Expanded Cinema

The figure of the VJ or visual jockey is key for understanding the appearance and current
uses of what we shall call the “environment-image”, a kind of image which is produced for
an audience in situ, whose emotional reaction has a retroactive effect on the actual production
of the image flow. It is important to discuss a function related to this type of image, that of
influencing a social environment in order to establish a shared rhythm. Furthermore, this
coordinated rhythm influences the perception of each person in respect to the social group
which circumstantially forms the audience. Citing arguments such as those of the historian
William H. McNeill, the anthropologist Michael James Winkelman or the architect and theorist
Iñaki Ábalos, but also drawing on the observations of audiovisual media creators like Jonas
Mekas, we will see how a considerable alliance of stimuli and conditions in the environment
has an effect on the participants’ states of consciousness, resulting in the appearance of this
idea of the “us” as a link of identity. In short, the research places the practice of VJing as part
of the history of art and the contemporary modes of sociability, taking as principal evidence
the aesthetic and political dimensions of image. In this way, we gain access to a conception of
image by placing attention on the bonds established with the resonant rhythms produced by the DJ and, in addition, with an entire system of environmental and relational stimuli. What’s
more, this leads us to elaborate on the project of Gilles Deleuze, adding to the two types of
image he proposes, the “movement-image” and the “time-image”, a different typology, with
functions and effects that are both also radically distinct.

The first conference paper I presented on the an-archival impulses and mediatic/conceptual/perceptual expansions of the "experimental" phase of Films Division, India. Presented at the "Encountering World Cinema in India" international conference organized by the Dept. of Film Studies, Jadavpur University, Kolkata, November 3-4, 2016

The Extending the Role of Paramedics (ERP) sub-project built on a model developed by the South Australian Ambulance Service (SAAS) which aims to provide a service that is complementary to primary health care, thus reducing emergency department presentations. The core of the model is training Extended Care Paramedics (ECPs) to treat patients in their usual place of residence, with referral to other health professionals if appropriate. ECPs manage patients with a diverse, and often ill-defined, range of signs and symptoms. Although these patients are deemed 'low acuity', these cases can be complex and require the ECP to apply advanced clinical reasoning. In many cases, the patient may have multiple chronic conditions and present as generally unwell. The published evidence to date generally supports an expansion of the role of paramedics to include the assessment and management of patients with minor illnesses and injuries to avoid transport to hospital. However, the evidence is primarily from overseas, particularly the United Kingdom, and more research is required to establish the effectiveness and safety of the model.

Abstract. The goal of this study was to gain insight into the user experience of a recent hypernarrative interactive movie. Turbulence is a feature-length interactive narrative video and emphasising low frequency interaction, simultaneous optional plotlines and seemingly counter-agency moves. Eight participants took part in a phenomenological study of their experience, from which several directions for further study emerge.

Le cinéma élargi en Suisse : d'Underground Explosion à la poésie visuelle La scène du cinéma d'artistes en Suisse se caractérise par sa disparité : divisée en différentes régions linguistiques, elle se déploie à partir de réseaux et d'individus qui ne se croisent qu'épisodiquement. Néanmoins, certaines manifestations et pratiques de cinéastes plasticiens convoquent les stratégies du « cinéma élargi » tel qu'il se développe dans les années 1960 sur un plan international 1. De plus, un large spectre d'oeuvres, notamment dans le domaine de la poésie concrète qui connaît un fort ancrage historique en Suisse 2, participe de ce « cinéma par d'autres moyens » 3 qui récuse toute fixation catégorielle, en réaction au dogme moderniste de la spécificité des supports d'expression. Les paradigmes performatif et intermédiatique nous paraissent ici définitoires, exemplairement dans les actions liées au groupe Ecart (embranchement suisse de Fluxus), comme ailleurs en Europe, aux Etats-Unis ou encore au Japon. L Dieter Roth, Dreh-Rasterbild, 1960. M Dieter Roth, Bok2, b, 1961.

