11 January 2024
A world of imprints. The epistemology of visual evidence in digital and virtual media-ecologies

Rosa Cinelli

12 June 2024
2023/24 /ɪˈməːʃən/
111
Faraway, So Close! Bridging distances between Anthropological Philosophy and Media Anthropology

Martino Quadrato

21 May 2024
2023/24 /ɪˈməːʃən/
111
Difficult Heritage: disputed figures in contemporary memorial museums

Giulia Bertolazzi

21 May 2024
2023/24 /ɪˈməːʃən/
111
“Antimonumenta”: artistic practice in feminist Mexico

Francesca Romana Gregori

9 May 2024
2023/24 /ɪˈməːʃən/
111
Death and Virtual Mourning. The “Return of the Dead” in Digital Afterlife

Maria Serafini

7 May 2024
2023/24 /ɪˈməːʃən/
111
Vierundzwanzig Beine! Carts, chariots, carriages and other (image-)media in Warburg’s Mnemosyne

Katia Mazzucco

16 April 2024
2023/24 /ɪˈməːʃən/
111
Education meets Virtual Reality. Reasoning on learning outcomes, inclusion and didactic scenarios

Ilaria Terrenghi

4 April 2024
2023/24 /ɪˈməːʃən/
111
Rape or “rape”? Virtual violence and the somatechnical body

Pietro Conte

26 March 2024
2023/24 /ɪˈməːʃən/
111
Chiromorphisms. The technical genesis of modern disability

Alessandro Costella

15 February 2024
2023/24 /ɪˈməːʃən/
111
The Obscene Device. Archaeology of Immersive Pornographies

Roberto Malaspina

1 February 2024
2023/24 /ɪˈməːʃən/
111
Techniques of Enchantment. Magic and Contemporary Technology

Sofia Pirandello

25 January 2024
2023/24 /ɪˈməːʃən/
111
Alternative Worlds – VR without Headsets

Margherita Fontana

21 December 2023
2023/24 /ɪˈməːʃən/
111
FEMINIST HORROR THEORY – Filmic Forms and Female Identity: Rewriting in the Key of Gender

Rossana Galimi

5 December 2023
2023/24 /ɪˈməːʃən/
111
From Photography to Virtual Reality and back again. A conversation with Francesco Jodice

Francesco Jodice

20 November 2023
2023/24 /ɪˈməːʃən/
111
Immersed in science

Ilaria Ampollini

9 November 2023
2023/24 /ɪˈməːʃən/
111
The burning gaze. An aesthetics of shame in the age of the virtual

Federica Cavaletti

2 November 2023
2023/24 /ɪˈməːʃən/
111
Forms of the intermediary: spatiality and durations between technology and aesthetics

Neda Zanetti

12 October 2023
2023/24 /ɪˈməːʃən/
111
Virtualizing Spaces: Immersive and Emersive Images from Home to City.

Fabrizia Bandi

28 September 2023
2022/23 Practices
108
LabSim: a fully featured laboratory simulator for innovative teaching of analytical chemistry
27 September 2023
2022/23 Multisensoriality
104
Immersive Rhythms, Dismersive Images: On Music Video’s Affective Atmosphere

Tomáš Jirsa

18 May 2023
2022/23 Multisensoriality
104
Spatialization of Sound

Markus Ophälders

research: Seminar

2023/24 /ɪˈməːʃən/
111

A world of imprints. The epistemology of visual evidence in digital and virtual media-ecologies

Rosa Cinelli

Historically, one of the important functions of the technical image has been to be used intensively as evidence, and therefore as proof. The emergence of a 'forensic gaze', which from the 19th century onwards has widely used mechanical images as a system for managing a precise 'economy of traces', has intended images as an instrument of investigative knowledge in relation to their supposed objectivity. From photographic theories to XR media, the current project aims to draw a new perspective on visual evidence, both in its theoretical aspects and in a precise enunciative context, by analysing a case study: the "historical trials" of the 2015 Paris terrorist attacks (V13).

Biography

Rosa Cinelli

Rosa Cinelli graduated from the University of Milano in 2021 with a thesis centered on the uses of digital photography as a means of self-presentation in everyday life. Currently, she is a Ph.D. student adjoint to AN-ICON ERC advanced program, where she conducts her research on the contemporary conjugations of the concept of indexicality within digital and virtual images, as well as on the mutations of the epistemological paradigm of photography as visual proof. She also attended the two-year photography program from CFP Bauer in Milano.

research: seminar

A world of imprints. The epistemology of visual evidence in digital and virtual media-ecologies

Rosa Cinelli

Historically, one of the important functions of the technical image has been to be used intensively as evidence, and therefore as proof. The emergence of a 'forensic gaze', which from the 19th century onwards has widely used mechanical images as a system for managing a precise 'economy of traces', has intended images as an instrument of investigative knowledge in relation to their supposed objectivity. From photographic theories to XR media, the current project aims to draw a new perspective on visual evidence, both in its theoretical aspects and in a precise enunciative context, by analysing a case study: the "historical trials" of the 2015 Paris terrorist attacks (V13).

11 January 2024
16:00
18:00

Aula Martinetti

Via Festa del Perdono, 7

A world of imprints. The epistemology of visual evidence in digital and virtual media-ecologies
Rosa Cinelli
Aula Martinetti
Via Festa del Perdono, 7
20240111
16:00
18:00