Real and Imagined
Asynchronous Session
Understanding Digital-altered Photographs Through Photographers’ Views of Reality: A Case Study of Jessica Labatte’s Spotting Project View Digital Media
Paper Presentation in a Themed Session Yi-hui Huang
Digital-altered photographs are now popular among artists due to advancements in digital technology. Manipulating or compositing, artists who produce digital-altered photographs not only deliver impressive technological effects, but also, and perhaps more importantly, capitalize on the style’s ability to express their particular messages. To gain a better understanding of these photographers’ digital-altered photographs, I propose that we investigate the artist’s views of reality by asking, “What is your definition of reality?” and “How do you visualize your reality in your digital-altered photographs?” This paper cites contemporary photographer Jessica Labatte’s Spotting projects as an example. Based on the analysis of Labatte’s views of reality and the interpretation of her views through theories, her view exemplifies British philosopher John Locke’s empiricism and the knowledge her photographs provide to viewers is realist representation of hidden and unseen bodily experiences. This study has implications for how digital-altered photographs can be studied and taught in college-level photography classes.
"Daedalus Dreams" – Human-Drone Interactivity in Performance: Working with the Materiality and Theatricality of Drones in Devised Dance-theater View Digital Media
Paper Presentation in a Themed Session Eric Handman
Daedalus Dreams is a dance-theater production by choreographer Eric Handman (University of Utah), movement artist Scotty Hardwig, and visual artist Zach Duer (both from Virginia Tech), that weaves drone technology, human movement, into a modern reimagining of the tragedy of Icarus and Daedalus. The research used a devised theater methodology to explore the creative potential between a human performer working with two Mavic drones. At times, the drones are piloted offstage, and at others were deployed autonomously using their onboard tracking software to manifest real-time interactivity with the performer. Working with drones is to engage pragmatic and ethical questions that can arise from the symbolic, mechanical, and material affordances that they embody. Much of this research was to locate and then integrate those material affordances for theatrical effect. Specifically, the drones’ sound, capacity to illuminate and generate wind turbulence produced the unexpected artistic media for this new work of dance-theater. As the project expands, it will continue to explore novel applications of choreographic thinking, human-drone interactivity in shared spaces, and expand the discourse around the aesthetics of surveillance technologies in contemporary performing arts.
The Emancipation of the End: The Post-Apocalyptic as a Cinematic Genre View Digital Media
Paper Presentation in a Themed Session Carmen Sáez González
In recent years, the post-apocalyptic has gained significant prominence in our culture. This concept has been employed to define situations, spaces, and periods without distinction, referring to something decadent, in ruins, empty, or that has developed following any type of catastrophe. In cinema, this concept has become increasingly prevalent, resonating with critics and audiences alike to define a particular audiovisual genre centered around the end of times. However, what truly constitutes the post-apocalyptic in cinema? Is it merely a collection of films, or is it a distinct category or genre with defined conventions and patterns? Can we separate these works from apocalyptic or disaster cinema? This study aims to address these questions by conducting an analysis of the emergence and evolution of apocalyptic themes in cinema, drawing insights from relevant scholarly literature. Through this exploration, we seek not only to understand the cinematic post-apocalyptic but also to illuminate its broader cultural significance in reflecting societal fears, hopes, and collective imaginings in an ever-changing world
From Mistake to Event: For a Pedagogical Use of the Poor Images View Digital Media
Paper Presentation in a Themed Session Breogán Torres Gutiérrez
This project arises from two specific concerns. The first one, to educate in the fact that the material means and the different contexts in which a work of art is born condition the work itself. The second, this does not make a proposal without budget or that arises from a situation of minimums to be less valuable; on the contrary. The basic issue is not to try to imitate high-resolution images with resources that do not fit them, but to think of an aesthetic logic that does not create the visual hierarchies that make us desire these results in the first instance. Thus, we can find tools and ways of expression very rich in the edges, without the need of an economic investment. To discover them we will use as a tool the concept of "poor image" created by the artist and theorist Hito Steyerl. From it, we will review notions of image hierarchies and we will try to question them from referents such as Arthur Jafa, Phil Solomon or Erlea Maneros Zabala.