This paper outlines general theoretical implications of feedback systems for framing the interrelated nature of living agents and systems. The model of feedback is identified as forming an ideal conceptual structure for visualizing the sensing, processing, and exchanging of information occurring perpetually, at all scales of life, including within human cognition. Along with the constructs of the Neurodiversity Model, enactive / expanded media, and 4E cognitive theory—embodied, embedded, extended, and enacted mind—this paper presents the author's research with experts across disciplines and discusses the results of over six years of teaching experimental film / video to autistic individuals.

The dissemination of surveillance cameras grows in public and semi-public spaces, yet simultaneously restrictions on the use of cameras by artists, filmmakers and independent media-activists increase. In this dispute for the production of visibility in urban space, surveillance cameras have assumed a role of regulating behaviour and access, producing effects like social exclusion, standardization and gentrification. In our understanding it is necessary to be attentive to the political and poetic dimension of the image as a common construction, and the performance "Composição para Circuito de Vídeovigilância" (Composition for Video Surveillance Circuit), presented in this article, is an artistic answer to the ubiquitous phenomena of video-surveillance practices.

There has long been a relationship between artistic work and the influence of the world, though it is taking a new turn in trends of conceptual relationality and an ‘expandedness’ is prevalent in contemporary art. In this essay I think through categories and the meanings of expanded cinema to argue that a relation exists for contemporary artists to use ‘the world’ as source material in their creative reiterations. As most theory on expanded cinema focuses on an historic position I argue for the relevance of ‘expanded cinema’ in a contemporary art context. I consider the ecological approaches by artists in fields of expanded cinema, sound and relational listening, 16mm film, and expanded thinking through worlding and framing. I consider work by Lawrence English, Amy Hanley, myself and briefly, Stan VanDerBeek, and Philip Samartzis. The essay considers ideas that exist in processes and conceptual peripheries of my collaborative 16mm film work with Amy Hanley’s sound work, which was commissioned for Speak Percussion as part of their Social Distancing (SD) Series over April to June 2020. Amy spent time at Bogong Centre for Sound Culture as a sound artist in residence and I spent time with The Weight of Mountains film residency in Dawson City, Canada working with 16mm film1 of which the SD Series work evolved from. Our collaboration is contextualised by ideas existing in contemporary sound and arts, including artist’s craft or t​ echnē that uses the world as source material for creating expanded objects or recorded and re-framed ‘worlds’.

Keywords: expanded cinema, relational listening, field recording, 16mm film, sound, hauntology, worlding, frame, and/or re-framing, contemporary art.

Aujourd’hui, l’image en mouvement est omniprésente dans l’art contemporain. La relation entre la boîte noire (“Black Box”) et le cube blanc (“White Cube”) remonte aux années 1950 et 1960, lorsque la montée en puissance de la télévision fit perdre aux salles de cinéma le monopole de l’image en mouvement. Dans son ouvrage Between The Black Box and The White Cube (2014)1, Andrew V. Uroskie affirme que, plutôt qu’une innovation formelle ou technologique, le principal changement pour les artistes implique un déplacement de l’image en mouvement du théâtre cinématographique vers des espaces originaux et périphériques. Il montre comment des technologies de film et de vidéo peu coûteuses ont permis à des artistes tels que Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer et plus particulièrement Andy Warhol de devenir des cinéastes. En travaillant une nouvelle façon d’expérimenter l’image en mouvement, ces artistes ont cherché à réinventer la nature et les possibilités de l’art à l’âge post-cinématographique et ont aidé à créer un nouvel espace entre la boîte noire du cinéma et le cube blanc de la galerie d’art. Dans cet essai, je reviendrai en détail sur la définition problématique de ces deux concepts et leurs origines respectives, tout en faisant émerger progressivement la question du cadre comme préalable à l’appréciation d’une forme hybride, tant il demeure parfois difficile d’en établir les contours perceptifs.

