Ruce v digitálním obraze: materialita tapisérií v autorském dokumentárním filmu
(2025)
author(s): Petr Vasku
connected to: Janáček Academy of Performing Arts (JAMU)
published in: ArteActa – Journal for Performing Arts and Artistic Research
In this exposition, I invite you to the process of research carried out in the tapestry manufactory in Valašské Meziříčí. It aims to find out how to convey tapestries' craftsmanship, mediality and materiality through filming and post-production. The theme of transformation is essential: the transformation of the tapestry into a film image, but also the transformation of painting or graphics, which were the precursors of the tapestries woven in the manufactory. I am also looking for ways to use a primarily representational medium to achieve an effect of presence through materiality and corporeality. In my research, I interlace observational passages with stylized ones that emerge from a creative dialogue between the materiality of different media, artistic techniques, or post-production interventions. These methods can deepen not only the viewer's experience but also the documentary testimony and convey an almost tactile encounter with the filmed reality. Finally, based on practical experience, I distinguish working with materiality in film into three analytical cuts.
V této expozici zvu do procesu výzkumu, jak skrze natáčení a postprodukci filmu o gobelínové manufaktuře ve Valašském Meziříčí zprostředkovat řemeslnost, medialitu a materialitu tapisérií a recipročně i filmové technologie. Podstatným je tedy téma proměny. Proměny tapisérie ve filmový obraz, ale i proměny malby či grafiky, které byly předobrazem v manufaktuře utkaných tapisérií. Paralelně hledám možnosti, jak pomocí média, které je primárně reprezentativní, docílit skrz materialitu a tělesnost účinku prezence. Ve výzkumu střídám observační pasáže se stylizovanými, které vzešly z tvůrčího dialogu materialit odlišných médií, výtvarných technik či postprodukčních zásahů. Tyto metody mohou prohloubit nejen divácký prožitek, ale i dokumentární výpověď a zprostředkovat až taktilní setkání s natáčenou skutečností. Nakonec na základě praktické zkušenosti rozlišuji práci s materialitou ve filmu do tří analytických řezů.
Pozorování a jeho popis
(2025)
author(s): Roman Štětina
published in: Research Catalogue
(CZ)
Předmětem mého výzkumu je ekfráze – detailní obrazný popis, který svou přesvědčivostí vyvolává ve čtenářově či posluchačově mysli vizuální představy nebo jiné multisenzorické, emocionální a estetické prožitky.
Prostřednictvím setkání a rozhovorů s lidmi z různých oborů se snažím přiblížit roli popisu napříč historií i rozličnými oblastmi lidské činnosti. Zkoumám, jak se měnilo postavení popisu coby kdysi esenciálního stavebního prvku rozhlasových pořadů. Dále jeho význam a užití jako jedné z prvních forem reprodukce umění, analytického kunsthistorického nástroje nebo nedílné pomůcky při interpretaci výtvarných děl. Zaměřuji se také na jeho aplikaci v podobě promptu pro generátory obrázků založených na strojovém učení a trénování neuronových sítí. A věnuji prostor také úloze popisu v životě nevidomých a zrakově hendikepovaných i jeho funkci jako klíčového nástroje v psychoterapeutické praxi.
Podstatnou součást práce tvoří sdílení konkrétních pedagogických postupů při výuce umění v intermediálním ateliéru na Akademii výtvarných umění v Praze (AVU) a v kurzu intermediální přípravky tamtéž. V tomto prostředí, kde se často pohybujeme mezi médii, hraje ekfráze zásadní roli – umožňuje překlenout mezeru mezi slovy a obrazy, respektive plní roli žánru prostředkujícího mezi médii.
V závěru disertační práce prezentuji vlastní umělecký audit v podobě autorské knihy. Zároveň uvádím sbírku ekfrází převážně fiktivních uměleckých děl, které jsem během svého výzkumu nashromáždil od studujících a vyučujících na AVU.
úvodní ilustrace: Martin Groch
(EN)
My research topic is the ekphrasis, i.e., a detailed figurative description that, with its conclusiveness, evokes visual images or other multisensory, emotional and aesthetic experiences in the reader’s or listener’s mind.
