Year: 2020
Type: article
Abstract: Among numerous aesthetics forms of light practices present in the galloping High Definition technoculture light festivals (applying various types of video-mapping practices in urban areas) and immersive performances based on projection (screen) design of painting (the Alive cycle, performances using the AMIEX Technology® -Art & Music Immersive Experience) have become increasingly successful all over the world.Their expansion is undoubtedly a legacy of promotion of light in the almost a century old Bauhaus theory and practice (including Kurt Schwerdtfeger's and Ludwig Hirschfeld-Mack's light games, or László Moholy-Nagy's light modulator).Thus, on the basis of painting a kinetic art of light (a kind of video art) is created.This art promotes "using" projection design of painting, not just a contemplative watching (as in the case of a museum).In this way, a digital form of timed painting in motion is implemented and initiates new styles of experiencing traditional painting art, equipped with qualities of an immersive light spectacle.The results are "video frescoes" -intermedia at the intersection of painting and projection, simulation and recording, where the subject of experience is comprised of a light spectacle and a place of its disclosure.Accordingly, we deal with paintings transferred into the dimension of a digital spectacle.The paintings are managed by users in an environment where a light trick works for the design of simultaneous cinema.In such a laboratory of digitalised paintings relocation of cinema to another new cinema or painting with light in the spaces of "poly-cinema" (Moholy-Nagy) occurs.
Source: Przegląd Kulturoznawczy
Author: Andrzej Gwóźdź
Institutions: University of Erfurt, Institute of Art
Language: Polish
Topic: Art, Technology, and Culture
Subfield: Visual Arts and Performing Arts
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: diamond
OpenAlex ID: W3041862371