Il semble particulièrement fécond de confronter l’idée d’un cadre extensible à toute limite à partir de certains dispositifs et autres installations d’images en mouvement dans un contexte post-minimaliste2. L’opposition entre la boîte noire (le dispositif de la salle obscure) et le cube blanc (le dispositif de projection dans l’art contemporain) envahit les débats théoriques actuels – la querelle des dispositifs3 – alors que le monde de l’art d’avant son absorption totale par l’institution muséale cherchait justement à dépasser ces oppositions disciplinaires. À partir d’un corpus varié allant de Pierre Huyghe à Bruce McClure en passant par Andy Warhol, je montrerai que devant la nature hybride de cette transformation du médium, l’approche adéquate n’est pas d’ordre ontologique mais au contraire d’ordre perceptif. En insistant sur la force déstabilisatrice induite par le cinéma dit élargi (“expanded cinema”), il s’agit d’ouvrir la question du cadre à de nouvelles modalités esthétiques amenant à la construction d’un corps spectatoriel singulier. Je développerai le concept de cadre-performance, jusqu’à proposer une nouvelle forme d’image où la relation entre un sujet (le sens de l’oeuvre) – pour un sujet (l’artiste) – et un autre sujet (le spectateur) propose un espace dont la porosité avec l’écran semble à présent décousue.

O ensaio é voltado à reflexão da migração do dispositivo cinema para os espaços da arte, com o objetivo de observar as modificações ocorridas nesse dispositivo, focando a relação entre projetor/ imagem projetada/ arquitetura do espaço expositivo/ corpo do espectador. Pressupõese aqui que o cinema expandido antecipa muitas das problemáticas que norteiam a produção norte americana da década de 1960 e 1970. Este momento marca a passagem da escultura moderna para a contemporânea, que, sob a influência do minimalismo, abstracionismo e arte conceitual, quebra os cânones sob os quais a escultura moderna se assentava e funda novas relações espaciais. Essa apuração se dá por meio da leitura de "Between the black box and the white cube" de Andrew V. Uroskie, "Modern sculpture reader" organizado por John Wood, David Hulks e Alex Potts, "Language of new media" de Lev Manovich, "A tecnologia na arte: da fotografia à realidade virtual" de Edmond Couchot, "O complexo arte-arquitetura" de Hal Foster, "A escultura no campo ampliado" e "Passages" de Rosalind Krauss, "No interior do cubo branco: a ideologia do espaço da arte" de Brian O'Doherty, "Esculpindo o espaço" de Agnaldo Farias, "The experience machine: Stan VanDerBeek's movie drome and the expanded cinema" de Gloria Sutton e "Between the black box and the white cube" de Andrew V. Uroskie. Para demonstrar esta hipótese trago a obra "Line describing a cone" de Anthony McCall, "Shutter interface" de Paul Sharits e "Movie drome" de Stan VanDerBeek. Todas as obras foram estudadas a partir de textos escritos pelos próprios artistas.


OTHER FORMS OF RELATIONSHIP WITH THE PROJECTED IMAGE: FROM THE
SCREEN PLANE INTO SPACE
ABSTRACT: The assay is aimed to reflect the migration of the cinema device to the spaces of art, with the aim to observe the changes that have occurred on that device, focusing on the relationship between projector/projected image/architecture of the exhibition space/body of the Viewer. It is assumed here that the expanded cinema anticipates many of the issues that guide the North American production of the 1960 and 1970. This moment marks the passage of modern sculpture to contemporary, which, under the influence of minimalism, abstraction and conceptual art, break the canons under which the modern sculpture sat and founded new spatial relationships. This calculation takes place by means of the reading of "Between the black box and the white cube" of Andrew v. Uroskie, "Modern sculpture reader" organized by John Wood, David Hulks and Alex Potts, "Language of new media" Lev Manovich, "technology in art: photography to virtual reality" of Edmond Couchot, "the complex art-architecture" of Hal Foster, "sculpture in the expanded field" and "Passages" by Rosalind Krauss , "Inside the white cube: the ideology of the art space of Brian O'Doherty," Sculpting space "by Agnaldo Farias, The experience machine: Stan VanDerBeek's movie drome and the expanded cinema" de Gloria Sutton and "Between the black box and the white cube" of Andrew v. Uroskie. To demonstrate this hypothesis I present the works "Line describing a cone" of Anthony McCall, "Shutter interface" by Paul Sharits and "Movie drome" of Stan VanDerBeek. All the works were studied from texts written by the artists themselves.

