2 November 2023
Forms of the intermediary: spatiality and durations between technology and aesthetics

Neda Zanetti

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

11 January 2024
2023/24 /ɪˈməːʃən/
111
A world of imprints. The epistemology of visual evidence in digital and virtual media-ecologies

Rosa Cinelli

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

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

Forms of the intermediary: spatiality and durations between technology and aesthetics

Neda Zanetti
Jakob Kudsk Steensen, Liminal Lands ã Marc Domage

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
Jakob Kudsk Steensen, Liminal Lands ã Marc Domage

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.

2 November 2023
15:00
16:30

Sala Malliani

Via Festa del Perdono, 7

Forms of the intermediary: spatiality and durations between technology and aesthetics
Neda Zanetti
Sala Malliani
Via Festa del Perdono, 7
20231102
15:00
16:30