User:Luisa Moura/research/work/Luisa Moura, surveillance, 2014: Difference between revisions

Latest revision as of 09:12, 13 June 2014

Magritte Revisited
A camera installed on the back wall records the visitor from behind and plays it live in front of him on an HD screen. The image displayed should be as sharp as possible (...) The drive behind this installation is related with the bias 'I' and 'other' properly explored by the media as two autonomous spheres, splitting individual and collectivity. Isn't this fundamental for the progressive loss of political awareness? (...)  <Read more>

Social Surveillance and Individual Power
Gallery space: one of the display stations gives full control over the camera set in the middle of the room, allowing the user to have a global visual access, with different levels of detail (zoom) to all works in display and other visitors whereabouts
(...)
In other room the footage from the surveillance camera would be displayed next to the footage made from the user manipulating it(hidden camera next to the station). The screens are next to each other. The visitors in this room can follow live the voyeuristic drive from the user at the surveillance station (add images)
   
 (references)

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-Magritte Revisited, a camera installed on the back wall records the visitor from behind and plays it live in front of him on an HD screen. The image displayed should be as sharp as possible (...)
+Magritte Revisited
+A camera installed on the back wall records the visitor from behind and plays it live in front of him on an HD screen. The image displayed should be as sharp as possible (...) The drive behind this installation is related with the bias 'I' and 'other' properly explored by the media as two autonomous spheres, splitting individual and collectivity. Isn't this fundamental for the progressive loss of political awareness? (...) [[User:Luisa_Moura/research/work/Luisa Moura, exotic other, 2014 | <Read more>]]
 [[File:LMoura model-3.jpg|200px]]
-Social surveillance and Individual power
+Social Surveillance and Individual Power
-gallery space: one of the display stations gives full control over the camera set in the middle of the room, allowing the user to have a global visual access, with different levels of detail (zoom) to all works in display and other visitors whereabouts
+Gallery space: one of the display stations gives full control over the camera set in the middle of the room, allowing the user to have a global visual access, with different levels of detail (zoom) to all works in display and other visitors whereabouts
-[[File:LMoura surveillance_0.jpg|x150px]] [[File:LMoura surveillance_1.jpg|x150px]] [[File:LMoura surveillance_3.jpg|x150px]] [[File:LMoura surveillance_4.jpg|x150px]]
+(...)
+In other room the footage from the surveillance camera would be displayed next to the footage made from the user manipulating it(hidden camera next to the station). The screens are next to each other. The visitors in this room can follow live the voyeuristic drive from the user at the surveillance station (add images)
+[[File:LMoura surveillance_0.jpg|x150px]] [[File:LMoura surveillance_1.jpg|x150px]] [[File:LMoura surveillance_3.jpg|x150px]] [[File:LMoura surveillance_4.jpg|x150px]]
-[[File:LMoura dan graham (1).jpg ‎|x200px]]
+[[User:Luisa_Moura/research/references/Luisa Moura, surveillance, 2014 | (references)]]
-[[File:LMoura dan graham (3).jpg ‎|x200px]]
-wikipedia: Dan Graham
-(...) Like these artists, Graham considered himself a writer-artist, publishing essays and reviews on rock music, Dwight D. Eisenhower's paintings, and Dean Martin's television show. His earliest work dealt with the magazine page, predating but often associated with Conceptual art. His work often focuses on cultural phenomena, and incorporates photography, video, performance art, glass and mirror structures. He lives and works in New York (...)
-Graham also incorporated video into installations, creating environments where video technology is used to alter the viewer's own bodily experience. One example is the 1974 installation/performance Present Continuous Past(s), Graham began to use two-way mirror walls in relation to real reflections and time-delayed video projections. Also in 1974, he created an installation with a series of videos called "Time Delay Room", which used time-delayed Closed-circuit television cameras and video projections (...)