This is my recent contribution to <Art in Culture>, Korean monthly art magazine, as part of my bigger project of writing an alternative lineage of contemporary Korean art scene, say, for the past 20 years.

Limited by time and space, I mainly focused on what I'm tempted to call a 'genealogical turn of media(art)' wherein a disparate group of artists engage with a series of dilapidated media technologies or 'dispositifs' such as shadow play, praxiscope, and phantasmagoria in such a way that even VR apparatus is rendered so to speak 'outdated' in advance.

(Originally I was asked to write about 'main features and prospects of (Korean) video art since 2000 'till now.' In a sense, then, you can read my article as an oblique defiance, if not a downright refusal, to suscribe to the old idea of 'video art' in favor of subterranean mutations set in motion albeit quietly)

Currently being updated, it will hopefully come out as a scholarly article in a revised and expanded format sometime later this year.

Between the Black Box and the White Cube sets out to recover what Uroskie sees as the origins of expanded cinema in post war moving image strategies. The recovery of such practices and strategies are seen as a necessary task in order to better understand the renewed interest of moving image work in the gallery environment. The title refers to the contested models of spectatorship that are outlined as the theatrical model of the cinema that is the black box, and the white cube of the art gallery. The book puts forward a model for not only understanding the cinematic as present in aspects of post war art, but more importantly, he positions the question of understanding that cinematic imperative as a question of the move from material specificity to site and situation. The book has as its main concern this neglected approach to expanded cinema that Uroskie sees as necessary to recover in order that we more fully understand and can conceive of practices of showing in a gallery context. Uroskie elucidates the work of a number of what he notes as forgotten artists of the 1950s and 1960s and repositions the work of better-known artists. This return to expanded cinema provides for the reader of film studies and art history a bridge from which the arrival of increasing amounts of moving image work in the gallery context can be viewed from the renewed perspective of site specificity, asking not what is cinema, but where? Uroskie builds his argument from an examination of the history of multi-screen presentations that he terms as industrial expanded cinema, such as Francis Thompson and Alexander Hammid film which was exhibited at the New York World's Fair in 1964 To Be Alive! Uroskie notes that this type of non-radical expanded cinema was characterised by its concern for immersion rather its forte was in overloading the newly construed active subject with data. Resisting Gene Youngblood's notion of expanded cinema formulated as the aesthetics of technology opening up new consciousness, Uroskie wants to divulge a tradition that situates itself away from the European art cinema and the structural avant-garde. The

Expanded Sexual Response (ESR) is a recently defined phenomenon. It is defined as "being able to attain long lasting and/or prolonged and/or multiple and/or sustained orgasms and/or status orgasmus that lasted longer and more intense than the classical orgasm patterns defined in the literature". During our detailed preliminary survey to investigate the claimed ESR phenomenon in some particular women, we also investigated the subjective feelings and altered states of consciousness (ASC) during very intense and prolonged orgasms in the women with ESR. During our preliminary survey 72 types of different subjective feelings and ASC patterns were described in the 47 women with ESR. Among these were: depersonalization; out of body experience; flying; dying feeling (petit morte)

My thesis project explores how cinematic space can be articulated within an acoustemological framework. Re-situating cinema within a sonic – rather than a visual – ontology affords a capacity for privileging sensory and sensual forms of mediation that have been for the most part subsumed by the dominance of the image. Transmissions from the Technological Sublime is an audio-visual work comprising seven audio channels (comprising six regular speakers arranged in a hexagonal array and one subwoofer) as well as a durational, large-scale, 3D animated video projection employing an extra-wide aspect ratio of 16:3.
This project draws upon an expanded notion of sound as a medium that is not only vibratory but also anamnetic, encompassing the immaterial as well as the tactile and manifesting itself as topological, temporal and subjective. It also approaches the idea of space as a site that embraces the cognitive and cultural, and that can thus be similarly apprehended as both imaginary and substantive. Building upon a broadened approach to field-recording as a central research methodology and deploying the affective and tactile capacities of sound to bring a fictional, animated environment to life, the project seeks to engender an awareness of space that is vibratory, textural and evolving, rather than merely perspectival or fixed.

