Michele Barker will trace a creative genealogy between early moving image devices such as the praxinoscope and contemporary digital installations. Arguing that such devices are relational movement machines, Barker will explore more preindivduated perception from which moving bodies and media arise. Her talk will focus on her recent installation évasion (with Munster, 2014)
We want to show here how recent innovations called Motion Capture, still being tested in laboratory ...
Contemporary dance has only recently gained the capability of mapping imagery into 3D theatre enviro...
In Motion and Representation, Nicolás Salazar Sutil considers the representation of human motion thr...
Contemporary digital media art investigates intersections between art and science, often by recontex...
This paper will discuss how intimate acts of multimedia interactivity stimulate new forms of percept...
This Masters in Art and Design investigates a performance strategy for the deterritorialization of t...
The life sciences frequently borrow from the language of digital information in order to present a n...
Current machine vision systems produce a large number of images, many of which are never seen by hum...
The Perception is a Prism: body, presence and technologies1 – Starting from an interdisciplinary pe...
This research project originated in the questioning of the object in the physical space of the galle...
This paper analyses three recent works of art that interrogate the relationship between human percep...
The dependence of new technologies on established concepts of perception, such as the central perspe...
Unlike any kind of artistic representation, motion capture is faithful to nature. Therefore, the tra...
While it is often claimed that any connection between visual art and music is strictly subjective, t...
I propose that a learnt somatic experience of dance can translate into another discipline such as vi...
We want to show here how recent innovations called Motion Capture, still being tested in laboratory ...
Contemporary dance has only recently gained the capability of mapping imagery into 3D theatre enviro...
In Motion and Representation, Nicolás Salazar Sutil considers the representation of human motion thr...
Contemporary digital media art investigates intersections between art and science, often by recontex...
This paper will discuss how intimate acts of multimedia interactivity stimulate new forms of percept...
This Masters in Art and Design investigates a performance strategy for the deterritorialization of t...
The life sciences frequently borrow from the language of digital information in order to present a n...
Current machine vision systems produce a large number of images, many of which are never seen by hum...
The Perception is a Prism: body, presence and technologies1 – Starting from an interdisciplinary pe...
This research project originated in the questioning of the object in the physical space of the galle...
This paper analyses three recent works of art that interrogate the relationship between human percep...
The dependence of new technologies on established concepts of perception, such as the central perspe...
Unlike any kind of artistic representation, motion capture is faithful to nature. Therefore, the tra...
While it is often claimed that any connection between visual art and music is strictly subjective, t...
I propose that a learnt somatic experience of dance can translate into another discipline such as vi...
We want to show here how recent innovations called Motion Capture, still being tested in laboratory ...
Contemporary dance has only recently gained the capability of mapping imagery into 3D theatre enviro...
In Motion and Representation, Nicolás Salazar Sutil considers the representation of human motion thr...