Forms of the intermediary: spatiality and durations between technology and aesthetics
Neda Zanetti
research: Seminar
Forms of the intermediary: spatiality and durations between technology and aesthetics
Neda Zanetti
The goal of this talk is to explore the concept of intermediary as it applies to the spatial and temporal aspects of aesthetic experience. By “intermediary”, I am referring to those places and moments that do not yet fully belong to the announced artistic experience but rather anticipate and extend it, providing us with some preliminary insights.
In virtual environments, the discourse often revolves around the construction and technical analysis of the media. However, these environments employ a variety of artistic techniques to shape real space and time using sculptural, cinematic, or photographic elements. For instance, consider the installation Liminal Lands (2021) by the artist Jakob Kudsk Steensen, which seamlessly integrates virtual reality with a sculptural floor made of crystal salt and seaweed, complemented by audio-visual projections. Another example is the immersive journey of Evolver (Marshmallow Laser Feast, 2022), which commences with a meditative experience featuring audio-tactile stimuli and culminates in a series of photo-cinematic images. These practices construct intermedial spatial experiences that raise questions about their meaning and their role in shaping the duration of aesthetic experiences, as well as their technical underpinnings. It's worth noting that the genesis of these practices is not a recent development confined to the realm of virtual reality. Instead, we can trace their origins back to the faux terrains of panoramas and even the spectacular settings of aquariums during the Modern Era. Therefore, our exploration takes on an archaeological perspective as we consider various examples from different time periods and locations.
Biography
Neda Zanetti
Neda Zanetti is a Ph.D. student at the University of Lausanne and Sorbonne Nouvelle. Her thesis focuses on the development of intermediary spatiality, aiming to explore the connection between aesthetics and technique. She currently serves as a graduate assistant at the Collège des Sciences, University of Lausanne. In addition to her research work, she ventured into the world of contemporary art through an internship at the Centre d'édition contemporaine in 2022 and collaborated with La Rada - Spazio per l'arte contemporanea in Locarno, where she curated her first exhibition. Furthermore, she is a member of the management and publishing committees of the Arkhaï association.
research: seminar
Forms of the intermediary: spatiality and durations between technology and aesthetics
Neda Zanetti
The goal of this talk is to explore the concept of intermediary as it applies to the spatial and temporal aspects of aesthetic experience. By “intermediary”, I am referring to those places and moments that do not yet fully belong to the announced artistic experience but rather anticipate and extend it, providing us with some preliminary insights.
In virtual environments, the discourse often revolves around the construction and technical analysis of the media. However, these environments employ a variety of artistic techniques to shape real space and time using sculptural, cinematic, or photographic elements. For instance, consider the installation Liminal Lands (2021) by the artist Jakob Kudsk Steensen, which seamlessly integrates virtual reality with a sculptural floor made of crystal salt and seaweed, complemented by audio-visual projections. Another example is the immersive journey of Evolver (Marshmallow Laser Feast, 2022), which commences with a meditative experience featuring audio-tactile stimuli and culminates in a series of photo-cinematic images. These practices construct intermedial spatial experiences that raise questions about their meaning and their role in shaping the duration of aesthetic experiences, as well as their technical underpinnings. It's worth noting that the genesis of these practices is not a recent development confined to the realm of virtual reality. Instead, we can trace their origins back to the faux terrains of panoramas and even the spectacular settings of aquariums during the Modern Era. Therefore, our exploration takes on an archaeological perspective as we consider various examples from different time periods and locations.