La escenografía digital agrupa un conjunto de técnicas y tecnologías que permiten contar con una solución adaptable a una variedad de puestas escenográficas únicas, reales o virtuales, con características de portabilidad sin precedentes, funcionando como complemento a la iluminación y a la escenografía tradicional, creando una herramienta innovadora para un nuevo tipo de narrativas adaptadas a la multiplicidad de medios de la época.
Usada en escenarios creados íntegramente en el espacio virtual ( video juegos, realidad virtual ), o parcialmente ( cine digital con pantallas verdes ) o trabajando en vivo sobre el espacio real ( puestas de teatro, operas o parques temáticos ), la escenografía digital es un acercamiento que permite traer a la realidad escenas que antes solo podían ser imaginadas.

Praktyki powtórzeniowe w sztuce performance godnie z rozpowszechnioną interpretacją, specyfika sztuki performance leży w "niepowtarzalności" działania artystycznego, które może zaistnieć tylko raz, w konkretnym miejscu i czasie. Tego rodzaju interpretacja stanowiła jeden ze źródłowych kontekstów sztuki performance: narodziła się wraz z nią, by na długie lata ukształtować jej samoświadomość i autodefinicję. Po dziś dzień -pomimo krytycznych przewartościowań dokonujących się tak w dyskursie teoretycznym, jak i w sferze samych praktyk artystycznych -pogląd o zasadniczym przeciwieństwie performance'u i powtórzenia nie zatracił swej atrakcyjności oraz siły oddziaływania. Wyrazem tego jest słynne, często przywoływane stwierdzenie Peggy Phelan: Z "Performance żyje jedynie w teraźniejszości. Performance nie może zostać zachowany, zarejestrowany, udokumentowany ani też w inny sposób uczestniczyć w obiegu reprezentacji, które reprezentują inne reprezentacje: gdy tak się jednak dzieje, staje się on czymś innym niż performance. […] Byt performance'u […] staje się sobą poprzez swoje zniknięcie.

Alcoz, Albert, Radicales libres. 50 películas esenciales del cine experimental. Barcelona: Editorial UOC, 2019.

http://www.editorialuoc.cat/radicales-libres

Colección: Filmografías esenciales

Transcurriendo en paralelo a las rupturas estéticas de las vanguardias artísticas de principios del siglo XX, el cine experimental investiga el potencial del medio cinematográfico a través de sus posibilidades formales y su trasfondo crítico. Estas prácticas fílmicas interrogan las imágenes y los sonidos tecnológicos vindicando un espíritu autodidacta, narraciones atípicas, formulaciones abstractas y temporalidades inusitadas. Radicales libres analiza cincuenta obras fundamentales que constatan el desarrollo de la experimentación desde la década de los años 20 hasta la actualidad. De la sinestesia de la música visual a la transgresión del surrealismo; del vigor autobiográfico del «cine lírico» al reciclaje matérico del found footage; del minimalismo del structural film a la irradiación del expanded cinema; del discurso metafílmico del cine-ensayo a la pausa del documental contemplativo y del elogio fotoquímico del celuloide al cine de artistas en el cubo blanco. Libertad y radicalidad fundamentadas de modo cinemático.

El presente Proyecto Final de Master se centra en la ejecución de una instalación audiovisual tomando como eje la temática de la memoria personal y reflexionando sobre los diferentes procesos que participan en su construcción. Debido a la multiplicidad de aristas que presenta esta temática, nos detendremos, sobre todo, en las relaciones multidimensionales (hipertextuales/hipermediales) que efectuamos entre nuestros recuerdos, en las apropiaciones de material externo que incorporamos como propio a nuestro archivo mnémico y en la influencia que imprimen los medios audiovisuales en la construcción de nuestra memoria.

This book maps the presence of moving images within the field of public art through encounters with passersby. It argues that far from mere distraction or spectacle, moving images can produce moments of enchantment that can renew, intensify, or challenge our everyday engagement with public space and each other. These artworks also offer frameworks for understanding how moving images operate in public space—how they move viewers and reconfigure the site of the screen. Each chapter explores a mode of address that examines how artists and curators leverage the moving image’s attentional power to engage audiences, create spaces, make place, and challenge assumptions. This book also examines the difficulties and compromises that arise when using urban screens for public art.

