how to play with it instead of simply 'using' it ?
any anamorphosen in simulation ?
any non-euclidean spaces ?
Anne-Sarah Le Meur
http://aslemeur.free.fr
http://aslemeur.free.fr/projets/outre_r_eng.htm
Selon Pier Luigi Capucci <plcapucci@gmail.com>:
> Beautiful examples, indeed!
>
> We could add, remaining in theme, the renaissance perspective, which set up
> the "order" of the representation (behind the painted surface) and the
> "order" of the space where the viewer is (the space before the surface, that
> in general we call the "real" space). Indeed, in order to see a scene at its
> best we have to view it from a precise viewpoint or a limited area, and
> moving away from this position we loose information.
>
> Today we are immersed in simulations through many media which use
> perspective: from photography to cinema, to video, to computer animations,
> virtual reality, until the 3D videogames and the metaverses. Perspective,
> which is a mathematical, cultural, historical... issue, became a "natural"
> part of our way of representing, and especially of viewing, the world.
>
> Pier Luigi
>
> Il giorno 21/gen/2010, alle ore 05.30, r buiani ha scritto:
>
> > ...continued
> >
> > I can't help but noticing how simulation reflects sociocultural and
> technological tendencies that we can observe in almost all human transactions
> today. this, I find, happens in a very subtle, imperceptible way.
> >
> > here are some examples to get us thinking about simulation in everyday
> life:
> >
> > 1) the process of choosing a piece of technology: we are drawn to a Mac or
> a Ipod or a Iphone, not a computer, a portable music device, or a cellular
> phone. aspects concerning the design, the aesthetics, or the coolness that
> these tools symbolize usually take the front seat.
> >
> > 2) thinking about sound, I am drawn to the idea behind the MP3 format:
> substantially, it is a simulation of the original sound, compressed,
> re-packaged and brought to us according to psychoacustic principles that
> eliminate "useless" noise, or frequency that our ear can't normally perceive.
> (see the work of Jonathan Sterne on Media Culture and Society - 2006- on MP3
> for a more comprehensive discussion. I can send the specific article to those
> who are interested)
> >
> > 3) the fantastic worlds we see in blockbusters movies such as the very
> recent Avatar exhibits an imagery that is simultaneously photorealistic (that
> is, it shows some "serial" resemblance to objects and landscapes that we can
> find in the real world) and hyperreal (all objects exhibit literally some
> "extra" elements that make them more real than real and yet imagined). In
> particular, I have to thanks Pier Luigi for directing my attention to the
> Pandorapedia (http://networkedblogs.com/p23720729)I was surprised to see how
> the whole ecosystem articulated in the movie has been imagined and
> constructed according to ethological/anthropological/botanical principles,
> carefully classified and taxonomized in a "Linnaean" style, and in its
> smallest details. In this regard, I would be interested in knowing some
> commentaries: is this a way to legitimize this hyperreal world?
> >
> >
> >
> > rb
> >
> >
> >
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> --
> Pier Luigi Capucci
> e-mail: plc@noemalab.org
> web: http://www.noemalab.org/plc/plc.html
> skype: plcapucci
>
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