<<<<<<<<<<<(panning, tilting, arcing, dollying, pedding, trucking)
• Object size > context<<<<<<<<
• Knowledge of object<<<<<<<<<<<<<<<<<<<<<<<<<<<
• Relation to screen area<<<
• Environment & scale<<<<<<<<<<<<<<<<
• Reference to a person<<
• Image size
• Size constancy – we perceive people and their environments as normal sized regardless of screen size
• Image size & relative energy–<<<<
• Power of image is related to screen size & format<<<<<<<<<<<<<<<<<<<<<<<<<<<<
• People & things
Editing Aesthetics
Continuity Style Editing
• Jump Cut: edits that reveal or present themselves as discontinuous jumps in time, action, or space
• Whenever possible vary the horizontal field of view between successive shots. When Shooting events & activities think: wide shot, medium shot, close-up. Your first shot should typically be a master, cover, or
establishing shot, then tighten your shots as you continue to tape.
• TV is a close-up medium. My beginning shooters frame shots too wide and include too much headroom. Always try to capture close-ups of events, but also be conscious of the hazards of shallow depth of field,
framing & composition, and excessive camera shake.
• While varying the horizontal field of view, also attempt to vary the angle of approach.
• Repeating actions, or shooting repetitive actions varying the horizontal field of view and the angle of approach allow you to build matched action edits.
• Let subjects in motion move into and out of stationary frames.
• Shots with secondary movement should begin and end at rest.(panning, tilting, arcing, dollying,
pedding, trucking)
• Classical editing stratregies:
o Eyeline match edits
o Split edits (L & J edits)
o When editing dialogue allow for proper breath space
o Cut in and cut out edits
o Parallel scene edits
o Flash back edits
o Cutting to the beat
o Cutting on dialogue
o Montage
o Dissolve, fade, wipe transitions
o Compositing and collage
SECOND LIFE
εξ.χωροι/3d
landscape and arch.
Δεν επιτρέπεται σχολιασμός στο katefthinsi
kyklos 22/01
Digital Technology as a Tool
Process v. Production: What are the distinctive characteristics of digital
media reflected in its language and aesthetic?
• Multiple kinds of manipulation
• Analog v. digital
• Real v. unreal
• Blurring distinctions between different media and seamless combination of
art forms
• Recontextualization through appropriation and collage (dada, cubism,
surrealism)
• Relationship between copy and original
INTRODUCTION NOTES 2DFIELD
Screen Space: fixed borders that defines the new aesthetic characteristics
• Aspect ratio: relationship of screen width to screen height
• Horizontal orientation
• Standard ratios
• Standard TV / computer screens adopted 4×3 ratio of early motion
pictures (1.33:1 ratio)
• Digital / HDTV – 16×9 (5.33×3 or 178:1)
• Standard wide screen of motion pictures (5.33×3 or 1.85:1)
• Panavision / Cinemascope has extremely wide aspect ratio – 7×3
(2.35:1)
• Wide-screen – format of most U.S. films
• Framing
• 4×3 frame (film standard was established as early as 1889)
• advantage is that the difference between screen width & height does not emphasize one dimension over another
• works well with close-ups
• 16×9 frame
• have to pay more attention to the peripheral pictorial elements/events
• Changing the Aspect Ratio
• Matching aspect ratio
• Letterboxing: wide screen letterbox is created by showing the whole
width & height of the original format, and masking the top and
bottom of the screen with black, white, or colored bands called
dead zones
• Pillarboxing: fitting a standard 4×3 image onto a 16×9 screen
(vertical pillar bars)
• Cutting, stretching, squeezing
• Secondary Frames
• Masking – blacking out both sides of the screen (ex. D.W. Griffith – Intolerance)
• Multiple screens<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
• Moving camera<<<<<<<<<<<<<<<<<<(panning, tilting, arcing, dollying, pedding, trucking)
• Object size > context<<<<<<<<
• Knowledge of object<<<<<<<<<<<<<<<<<<<<<<<<<<<
• Relation to screen area<<<
• Environment & scale<<<<<<<<<<<<<<<<
• Reference to a person<<
• Image size
• Size constancy – we perceive people and their environments as normal sized regardless of screen size
• Image size & relative energy–<<<<
• Power of image is related to screen size & format<<<<<<<<<<<<<<<<<<<<<<<<<<<<
• People & things
Editing Aesthetics
Continuity Style Editing
• Jump Cut: edits that reveal or present themselves as discontinuous jumps in time, action, or space
• Whenever possible vary the horizontal field of view between successive shots. When Shooting events & activities think: wide shot, medium shot, close-up. Your first shot should typically be a master, cover, or
establishing shot, then tighten your shots as you continue to tape.
