Search results for "Levi"

Brain Damage

2020

Brain Damage. Un manifesto di psicofotografia dove ciò che si vede riesce a comunicare anche ciò che non si può percepire perché nascosto nei meandri della mente. Quattro progetti, quattro capitoli, “Craving”, “Doppelgänger”, “Lost in the K-Hole”, “Rorschach”, incentrati su differenti e autonome tematiche psicologiche, connesse l’una all’altra dalla presenza costante di tre elementi fondamentali: la mancanza, il desiderio, la sofferenza. Ciò che l’autore, durante i tanti anni di ricerca e lavoro, non ha potuto registrare istantaneamente, come nel caso di “Craving” e “Rorschach”, lo ha prima immaginato e poi ritratto alla maniera di “Doppelgänger” e “Lost in the K-Hole”. Non solo reportage, …

Brain Damage. Psicofotografia come coscienza immaginale

2020

BRAIN DAMAGE è formato da quattro progetti; quattro capitoli, “Craving”, “Doppelgänger”, “Lost in the K-Hole”, “Rorschach”, incentrati su differenti e autonome tematiche psicologiche, connesse l’una all’altra dalla presenza costante di tre elementi fondamentali: la mancanza, il desiderio, la sofferenza. Ciò che l’autore durante i tanti anni di ricerca e lavoro non ha potuto registrare istantaneamente, come nel caso di “Craving” e “Rorschach”, lo ha prima immaginato e poi ritratto alla maniera di “Doppelgänger” e “Lost in the K-Hole”. Non solo reportage, dunque, compongono il libro, ma anche regie. Per fotografare i deliri della mente, pur restando incredibilmente ancorati alla realtà, ci vu…

L'Italia "immersiva"

2016

Esempi di cinema in realtà virtuale italiani

The Third Memory: stati della finzione nell’arte di Pierre Huyghe

2013

This paper focuses on The Third Memory, a re-enactment of Dog Day Afternoon (Lumet, 1975) by French artist Pierre Huyghe. By starting with the theoretical perspective developed by Nicolas Bourriaud in Relational Aesthetics and Postproduction, the essay attempts to show how a relational reading of the re-enactment of Pierre Huyghe may represent a valid investigative tool to analyze the relationship between cinematic narrative structures and everyday life narrative structures, between fiction and reality, in the work of the French artist."and reality, in the work of the French artist.

Adam Santelli - Cannonball

2012

Il cinema dello smartphone

2017

Urban screen, videomapping e nuove forme di schermi fuori dalle sale

Prefazione

2010

Rappresentazione dello spazio urbano e dei corpi nel nuovo cinema del reale italiano: Sacro GRA

2020

Starting from the dichotomy set / city and city / set and the way in which bodies relate to it and offer themselves to the gaze of the camera (or the latter avoids them because if looked at it cracks the illusion of a show itself), and dwelling specifically on "Sacro GRA" (2013), the essay aims to demonstrate how the so-called "cinema of the real" does not take the form of a slavish return to twentieth-century realisms but as a research on forms of representation (of urban reality and the bodies that are inscribed in it) also through the use of unusual perspectives and points of view and different narrative and expressive styles that make the relationship between fiction and authenticity hy…

A look from outside Foreign photographers in Palermo between the 19th and the 20th century

2021

When photography entered the scene in the mid-19th century, the representation of Sicily consisted largely of drawings, paintings, and written accounts that foreign travelers made during the previous century and, even after the diffusion of the new medium, the photographic description of the island was mostly left to them. The continuity of this 'external gaze' motivated the choice of an analysis aiming to explain its influence over the photographic image of Sicilian cities. Using Palermo as a case-study, this article investigates the relationship between the previous visual tradition and the repertories of foreign photographers. Its purpose is to understand how their description of the cit…

Soft Cinema: creatività, software e automazione

2015

Soft Cinema: Navigating the Database is the result of a theoretical and artistic research conducted by Lev Manovich and Andreas Kratky with the aim of investigating the possibilities of cinema in the era of new digital technologies. The semi-automatic process of film-making that drives Soft Cinema depicts important aspects regarding the functioning of the software, algorithms and electro-computational automation. The essay, by extending the theoretical reflection of the authors, shows how these aspects play a crucial role in the development of new digital technologies and their relationship with contemporary capitalism.