Through meetings and interviews with people from different disciplines, I try to approach the role of description throughout history and various areas of human activity. I examine how the notion of description as a historically essential building block of radio programmes has changed. Furthermore, the emphasis is put on its importance and use as one of the first forms of art reproduction, as an analytical tool for art historians or as a crucial device for artwork interpretation. I also focus on its application in prompting of image generators based on machine learning and neural network training. And I also consider the role of description in the lives of the blind and visually impaired as well as it being a key tool in psychotherapy.
A substantial part of the work is dedicated to the dissemination of specific pedagogical practices in teaching art in the Intermedia Studio at the Academy of Fine Arts in Prague (AVU) and in the intermedia preparatory course there. In this environment, where we often switch between various media, the ekphrasis has a crucial role. It allows us to bridge the gap between words and images, or rather it represents a genre that mediates between the given media.
In the conclusion of my dissertation, I present my own artistic audit represented by my artist's book. At the same time, I present a collection of ekphrases of mostly fictional works of art that I collected from students and teachers at the Academy of Fine Arts during my research.
thumbnail by Martin Groch
The Salford samples
(2017)
author(s): Joanne Scott
published in: Journal for Artistic Research
The Salford Samples is a practice-as-research project in intermedial place-making. Using materials that arise from the city of Salford, including fragments of its cultural history, an autobiographical audio diary, and images/footage of the place itself, a range of shifting combinations are created. Through the mixing of diverse materials, as part of live performances and in online 'video-texts', issues related to this fast-moving, redeveloping, and conversely traditional and static place, arise. Specifically, questions around 'solastalgia' or 'the distress that is produced by environmental change impacting on people while they are directly connected to their home environment’ (Albrecht et al. 2007, 95) emerge. In addition, these factors both foster and disrupt 'place-attachment' in a contemporary urban environment.
Swap Space
(last edited: 2023)
author(s): Hanns Holger Rutz, David Pirrò, Nayari Castillo-Rutz, Shane Finan, Franziska Hederer, Jackie Karuti, Alisa Kobzar, Daniele Pozzi
This exposition is in progress and its share status is: visible to all.
Swap Space is a pilot project at KUG Graz that focuses on novel forms of collaborative artistic research in which otherness, difference and distance between the participants are central and are brought into a cohesive form via the concept of the spatial. Selected questions and previously sketched procedures are an important part of Swap Space and will be tested for their validity and feasibility in a time-limited experiment among six artists-researchers as a proof-of-concept. Thus, on the one hand, the pilot project provides important data and preliminary results, sets the course and ensures that the future project design is viable. On the other hand, Swap Space takes up new decisive impulses for thought - such as the concept of contact - the elaboration of which aims to determine the form of a multi-year research project.
Shifting identities : the musician as theatrical perfomer
(last edited: 2023)
author(s): Falk Hübner
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The artistic PhD research "Shifting Identities", by Falk Hübner, investigates the musicians' professional identity and how this identity might shift when musicians start acting as theatrical performers. In most of the theatrical situations where musicians "perform", their profession is extended by additional tasks such as walking on stage or reciting text. As an alternative strategy to extension, this research introduces and focuses on reduction, which means the abstracting away of specific qualities or abilities of the musician's profession. The audience watches musicians not doing certain things that usually belong to their profession. Both the expansive and the reductive approaches are concepts of working theatrically with musicians. They are different, perhaps even contradictory strategies, but both bear the ability to enrich the musician's professional identity with a more theatrical appearance. In order to build an understanding of what is extended or reduced when the identity shifts from a musician to a theatrical (musician-)performer a dynamic model is developed which builds strongly on what musicians actually do, a model that categorises the musician's professional activities into internal, external and contextual elements.
The Salford Samples is a practice-as-research project in intermedial place-making. Using materials that arise from the city of Salford, including fragments of its cultural history, an autobiographical audio diary, and images/footage of the place itself, a range of shifting combinations are created. Through the mixing of diverse materials, as part of live performances and in online 'video-texts', issues related to this fast-moving, redeveloping, and conversely traditional and static place, arise. Specifically, questions around 'solastalgia' or 'the distress that is produced by environmental change impacting on people while they are directly connected to their home environment’ (Albrecht et al. 2007, 95) emerge. In addition, these factors both foster and disrupt 'place-attachment' in a contemporary urban environment.open exposition comments (0)