• TV is a close-up medium. My beginning shooters frame shots too wide and include too much headroom. Always try to capture close-ups of events, but also be conscious of the hazards of shallow depth of field,
framing & composition, and excessive camera shake.
• While varying the horizontal field of view, also attempt to vary the angle of approach.
• Repeating actions, or shooting repetitive actions varying the horizontal field of view and the angle of approach allow you to build matched action edits.
• Let subjects in motion move into and out of stationary frames.
• Shots with secondary movement should begin and end at rest.(panning, tilting, arcing, dollying,
pedding, trucking)
• Classical editing stratregies:
o Eyeline match edits
o Split edits (L & J edits)
o When editing dialogue allow for proper breath space
o Cut in and cut out edits
o Parallel scene edits
o Flash back edits
o Cutting to the beat
o Cutting on dialogue
o Montage
o Dissolve, fade, wipe transitions
o Compositing and collage
theory
—-photocopies/translations (>>>>)
video in relation to space// documntaries//montaz
χώροι..
//eliason/turel/serra/Dan Ggraham
/dia c. roof—
/body position – space psychology -well’s orientation/
4delaments- rythm – examples damian’s hirst/swiss/sound vibration installations
network libraries/archives-
the object as an art object (duchamp- the rotoscope)
http://www.dezeen.com/2013/01/19/the-silence-room-at-selfridges-by-alex-cochrane-architects/
http://www.architizer.com/en_us/blog/dyn/72610/life-on-the-edge-a-photographers-self-portraits-finds-her-straddling-the-void/#.UPo0mh26eft
πολύ ενδιαφέρων ξεκίνημα,Νίκο όμως θα μας εξηγήσεις από κοντά γιατί είναι τετράγωνο αντικείμενο …. αν παραπέμπει ακόμα στο κουτί της Πανδώρας η έχει αυτονομηθεί νοηματικά? και άλλα … νομίζω ότι είναι καλή ιδέα να φτιάξεις ένα νέο blog δικό σου για αυτό το έργο ειδικά αφού το επεξεργάζεσαι για καιρό… και να κάνεις πιο αναλυτικές αναρτήσεις που να αφορούν την διαδικασία της έρευνας σου σε σχέση με τα πλαστικά στοιχεία του έργου <<<<< όπως χρώμα- χρόνος//αντικείμενο -χώρος//κλπ) <<<<και το πως αυτά επικοινωνούν τις σκέψεις σου για το χρόνο…έχει σημασία η απόσταση του θεατή? έχει σημασία η θερμοκρασία του χώρου και πως την ελέγχεις? αν δεν την ελέγχεις τι εποχή και που είναι οι ιδανικές συνθήκες έκθεσης και γιατί κλπ? νομίζω ότι το υλικό της διαδικασίας πρέπει να είναι περισσότερο και να αποκαλύπτει καλύτερα το ερευνητικό κομμάτι η καλύτερα την εικαστική τεκμηρίωση της κατασκευής σου .. στο blog έχουν σημασία να καταγράφονται – και που το παρουσιάζεις – το πραγματοποιείς το έργο -αν και αυτό είναι αντικείμενο της ερευνάς σου και νομίζω ότι είναι…..θα τα πούμε και από κοντά..
