[-empyre-] July on empyre: Screens

Martin Rieser martin.rieser at gmail.com
Fri Jul 6 16:09:40 EST 2012

Hi Kriss et al

I am really going to define this a little more clearly: I am arguing that
we are inside a new paradigm-clearly one driven by the commercial and the
social- which is changing the nature of our understandings of the screen.

The screen as understood in cinema studies is not the screen of the mobile
phone or tablet computer and at the extreme, these are used in the
narratising artistic experiments with which I am familiar, to break all
boundaries between suspension of disbelief and surrender to a narratised
'other space', by collapsing those spaces into one.

Duncan Speakman in particular has used this overlapping of the space of
diegesis with the 'real' to startling effect. But the same phenomenon is
begining with augmented mobile reality. This collapse of distance comes
into Virillio's thinking on modernity, but is predicated on instant
communication and speed, here is is through the direct elision of the
virtual, the conceptual and the material 'isness" of the world.

On Thu, Jul 5, 2012 at 5:50 PM, Kriss Ravetto <kravetto at ed.ac.uk> wrote:

> Dear All,
> Finding it hard to catch up being on the Pacific.  Sorry for the lag,
> and/or repetition.
> Hi Martin,
> Thank you for the post, I very much like the discussion of emergent screen
> topologies and embodied sculptures.  I would like you to say more about
> these — maybe when we discuss a work. But I am less convinced by the point
> about personal experience.
> The primary role of the screen, as Simon points out, is now one that
> mediates or remediates the world in a growing number of ways  (although
> the internet of things and NFS promise to make direct -and
> screenless-interaction more prevalent)  not as another space like cinema ,
> where fantasy is experienced through a locked and dreamlike suspension, but
> as a dynamic and changing condition of experience, where the user is
> interactive or pro-active in creating their own personalised experience.
> Can we add to the paradigm sustainable business models, modes of
> distribution, and legal restrictions, copyright, and Intellectual property
> laws? And to the notion of personalization, profiling?  If we add these
> terms would it still really give us the personalized experience you are
> suggesting?
> I am happy to be more forensic in trying to understand the new uses of
> screens from the user/audience perspective and working outwards from that
> place. I am certainly not arguing against understanding the social/
> commercial imperatives for the huge expansion of mobile and urban screens
> and their concomitant social problematics or the new semiotics of this
> communication mode.
>  Martin, reception theory is going to haunt you with control groups,
> statistics, leading questions... How could an interest in user/audience
> perspectives not be also an interest in social / commercial imperatives?
> Hope we can start to look at examples and specific ideas
> I think that Sean and Johannes have given us some great examples —
> Rafael, Wodiczko, Olivier Nakache und Éric Toledano.  I don't want to drag
> Rafael into the conversation too early, but his work has also been
> mentioned a number of times.  Plus for selfish reasons I would like to
> discuss some of his work alongside Simon's (Sue's and Garth's) "body text."
>   http://www.lozano-hemmer.com/body_movies.php,
> http://www.articulateanimal.org.uk/bodytext.htm.
> However, the term 'forensics' scares me a bit if we are going to talk
> about works by artists contributing to this conversation. So maybe it is
> better to start with Wodiczko's projection of swastika South Africa House
> in London in 1985.   If Ian has a game he would like us to look at (besides
> Dwarf Fortress) that would be great as well.
> Or if we want to talk mirrors (as Sean suggests), we can also go to
> British TV, and think about the use of the screen in Charlie Brooker's
> Black Mirror (three episodes).
> All best,
> Kriss
> The University of Edinburgh is a charitable body, registered in
> Scotland, with registration number SC005336.
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
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Martin Rieser

Professor of Digital Creativity
De Montfort University
IOCT: Faculty of Art Design and Humanities
The Gateway, Leicester LE1 9BH
44 +116 250 6578

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