Sample is available through publisher's website. Ebook downloadable from your library, should they acquire it.

A imagem fluxo e o espectador no espaço institucional da arte

Cristiane Herres Terraza & Lorena TravassosResumo
O artigo dispõe-se a refletir sobre a obra The Clock (2014), de Christian Marcley, em suas possibildades de fruição, como proposição artística que atende à categorização empreendida por Parente (2009) de cinema expandido, considerando a atitude do espectador impelida pelas experiências da flaneurie e da basbaque. Além desses conceitos, tem-se em conta o aporte teórico que trata do cinema lento e do espectador pensativo em relação à provocação primeira da referida obra: o tempo. Palavras Chave: estética da recepção, cinema expandido, espaço institucional da arte.
Palavras-chave: estética da recepção, cinema expandido, espaço institucional da arte.

Surface and Projection is an investigation of the cinema event, defined as image, projection, space and audience. The project interrogates the place where cinema occurs for the viewer, starting with the special viewing conditions for film watching and the accepted roles they create for the film maker, the exhibitor and the spectator.

The artworks in Surface and Projection have been a series of reassemblages of the elements of the cinematic event. The film installation Moving Still Life is the key work.

The report starts by defining the event of cinema, drawing on French film theorist Jean-Louis Baudry’s 1970 essay Ideological Effects of the Basic Cinematic Apparatus. As Moving Still Life took shape, identifying its art and film historical contexts became part of the wider investigation of the cinematic event. Section 2 teases out resonances with Italian Arte Povera and outlines a brief history of super 8 art film making in Australia. It links these to the specific material grounds of Moving Still Life. Art in the public domain is discussed as the art work was initially conceived as an installation for outdoor public spaces.

Section 3 discusses expanded cinema, a primary art historical context. There is a general survey of this early intermedia form as it developed in the US and Europe and its presence in Australia.

While I make a case for the four elements that comprise the cinematic event, I expand upon the development of the artwork, where image became a dominant strand of its own. A specific form of film making evolved, focusing on the layered image. The final sections of the report, ‘Image’ and ‘Sequence’,  focus on this image work, drawing on Umberto Eco’s 1960 essay The Open Work and American art writer Rosalind Krauss’ writing on installation and post-medium artwork. The deconstructive ethos of the project leads to an analysis of the frame within the sequence and the attacks on the frame made by Moving Still Life and my image work in general. The analysis of sequence within moving images, draws on a seminal 1945 essay by American writer Joseph Frank, Spatial Form in Literature. This builds to a discussion of new media, interrogating its claim for interactivity in moving images, an impossibility while the frame remains the primary unit.

The reflection on the pervasiveness of technologies in society and in contemporary artistic practices opens up multiple scenarios on our near future. Overcoming the classic dichotomy art + technology, the new areas of research are complex and full of implications: hyperintelligence; the posthuman between cyborg and anthropocene; the Expanded Internet Art; from reality extended to vide-ogame art; sound art; the artist as inventor. The second volume of the "I Quaderni della Collezione Farnesina" series is dedicated to identifying these new scenarios and identifying the new artistic trend, with particular attention to Italians whose first global mapping is carried out. Studying their work, understanding the disruptive potential of their lateral thinking, allows us to acquire essential reading tools of our hyper-technological society, even in the field of technology and science.

La presente investigación busca analizar a través de la antropología visual cómo funcionan las nociones de autoría y colaboración en la producción de documentales interactivos colaborativos. Ya que a diferencia del documental tradicional donde la ruta es preestablecida por el director, la participación del usuario se convierte en el elemento clave que articula todo el sistema. Por tanto, los límites de la autoría y de control sobre el discurso no están claramente delimitados. Para ello me focalizaré en tres actores que se movilizan los unos a los otros, creando un entramado complejo de relaciones: el autor, los sujetos representados y los usuarios. Por medio de estas figuras busco llegar a entender si es posible hablar de autorías compartidas en el documental interactivo y los niveles en los que puede operar.