μουσική
μια ακόμα μάσκα
http://loloro.com/home.html
http://www.youtube.com/watch?v=-qM3oXDng6s
Augé, Marc (1992) Non-lieux. Introduction á une anthropologie de la surmodernité. Paris: Seuil
Baudrillard, Jean (1982) A l’ombre des majorités silencieuses. Paris
Burgess, Anthony (1989) The Devil’s Mode. New York: Pocket Books
Friedman, Jonathan (1991) Narcissism, roots and postmodernity: the constitution of selfhood in the global crisis. In Scott Lash and Jonathan Friedman, eds., Modernity and Identity, pp. 331-366. Oxford: Blackwell
Geertz, Clifford (1973) Deep Play: Notes on the Balinese cockfight. In Geertz, The Interpretation of Cultures, pp. 412-454. New York: Basic Books
Giddens, Anthony (1990) The Consequences of Modernity. Cambridge: Polity
– (1991) Modernity and Self-Identity. Cambridge: Polity
Hannerz, Ulf (1990) Cosmopolitans and locals in world culture. In Mike Featherstone, ed., Global Culture. Nationalism, Globalization and Modernity, pp. 237-252. London: SAGE
– (1992) The withering away of the nation? Paper delivered at the conference Defining the National. Bjärsjölagård, Sweden, 26-28 April, 1992
Kapferer, Bruce (1986) The ritual process and the problem of reflexivity in Sinhalese demon exorcism. In John MacAloon, ed., Rite, Drama, Festival, Spectacle, pp. 179-207. Ithaca: Cornell University Press
Baudrillard, Jean (1982) A l’ombre des majorités silencieuses. Paris
Burgess, Anthony (1989) The Devil’s Mode. New York: Pocket Books
Friedman, Jonathan (1991) Narcissism, roots and postmodernity: the constitution of selfhood in the global crisis. In Scott Lash and Jonathan Friedman, eds., Modernity and Identity, pp. 331-366. Oxford: Blackwell
Geertz, Clifford (1973) Deep Play: Notes on the Balinese cockfight. In Geertz, The Interpretation of Cultures, pp. 412-454. New York: Basic Books
Giddens, Anthony (1990) The Consequences of Modernity. Cambridge: Polity
– (1991) Modernity and Self-Identity. Cambridge: Polity
Hannerz, Ulf (1990) Cosmopolitans and locals in world culture. In Mike Featherstone, ed., Global Culture. Nationalism, Globalization and Modernity, pp. 237-252. London: SAGE
– (1992) The withering away of the nation? Paper delivered at the conference Defining the National. Bjärsjölagård, Sweden, 26-28 April, 1992
Kapferer, Bruce (1986) The ritual process and the problem of reflexivity in Sinhalese demon exorcism. In John MacAloon, ed., Rite, Drama, Festival, Spectacle, pp. 179-207. Ithaca: Cornell University Press
Χώρος
Η οργάνωση του χώρου εντός του αεροδρομίου έχει συνοπτικά εκτιμηθεί. Αλλά προφανώς, τα πιο ενδιαφέροντα χωρικά χαρακτηριστικά του αεροδρομίου είναι (i) η τοποθεσία του «εκτός του κοινωνικού χώρου» και (ii) η «σχετικοποίηση» των χωρικών συσχετισμών της κοινωνικής ζωής που υποβάλλονται από το ταξίδι.
Ο Augé, σε έναν πολιτισμικό απολογισμό του εναέριου ταξιδιού, επισημαίνει την αβίαστη αποτελεσματικότητα, την μοντερνιστική άνεση και την απρόσωπη διάσταση του συγκεκριμένου μέσου μεταφοράς. Επιπροσθέτως, θα είχεαξία η επισκόπηση των επιπτώσεων του ταξιδιού στο χώρο. Συγγραφείς εθνιστικών κσι μοντερνιστικών θεμάτων και συχνά επισημαίνουν τη σημασία της μόρφωσης, της εκπαίδευσης των μαζών και των χαρτών στη δημιουργία ταυτοτήτων για αόριστες έννοιες όπως το έθνος. Ένα ενδιαφέρον ερώτημα επί αυτού του συσχετισμού είναι το τι είδους ταυτότητα (αν υπάρχει) και ποια αίσθηση χώρου μπορεί να ενθαρρύνουν τακτικά εναέρια ταξίδια. Είναι προφανές και συχνά επισημαίνεται σε τυπικές συζητήσεις πως η ψυχολογική αίσθηση της απόστασης αλλάζει ή διαστρεβλώνεται σημαντικά με τα τακτικά ταξίδια και με την αναδίπλωση(?!) της απόστασης στις ώρεςτης πτήσης.
Ἡσύγχρονη «θεολογία» τῆς αἱρέσεως τοῦΟἰκουμενισμοῦ ἔναντί τῶν Ἱερῶν Κανόνων.
συγκόλληση.
Αντικείμενο του μαθήματος είναι η διερεύνηση των αισθητικών, τεχνικών και γνωστικών δυνατοτήτων των πολυμέσων. Το μάθημα χρησιμοποιεί τις καταγραφές του αστικού περιβάλλοντος που έχουν παραχθεί το προηγούμενο εξάμηνο με τη μορφή διαφορετικών ψηφιακών αντικειμένων (εικόνας, ήχου, κειμένου, διαγραμμάτων, σχεδίων, κ.α.), με σκοπό την οργάνωση και παρουσίασή τους σ’ ένα ενιαίο ψηφιακό περιβάλλον. Μας ενδιαφέρει η επικοινωνία της εμπειρίας του αστικού περιβάλλοντος μέσα από σύνθετες διαδραστικές και αφηγηματικές μορφές. Συζητούνται θεωρητικές έννοιες όπως η δια δραστικότητα, το υπερκείμενο, η αφήγηση, η βάση δεδομένων, καθώς και έργα τέχνης που βασίζονται σε πολυμεσικές και διαδικτυακές εφαρμογές (cd-rom, net.art, κ.α.) Σκοπός του μαθήματος είναι η διερεύνηση και η ανακάλυψη μεθόδων ανάλυσης και παρουσίασης που αποσαφηνίζουν το έργο και την ιδέα
http://ktelstation.blogspot.gr/2007/07/blog-post.html
Το μάθημα είναι εργαστηριακό και διεξάγεται με διαλέξεις, παρουσιάσεις και κριτική εργασιών
Vasilys Bouzas received his Masters (MFA) in Computer Graphics and Interactive Media from the Pratt Institute, New York after he was awarded with two scholarships from the Greek state and the Fulbright Foundation (1997). He holds a BFA from the Athens School of Fine Arts and BSc in engineering from the National Technical University in Athens. During the years 1997 to 2003, he studied, worked and taught in New York in the fields of design and implementation of digital applications. He has participated in exhibitions and competitions in Greece and abroad. Since 2003, he is based in Greece where he has been working as a designer and artist. He has worked in art education at the Department of Architecture, University of Patras (2004-2011) and he currently works at the Department of Applied Arts, University of Western Macedonia, Greece.
