Apparato iconografico

VCS#03/04 (SPECIAL DOUBLE ISSUE)

“Art in the Age of Ubiquitous Media”

a cura di Sean Cubitt e Valentino Catricalà

Roberto P. Malaspina, Andrea Pinotti, Sofia Pirandello

Emerging, Filtering, Symbiosing: Experiences in Augmented Art

Fig. 1

Image illustrating the functioning of the app Place from the Ikea website:

https://www.ikea.com/au/en/customer-service/mobile-apps/say-hej-to-ikea-place-pub1f8af050

[accessed 25 August 2021].

Fig. 2

Image illustrating the functioning of the headset HoloLens 2 from the Microsoft website:

https://www.microsoft.com/it-it/d/hololens-2-development-edition/92f64zpzzzd4?activetab=pivot:overviewtab

[accessed 25 August 2021].

Fig. 3

Ben Grosser, Not for You (screenshot), 2020. Courtesy of the artist.

Fig. 4

Ben Grosser, Safebook (screenshot), 2018. Courtesy of the artist.

Fig. 5

ExitSimulation, Uncaptured (2021), Instagram filter. Screenshot from the artist’s Instagram page.

Fig. 6

Ωmega, Her (2021), Instagram filter. Screenshot from the artist’s Instagram page.

Fig. 7

S()fia Braga, Forehead Vulva Channelling Research: Hidden Clitoris | Don't Kill My Vibe, AR Project, 2021. Courtesy of the artist

Fig. 8

S()fia Braga, Forehead Vulva Channelling Research: Hidden Clitoris | Don't Kill My Vibe, AR Project, 2021. Courtesy of the artist.

Fig. 9

Johanna Jaskowska portrayed using her Instagram filter Narcisse (2019). Courtesy of the artist.

Fig. 10

micha cardenas in collaboration with Abraham Avnisan, Marcelo Viana Neto, Adrian Phillips, Kara Stone, Dorothy Santos, Wynne Greenwood, Morgan Thomas, Rachel Raymond and Robin Cruz; Sin Sol / No Sun, 2018. Screenshots from the app.

Fig. 11

micha cardenas in collaboration with Abraham Avnisan, Marcelo Viana Neto, Adrian Phillips, Kara Stone, Dorothy Santos, Wynne Greenwood, Morgan Thomas, Rachel Raymond and Robin Cruz; Sin Sol / No Sun, 2018. Screenshots from the app.

Fig. 12

micha cardenas in collaboration with Abraham Avnisan, Marcelo Viana Neto, Adrian Phillips, Kara Stone, Dorothy Santos, Wynne Greenwood, Morgan Thomas, Rachel Raymond and Robin Cruz; Sin Sol / No Sun, 2018. Screenshots from the app.

Fig. 13

Exhibition view, ‘Cinis’ Forking [4.4.6.10.1]’, Transformella (aLifveForm fed and cared for by JP Raether), Kraupa-Tuskany Zeidler, Berlin, curated by Sarah Johanna, March 19 – April 17, 2021. Courtesy Kraupa-Tuskany Zeidler, Berlin.

Fig. 14

The Ornamented Reality as seen during Transformella (aLifveForm fed and cared for by JP Raether) in ‘Cinis’ Forking [4.4.6.10.1]’, Kraupa-Tuskany Zeidler, Berlin, curated by Sarah Johanna, March 19 – April 17, 2021. Courtesy Kraupa-Tuskany Zeidler, Berlin.

Fig. 15

HoloLens decorated by the artist for ‘Cinis’ Forking [4.4.6.10.1]’, Transformella (aLifveForm fed and cared for by JP Raether, Kraupa-Tuskany Zeidler, Berlin, curated by Sarah Johanna, March 19 – April 17, 2021. Courtesy Kraupa-Tuskany Zeidler, Berlin.

Hinge Hinterwaldner, Daniela Hönigsberg, Konstantin Mitrokhov, Martina Richter

Negotiating the way to the Internet. The impact of software design on the browsing experience and user interaction

Fig. 1

WorldWideWeb browser (1992) rebuilt as a web application, 2019. Screenshot.
Source: CERN 2019 WorldWideWeb Rebuild website, in: https://worldwideweb.cern.ch  (2.8.2021). Screenshot by the authors.

fig. 2

Pei-Yuan Wei, ViolaWWW Hypermedia Browser, 1992. Screenshot version 1993.3.7, c. 1993. Source: Viola Web Browser website, in: http://www.viola.org/ (2.8.2021).
Picture credit: wei@viola.org

Fig. 3

I/O/D (alias Matthew Fuller, Simon Pope, Colin Green), The Web Stalker, 1997–1998. Screenshot of the reprogrammed version from 2017. Source: Screenshot by the authors via the emulator of the Rhizome’s Net Art Anthology: https://sites.rhizome.org/anthology/webstalker.html
Picture credit: With kind permission by the artists.

Fig. 4

JODI (alias Joan Heemskerk and Dirk Paesmans), .com.mx from %WRONG Browser series, 2000. Screenshot showing the collaboration: While humans create continuous, fluid curves, the algorithm wangles, jumps and produces a visual staccato.
Source: Screenshot by the authors.
Picture credit: With kind permission by the artists.

