16 February 2023
About presence: perception, technologies, immersive environments.

Enrico Pitozzi

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

16 May 2023
2022/23 Multisensoriality
104
Resonance, dissonance, and things that get under one’s skin

Susanna Paasonen

28 April 2023
2022/23 Multisensoriality
104
The Genealogy of Images. From Focillon and Warburg to Computer Vision and Contemporary Semiotics

Maria Giulia Dondero

27 April 2023
2022/23 Multisensoriality
104
Between Picture Theory and World View: a Wölfflinian Approach

Michael Jenewein in conversation with Lambert Wiesing and Thomas Zingelmann

19 April 2023
2022/23 Multisensoriality
104
Style and World View: Wölfflin, Schwitters, Beuys.

Lambert Wiesing

3 March 2023
2022/23 Multisensoriality
104
Who is here when I am here?

Michel Reilhac

17 February 2023
2022/23 Practices
108
Another Reality

Immersive Solutions from Training to Business.

3 February 2023
2022/23 Practices
108
Mixed reality for doctors. The ARTICOR software for cardiovascular interventions
1 February 2023
2022/23 Multisensoriality
104
At the roots of digital: in praise of a rhizomatic archaeology

Francesco Casetti

20 January 2023
2022/23 Practices
108
Active Learning of Industrial Chemical Processes By Virtual Immersive Laboratory: The Eye4edu Project

Carlo Pirola

19 January 2023
2022/23 Multisensoriality
104
Sensing Cinema Heritage. For a multisensory approach to film heritage

Andrea Mariani, Eleonora Roaro

10 January 2023
2022/23 Multisensoriality
104
Archaeology of immersion

Barbara Le Maître, Natacha Pernac, Jennifer Verraes

16 December 2022
2022/23 Practices
108
What XR can do for a Museum

Luca Roncella

research: Seminar

2022/23 Multisensoriality
104

About presence: perception, technologies, immersive environments.

Enrico Pitozzi
Frame da "Shiro Takatani. Tra natura e tecnologia" (2019) regia di Giulio Boato. © Giulio Boato

Starting from the analysis of a few case studies such as Dumb Type and Ryoji Ikeda, Shiro Takatani and Ryūichi Sakamoto, Granular Synthesis and Angelin Preljocaj among others, we will focus our analysis on the concept of presence on the contemporary scene. We cannot define present only what is felt by the senses. In order to detect these presences - all those entities that act at the limit of the resolution power of the sensory organs - it is necessary to develop a strategy that makes them visible and audible. This observation introduces a reflection on the relationship between art and technologies: every work of art involving technology clarifies the limits of human perception and at the same time allows it to be intensified. In other words, technology, before being an instrument, is a form of thought: it makes visible and audible what it is not yet. Starting from an investigation that interweaves knowledge related to the body, perception and technologies on the contemporary performance scene, theseminar aims to define the aesthetic framework of the notions of immersive environment.

Biography

Enrico Pitozzi

Enrico Pitozzi is associate professor at the University of Bologna. He has taught at the universities of Venice (IUAV) and Padua, Paris, Montréal, Valencia and Frankfurt. He is a director of  the master degree IKONA. Produzione, curatela digitale e valorizzazione del patrimonio audiovisivo dello spettacolo dal vivo. He directs, with Ermanna Montanari, the «Malagola» international vocal center founded in Ravenna (UBU special prize 2022 - Italy's most important theatre award). He is a member of the Scientific Committee for performing arts of the Emilia-Romagna Region (LR13/99 art. 6 - Regional Council of 12/07/2021, DGR n. 1118/2021). He is a member of several international research projects, such as the project « Extended Reality Research and Creative Center XR²C²» at the Université Côte d’Azur de Nice (France) and the «Sensory Studies» of Concordia University (Canada). Among his recent publications, with I. Choinière and A. Davidson, Through the Prism of the Senses. Mediation and New Realities of the Body in Contemporary Performance. Technology, Cognition and Emergent Research-Creation Methodologies, Bristol, Intellect Books, 2019 and with Ermanna Montanari, Cellula. Anatomia dello spazio scenico | Anatomy of the scenic space, Macerata, Quodlibet, 2021.

 

 

research: seminar

About presence: perception, technologies, immersive environments.

Enrico Pitozzi
Frame da "Shiro Takatani. Tra natura e tecnologia" (2019) regia di Giulio Boato. © Giulio Boato

Starting from the analysis of a few case studies such as Dumb Type and Ryoji Ikeda, Shiro Takatani and Ryūichi Sakamoto, Granular Synthesis and Angelin Preljocaj among others, we will focus our analysis on the concept of presence on the contemporary scene. We cannot define present only what is felt by the senses. In order to detect these presences - all those entities that act at the limit of the resolution power of the sensory organs - it is necessary to develop a strategy that makes them visible and audible. This observation introduces a reflection on the relationship between art and technologies: every work of art involving technology clarifies the limits of human perception and at the same time allows it to be intensified. In other words, technology, before being an instrument, is a form of thought: it makes visible and audible what it is not yet. Starting from an investigation that interweaves knowledge related to the body, perception and technologies on the contemporary performance scene, theseminar aims to define the aesthetic framework of the notions of immersive environment.

16 February 2023
14:30
16:00

Aula Crociera Alta Studi Umanistici - Via Festa del Perdono

About presence: perception, technologies, immersive environments.
Enrico Pitozzi
Aula Crociera Alta Studi Umanistici - Via Festa del Perdono
20230216
14:30
16:00