mapping projections
To +σεμινάριο περιλαμβάνει την εξερεύνηση επιλεγμένων τόπων στο νησί
Το σεμινάριο περιλαμβάνει την ανάπτυξη μεθόδων εξερεύνησης και χαρτογράφησης ανθρωπογεωγραφικών χαρακτηριστικών επιλεγμένων χώρων (κυρίως τόπων εργασίας;)
,
μεθόδων σύνθεσης και ταξινόμησης της οπτικοακουστικής πληροφορίας,
μεθόδους σύνθεσης κινούμενης εικόνας (3d animations, 2d animations, motion capture, tracking motion, stabilizing, alpha channels, κ.λπ.)
με στόχο τον σχεδιασμό και τη δημιουργία mapping projections
Από την εμπειρία του περσινού workshop
που ήταν πολύ διαφορετικό workshop από το προπέρσινο που έγινε στη Κέρκυρα
θα μπορούσα να εν ταχθώ στις ομάδες επεξεργασίας δισδιάστατου και τρισδιάστατου σχεδιασμού
και σύνθεσης κινούμενης εικόνας (2d η 3d )
Σκοπός του μαθήματος είναι η διερεύνηση και η ανακάλυψη μεθόδων ανάλυσης και παρουσίασης (πέραν των γνωστών παραδοσιακών μεθόδων), που αποσαφηνίζουν το αρχιτεκτονικό έργο ή την ιδέα (abstract). Οι νέες τεχνολογικές αναλύσεις υποστηρίζουν σύνθετα σχέδια και κτιριακά προγράμματα απεικονίζοντας τα, διευκολύνοντας την αξιολόγηση τους, διευρύνοντας και ενδυναμώνοντας σε επίπεδο σύνθεσης τις φοιτητικές εργασίες. Επίσης θα γίνει εισαγωγή σε βασικές έννοιες-λειτουργίες του εικονικού χώρου όπως οι πρωτογενείς κινήσεις χαρακτήρων η αντικειμένων, μέθοδοι rendering, motion dynamics, hierarchical animation, inverse kinematics κ.α. καθώς και η δημιουργία στο διαδίκτυο, εικονικών και πραγματικών χώρων, με δυσδιάστατους και τρισδιάστατους τρόπους απεικόνισης και οργάνωσης της πληροφορίας.
1. Αναγνώριση της περιοχής, ανάλυση και αφαιρετική αναπαράσταση. Πως αντιλαμβανόμαστε το φυσικό και τεχνητό τοπίο σαν αρχή ή τέλος της πόλης. Ποια φυσικά χαρακτηριστικά εισχωρούν στη ζωή της πόλης. Σχέσεις μεταξύ στοιχείων, μερών και συνόλων. Γνωριμία με τα εργαλεία (3D Studio, FormZ, Maya, Photoshop). Από το 2D στο 3D. Ζητείται η κατασκευή ψηφιακών μοντέλων αναπαράστασης σε διάφορες κλίμακες και βαθμούς λεπτομερειών.
2. Ποιες ποιότητες της παραπάνω ανάλυσης συντελούν στη διαμόρφωση αρχιτεκτονικής πρότασης για τη περιοχή. Μετασχηματισμοί στην πόλη και στον εικονικό χώρο. Άσκηση μετασχηματισμών στερεών και διαμόρφωση πρότασης. Εισαγωγή στη κινούμενη εικόνα –animation.
3. Σχεδιασμός, αναπαράσταση και παρουσίαση.
Δεν επιτρέπεται σχολιασμός στο kyklos 22/01