Fig. 5

Depiction of five composite brushes and the user’s painting opportunities via the mouse movement in JODI’s .com.mx. Detail outlines depict the underlying structure of the ‘brushes’.
Source and picture credit: Konstantin Mitrokhov.

Fig. 6

Hernando Barragán and Andrés Burbano, Hiperlook 1.0, 2002. Screenshot.
Source: Screenshot by the authors.
Picture credit: With kind permission by the artists.

Fig. 7

Mapping of Hiperlook’s viewport and mouse cursor indicator onto its non-oriented topology and the disjunct floating layers that display the websites’ bundles.
Source and picture credit: Konstantin Mitrokhov.

Fig. 8

Alison Craighead and Jon Thompson, e-poltergeist, 2001. Screenshot.
Source: Screenshot by the authors.
Picture credit: With kind permission by the artists.

Fig. 9

Jasmine Guffond, Listening Back, 2019. Screenshot showing the extension’s tuning interface.
Source: Screenshot by the authors.
Picture credit: With kind permission by the artist.

VCS#02_Giugno 2021

“The Visual Culture of SARS-CoV-2”

a cura di Tarcisio Lancioni e Federica Villa

Camilla Pietrabissa

The eternal event. Urban void and image temporality from the Renaissance to 2020

Fig. 1

The site of the new hospital in Wuhan, March 2020 [Creative Commons]

Fig. 2

Franco Pagetti, Milan, 2020

Fig. 3

Anonymous painter from central Italy, Città ideale, 1480s, oil on panel, 67 x 239 cm, Galleria Nazionale delle Marche

Fig. 4

Giovanni Antonio Canal, Piazza San Marco, 1742-44, oil on canvas, 114 x 153 cm, National Gallery of Art, Washington D.C.

Fig. 5

Giovanni Antonio Canal, Warwick Castle: the East front, 1752, pen and brown ink, gray wash, 316 x 562 mm, Metropolitan Museum of Art, NY

Fig. 6

Maurizio Montagna, Milan, photograph, 2020

Fig. 7

Graziano Panfili, Webcams from the world, 1. Sisante Sud, from the province of Conca, Spain; 2. Hopkinsville, Interstate 75, Kentucky, USA; 3. Atlanta airport, Georgia, USA, film stills from online public webcams, 2020

Fig. 8

Screenshot of Financial Time, online edition, 20 March 2020

Deborah Toschi

Bodies and maps, display the habitat of the contagion

Fig. 1

Dashboard Piemonte – stessa data e ora, due differenti layer

Fig. 2

Maxar Satellite - Great Mosque and Kaaba in Mecca (Saudi Arabia)

Fig. 3

An incalculable loss” – The New York Times

Fig. 4

Dutch tulip ESA

Fig. 5

Aquarium (Tokyo) #PleaseRememberHumans

Valeria Burgio

Bodies and maps, display the habitat of the contagion

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Dario Rodighiero , Eveline Wandl-Vogt , Elian Carsenat

Making Visible the Invisible Work of Scientists during the COVID-19 Pandemic

Cartography of COVID-19

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Stefano Jacoviello

La musica che ci riguarda. Virtual ensemble, pratiche social e memoria del suono

Fig. 1

Eric Whitacre, Virtual Choir 1, Lux Aurumque

Fig. 2

Eric Whitacre, Virtual Choir 1, Lux Aurumque 2

Fig. 3

Eric Whitacre, Virtual Choir 6, Water Night 1

Fig. 4

Eric Whitacre, Virtual Choir 6, Water Night, 2

Fig. 5

Eric Whitacre, Virtual Choir 6, Sing Gently, 2 Arcipelago

Fig. 6

Eric Whitacre, Virtual Choir 6, Sing Gently, 1 Kintsugi

Fig. 7

Eric Whitacre, Virtual Choir 6, Sing Gently, 3 Rio delle Amazzoni

Fig. 8

Eric Whitacre, Virtual Choir 6, Sing Gently, 4 Finale

Fig. 9

Lorenzo Donati, Cantiamo assieme, Ave Verum Corpus

Fig. 10

U' Conzasiegge, Uscita della statua e attacco della marcia

Videografia

Britlin Losee Videomessaggio a E. Whitacre

Scott Haines Nada te turbe: A Virtual Choir of Carmelites; Salve Regina

Eric Whitacre Virtual Choir 4 Fly to Paradise

Eric Whitacre Virtual Choir 2 Sleep

Eric Whitacre Virtual Choir 3 Water nights

Eric Whitacre’s VC Family
Jack Conte, Get it out

Jacob Collier, All I need

Luis Cole, F it up

Annie Lennox, The London City Voices Dido’s Lament

Jakub Orlinski and The King’s Voices Music for a while

The King’s Voices and Stay at Home Choir And so it goes

Lorenzo Donati *Cantiamo Assieme*

Banda Santa Cecilia - Città di Molfetta U Conzasiegge

Andrea-Bianka Znorovszky

The CoronaVirgin: Marian Iconography between Street Art, Social Media, and Lieux de Mémoire

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Cristina Voto

Tornare a guardarci negli occhi. Spazialità, interfacce e cronotopi al di là del cubo bianco

Sitografia

Piattaforma di videoarte: mirarnos a los ojos (volver a)