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
Not at Home: The Uncanny Experiences of Radio Home Run
(2018)
author(s): Heather Contant
published in: Journal of Sonic Studies
In this paper, I attempt to better understand the Japanese media artist Tetsuo Kogawa’s concept of radioart by examining the relationship of this concept to movement. To do this, I focus on the Japanese term ika, which can be used to describe the uncanny feeling that results from aesthetic strategies, such as Viktor Shklovsky’s artistic techniques of defamiliarization or Bertolt Brecht’s alienating tactics of Verfremdungseffekt (V-Effekt). Discussions of ika not only circulated through and around the intellectual and artistic communities that Kogawa participated in during the 1970s and 1980s, they also influenced the practices of the very low-powered FM radio stations, Radio Polybucket and Radio Home Run, established by Kogawa’s students in the early 1980s. By discussing the emphasis of ika and physical movement in Radio Polybucket’s and Radio Home Run’s practices, I begin to trace a central element in Kogawa’s concept of radioart, which I call a kinetic interaction with the material conditions of radio. Through this kinetic interaction, Kogawa makes the material aspects of radio phenomena—its technology, its electromagnetic waves, and its sonic content—perceptible in a new way and thereby reveals previously hidden possibilities.
UNSCHÄRFEN second art conference
(last edited: 2022)
author(s): Florian Tanzer, Doris Ingrisch, Andrea Sodomka
This exposition is in progress and its share status is: visible to all.
unschärfen - second art un-conference
A project by Doris Ingrisch and Andrea Sodomka in cooperation with Ö1Kunstradio.
with: Reinhold A. Bertlmann, Doris Ingrisch, Norbert Math, Andrii Pavlov, Elisabeth Schimana, Andrea Sodomka, Florian Tanzer, Rebekah Wilson aka Netotschka Nezvanova, Elisabeth Zimmermann, among others.
UNSCHÄRFEN eine art konferenz
(last edited: 2020)
author(s): Doris Ingrisch, Andrea Sodomka
This exposition is in progress and its share status is: visible to all.
Clarity as a hidden imperative of modernism was useful to
Enlightenment, for demystifying the modern world. Ambiguity, however,
breaks with the notion of a universe of clarity. Opposites blur,
ambiguity is given space – through listening, seeing, thinking. The
relationship to the observed undergoes change. Time is necessary in
order to see something, the intention is to bring out associations.
unschärfen - second art un-conference A project by Doris Ingrisch and Andrea Sodomka in cooperation with Ö1Kunstradio. with: Reinhold A. Bertlmann, Doris Ingrisch, Norbert Math, Andrii Pavlov, Elisabeth Schimana, Andrea Sodomka, Florian Tanzer, Rebekah Wilson aka Netotschka Nezvanova, Elisabeth Zimmermann, among others.open exposition comments (0)
Clarity as a hidden imperative of modernism was useful to Enlightenment, for demystifying the modern world. Ambiguity, however, breaks with the notion of a universe of clarity. Opposites blur, ambiguity is given space – through listening, seeing, thinking. The relationship to the observed undergoes change. Time is necessary in order to see something, the intention is to bring out associations.open exposition comments (0)