Instalacije / Panorame 360° / Panoramas 360° > Medij v sliki - Slika v mediju / Media in the Image - Image in the Media

Panorame 360° / Panoramas 360° > Medij v sliki - Slika v mediju / Media in the Image - Image in the Media

Razstava interaktivnih panoram in digitalnih grafik. Produkcija ArtNetLaba v sodelovanju z Akademijo za likovno umetnost in Fakulteto za računalništvo in informatiko Univ. v Ljubljani.

Umetniki/Artists:
Klara Steedman
Sebastjan Leban & Staš Kleindienst
Netta Norro
Vasna Čadež
Artur Felicijan
Luka Umek
Tilen Žbona
Vanja Mervič
Dominik Mahnič
Anja Čigon & Brina Torkar
Maja Smrekar

Programerji/Coders:
Roman Oblak
Uroš Modlic
Robert Njenjić
Gregor Ambrožič
Simon Gerhold
Klemen Grilc
Simona Vogrinc
Andreja Plut
Slaviša Jovanovič

http://black.fri.uni-lj.si/forum/viewtopic.php?t=152

Lev Manovič se v enem svojih genealoških pregledov komunikacijskih modelov preteklosti posveti razliki med dvema tradicijama podobe: med na eni strani uokvirjeno podobo renesančne štafelajne slike ter na drugi tradicijo fresk in mozaikov. Okvir slike kot ekrana pripada tradiciji reprezentacije, kjer je gledalec strogo ločen od upodobljenega sveta in nepremično postavljen predenj, freske pa s principom iluzionizma vstopajo v gledalčev svet ter zato sodijo v tradicijo simulacije, ključno za razumevanje npr. virtualnih realnosti. Kriterij razlikovanja je, da tradicija ekrana (statični »klasični ekran« slike, »dinamični ekran« filma in videa, »ekran realnega časa« radarja, videa v živo, računalniškega ekrana) sooča dva svetova na različnih merskih skalah, medtem ko simulacija sooča svetove na enakih skalah, meje med njimi so zato zabrisane.
Reprezentacijska tradicija je prevladovala v postrenesančni kulturi, vendar pa je ob njej obstajala tudi močna tradicija podobe-simulacije, še posebej v devetnajstem stoletju obsedenem z naturalizmom: muzeji voščenih lutk, diorame naravoslovnih muzejev, kiparstvo v človeški velikosti (Rodin: Les Bourgeois de Calais). Vmesno mesto med statičnostjo klasičnih simulacij in virtualno realnostjo, kjer podoba ni le dodatek k realnemu prostoru ampak prekrije celotno uporabnikovo vidno polje, pa zavzema panorama devetnajstega stoletja. Podoba s kotom 360°, ki obdaja gledalca, prevlada nad prostorom, v katerega je postavljena. Prostor za ogledovanje na sredini panorame je podaljšek simuliranega sveta, ki zato ni več le dekorativni dodatek realnemu.
Interaktivne panorame študentov Akademije za likovno umetnost Univerze v Ljubljani ne težijo k totalni iluziji in lastni razpustitvi v vsezajemajočih virtualnih okoljih, ampak še enkrat prevprašujejo status podobe danes, razpete med tradicijo ekrana, Manovičevo »podobo-instrument« ter implikacije povezane z vzporedno tradicijo simulacije, ki jim panorame pripadajo. Umeščajo se v vmesni prostor, kjer postane podoba izkristalizirani artefakt, ki zrcalno ustreza uporabnikovemu stopanju v odnos z delom.

mag. Aleš Vaupotič
ArtNetLab

Lev Manovich in one of his genealogical surveys of the traditions of communicational models focuses on the differences between two types of image: the framed image of the renaissance easel painting on the one hand and the traditions of frescos and mosaics on the other. The frame of the picture as a screen belongs to the tradition of representation by distancing the viewer from the represented world and fixing his/her position directly in front of the frame, while the frescoes however illusionistically enter the viewer’s world and thereby follow the tradition of simulation, which is also crucial in understanding virtual realities (VR). The main distinction is the fact that the tradition of frame (static classical screen of the painting, the dynamic screen of film or video image, the screen of real time in radar, live video or computer monitor) superposes two worlds on different scales, while on the other hand simulation superposes worlds on the same scale and thus blurs the borders between them.
The tradition of representation was prevailing in the post-Renaissance culture, however along with it the tradition of image-simulation was also strong, especially in the nineteenth century which has been obsessed with naturalism: wax museums, dioramas of natural history museums, sculpture on a human scale (Rodin: The Burghers of Calais). The midpoint between the static classical simulations and virtual reality where the image is not only an addition to the real space but instead it covers the whole user’s field of vision, are the nineteenth-century panoramas. The image that encloses the viewer with the 360 degrees angle dominates the space where it stands. The space in the middle of the panorama is the extension of the simulated world, which is not any more only a decorative addition to the real.
Interactive panoramas made by the students of Academy of Fine Arts, University of Ljubljana, are not oriented towards total illusion and the self-disintegration in the all-encompassing virtual environments, but rather they reflect once again the status of the image today, situated between the tradition of the screen, Manovich’s “image-instrument” and the implications connected to the parallel tradition of the simulation, that the panoramas actually belong to. They are situated in the space in between, where the image becomes a crystallized artefact, a mirror image of the user’s entering into the relation with the work.

Razstavni projekt študentov ljubljanske Akademije za likovno umetnost želi s točno določenimi deli, ki imajo skupni naslov "slika v mediju", pokazati na spremenjeno vlogo slike. Ta se v današnjem času spreminja ne samo zaradi vdora "medija v sliko", ampak tudi zaradi spreminjanja njenega statusa. Ta je v svojem konstitutivnem bistvu slikovna erogena površina, ki v akciji, recepciji in interpretaciji tako avtorja kot gledalca, postaja močan operater realnega.
V našem primeru gre za medijsko posnete, fotografirane ali rendirane površine, ki v programskem modulu autostitch postanejo 360 stopinjske panorame. Iz te razdalje - utopične točke stojišča - vstopa intervencija avtorja, ki kodira svoje sporočilo. Koncept igre, ne nekoč ampak sedaj, reprezentira premik od dovršenega k nedovršenemu, ki je ena od prepoznavnosti slike v mediju.Vse ostale imediacije prehodov od privatnega življenja v javni prostor pa so že tako ali drugače stvar vseh današnjih umetniških praks in same po sebi ne določajo nobenega posebnega statusa več.

With especially selected works under the joint title 'images in the media', the exhibition project set up by the students of the Ljubljana Academy of Fine Arts who wish to point out the changed role of the painting. Today, this is changing not only due to the intrusion of the 'media into the picture' but also because of the change in its status. In its constitutional essence this is a painting erogenous area, which is - in the action, reception and interpretation of the author and the viewer - becoming a strong operator of reality.
In our case we are dealing with filmed, photographed or rendered areas, which become 360 degree panoramas within the autostitch programme module. From this distance - the utopian standing point - the intervention of the author, who codes his message, steps in. The concept of the game, not in the past - but now, represents a shift from the defined to the undefined, which is one of the recognisable aspects of the painting in the media. All other mediations of transformations from the private life into the public sphere are anyway subject to all contemporary artistic practices and in themselves no longer define a specific status.
Kaj: Instalacija
Kdaj: pon, 29.5.06
ob 21.00 do tor, 6.6.06
Kje: Mostovna, IX. korpusa 99A, Nova Gorica
Vstopnina: prost vstop

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