The images produced by cameras mounted on the front of projectiles Farocki designates them as operative-images. The operational function of these images is to serve a automated vision machine, programmed for the detection of targets and re-orientation of the route of the missiles. The most important feature of technical images, according to Vilém Flusser, is that they materialize certain concepts about the world, precisely the concepts that guided the construction of devices that shape them. Thus, photography, very unlike automatically record impressions of the physical world, transcodes certain scientific theories into images, or to use Flusser´s own words, turns concepts into scenes. We suggest that the final stage, the perfect crime, of visionic technologies would be the production of synthetic images not intended for biological human eye, as hitherto, but for the artificial vision - vision synthetically prepared by cybernetic ideology of control. Today is impossible to describe the development of the audiovisual without also talking about the development of virtual imagery and its influence on human behavior or without point to the new industrialization of vision and the growth of a big  market for synthetic perception, with all the ethical issues that this entails. Finally, we propose that to understand a significant part of Harun Farocki's late work would also be useful the concept of neural-image as a component of a networked media practice, related to the ubiquity of digital technologies but also with the presence of surveillance devices in our contemporary visual culture.

The audiovisual history charted in chapter two is here revoiced in terms of spatial expansion. It is argued that video technology did not initiate a new form of creative engagement with its performance spaces, but rather represented the peak of a spatial expansion that had been gathering pace throughout the twentieth century. As musicians explored their spatial parameters and artists included time in their work, attention was drawn to traditional viewing and listening procedures. Drawing on the theories of László Moholy-Nagy, Siegfried Giedion, Christopher Small and Brian O’Doherty, this chapter compares the conventions of gallery exhibition and display, viewing procedures and audience behaviour with the customs and aesthetics of listening in the traditional concert hall. Performance and installation art, aleatoric music and communal composition are used to propose a theory of spatialised creativity, audience activation and performativity.

ISBN: 978-0-9939520-0-5

2014 EBook Proceedings INTERACTIVE NARRATIVES, NEW MEDIA & SOCIAL ENGAGEMENT

An interdisciplinary conference for researchers and practitioners.  How has the digital screen changed our world in general and narrative and visual arts in particular is the broad focus of the second Department of Spanish and Portuguese at the University of Toronto and BRAFFTV Film and Media international Conference. We are interested, for instance, in the evolution of narrative practices from text-based literature to the advent of the digital revolution as storytelling moves from literacy to so-called post-literacy. The prevalence of new interactive digital narrative in all areas from games, to literature, to films, to video art has resulted in new forms of storytelling and, accordingly, provoked new practices of reading that transforms readers/viewers into active collaborators. We are interested in exploring transmedia, intermediality, the role of social media and digital globalization as well as narratives in games and graphic novels. Also, the impact of the digital screen on art and new exhibition practices. Physical public space is increasingly being substituted or augmented by virtual space through digital screens (e.g. video, film, computer). What effect do these new developments have on social space, seen here as encompassing both physical public spaces (streets, hotels, coffee shops) as well as virtual space (YouTube, Vine, Facebook, Twitter, Tumblr, Orkut, etc.)? How do these novel practices effect previously clearly demarcated frontiers between the public and the private? Throughout the world, from Brazil to Turkey to Canada, we have recently witness the influence of social media on political participation. How have these new platforms engendered innovative forms of expression? The Conference aims to bring together researchers, practitioners and theorists for a two-day conference at Victoria College at the University of Toronto on October 24-25. The presented papers will be evaluated for possible inclusion in a special issue of a journal on the proceedings. The following key topics/areas will be emphasized during the conference: 1. Intermediality, Transmedia and Remediation; 2. Expanded Cinema and Digital Screen Aesthetics; 3. Transnational Cinema and International Co-Productions; 4. Digital Animation and Games: Narrative and Interactivity; 5. Snack Media, Mobile Screens, Micro Movie, and Microblogging; 6. Social Media Engagement and New Technologies; 7. Hacktivism and Political Engagement; 8. Digital Art and Literature (eBooks, eReaders).

Cinema apesar da imagem problematiza as telas, justamente as telas, tão presentes e afirmativas de seu formato mais hegemônico. Mas não se trata de lamentar a tela, muito menos a imagem. É o cinema sim, ou os fragmentos de sua constante expansão, flertando com outras possibilidades, esbarrando na vida. É a constatação de que não são mais apenas nas salas escuras, ocupadas por um público que compartilha cumplicidades tácitas, que o cinema acontece.

Há uma sugestão nas entrelinhas, de que libertar a imagem de suas molduras, a faz circular para além das convenções. Mas seria uma suposição simplista. O que aqui se reflete no ler e no imaginar (no fechar dos olhos, talvez) é um alargamento de linguagens, um diálogo geopolítico, a expansão de uma rede, em perspectivas que apontam não apenas para o visual, mas também para o textual, o interativo, o participativo, o sensorial, o portátil, o tempo real, o continuum das imagens.

Se um dos estigmas do cinema são suas crises anunciadas, há outras perspectivas latentes: num cinema como evento, no imbricamento entre processos (técnicos, logísticos, sensíveis), na engenharia de dispositivos, na reinvenção da gestualidade, em uma experiência cotidiana através das imagens — inclusive nas viagens promíscuas que o digital engendra —, que podem permitir ao espectador alguma experiência incomum em nosso momento contemporâneo. E se a disputa pelos modos de ver o mundo é um dos embates sensíveis da atualidade, a iniciativa (este livro e os acontecimentos que o gestaram) nos convence da importância de adensar debates e explicitar articulações, reconhecendo diferentes entendimentos sobre a tela e uma diversidade de expressões para além dela. As muitas ameaças ao cinema parecem fazê-lo cada vez mais onipresente, potente e múltiplo. (Lucas Bambozzi)

Interaktywność, w wypadku sztuki rozumiana jako otwarcie dzieła na ingerencje odbiorców, prowadzące do przeobrażenia tradycyjnego, obiektywnie istniejącego i a priori ukształtowanego artefaktu w indywidualizowane w doświadczeniu odbiorczym wydarzenie 1 , pojawiła się w zauważalny sposób 2 w twórczości artystycznej już w latach pięćdziesiątych i sześćdziesiątych ubiegłego wieku 3 . Rzeczywisty rozkwit odnotowała ona jednak dopiero w kolejnych dekadach, za sprawą rozwoju technologii cyfrowej. Jej wzrastająca obecność we wszystkich sferach praktyk twórczych miała konsekwencje nie tylko dla dynamiki i skali rozwoju sztuki interaktywnej. Nadała także interaktywności nowy wymiar, nowe możliwości i jakości oraz wprowadziła ostatecznie sztukę interaktywną do kręgu najbardziej cenionych i najszerzej dyskutowanych zjawisk artystycznych ostatniej dekady minionego stulecia. Obecnie status interaktywności w sztuce powoli ulega zmianie; przestaje być ona pożądana dla niej samej czy też ze względu na właściwości bezpośrednio z nią powiązane (na przykład dotyczące konstrukcji interfejsu, struktury doświadczenia komunikacyjnego czy architektury informacji), lecz zaczyna być podporządkowywana podejmowanej problematyce, wykorzystywana przez artystów w różnych nowych dla niej celach, także takich, w ramach których jest sprowadzana do roli narzędzia dla aktywności wykraczających poza dotychczasowe granice twórczości artystycznej (na przykład: ekologicznych, politycznych, poznawczych). Uzyskiwane w ten sposób efekty przesłaniają niekiedy (i przenoszą na drugi plan) interaktywność dzieła, kierując zarazem uwagę odbiorcy ku podejmowanej problematyce (także niekoniecznie wyłaniającej się z interaktywności). Za przykład może posłużyć Image Fulgurator (2008) Juliusa DVD bądź interfejsem komputerowym, a nie z filmem. W innym rozdziale Cinema in the Digital Age, poświęconym problematyce nielinearności, tytułowe zagadnienie, powiązane w swej naturze z interaktywnością, zostało z kolei sprowadzone jedynie do rozważań nad nielinearnym montażem (autorskim), z pominięciem zagadnień nielinearnego odbioru 12 .