Zbornik PRVE MEĐUNARODNE KONFERENCIJE SMARTART – UMETNOST I NAUKA U PRIMENI „Od inspiracije do interakcije”, 2020
Апстракт: Теоријски оквир рада подразумева истраживање политика перцеп-ције, односно начина на ко... more Апстракт: Теоријски оквир рада подразумева истраживање политика перцеп-ције, односно начина на које специфичности људске перцепције и когниције уређују однос између субјекта и света, отварајући тако могућност за њихово преиспитивање у контексту уметности. Перцепција представља високо ауто-матизован процес, који у спрези са когницијом даје значење свету, одређу-јући тако наше акције, а на основу искустава из прошлости и претпоставка-ма о будућности које из њих произилазе. Ако су наше перцепције и акције у садашњости унапред одређене мапом сопствене перцептивне историје, намеће се питање како, и да ли је уопште могуће изменити их у будућности. Неуронаучник Бо Лото (Beau Lotto) уводи претпоставку да се шанса да изме-нимо своје ставове и понашање крије у интроспекцији, односно опажању про-цеса сопствене перцепције и когниције. Моменти зачудности, неочекиване или амбивалентне ситуације чине да наше опажање постане оштрије, а пажња усмерена на саме процесе перцепције и когниције-освешћивањем њихових пристрасности у садашњости, добијамо шансу да изменимо њима условљене реакције у будућности. Квалитативно истраживање користи методу студије случаја, како би испита-ло претпоставку да различити феномени опажања могу бити коришћени као основа уметничког поступка. Термин раслојавање перцепције усвојен је како би се означиле специфичне ситуације у контексту уметности-конструиса-на одступања од очекиваног, у којима почињемо да опажамо саме процесе перцепције и когниције. Значајна је претпоставка да се, проласком кроз ове мета-процесе у контексту уметничког рада, отвара могућност за освешћива-ње когнитивно-перцептивних пристрасности и у осталим сегментима живота. Иако доживљај било којег уметничког дела, па и свесно искуство уопште, под-разумева непрекидно одвијање процеса перцепције и когниције, они су у овом раду коришћени као основа уметничког поступка. Кључне речи: раслојавање перцепције, неуроестетика, феноменолошки обрт, политике перцепције, естетски режим перцепције
Besides representing a border dividing interior and exterior spaces, one of the primary functions... more Besides representing a border dividing interior and exterior spaces, one of the primary functions of the facade is communication. What used to be inscribed in stone, concrete, wood or glass, is now communicated via digital media, which became an integral part of architecture in the information society we live in today. Even though this research includes an investigation of media-supported facades as architectural elements, a much broader discourse oriented toward relational aesthetics in urban spaces will be employed in order to analyze the new media potential of communication layers in architecture.
Fourth International Conference and Exhibition ON ARCHITECTURE - SCALE OF DESIGN FROM MICRO TO MACRO, Dec 2016
Throughout the history of architecture, the facade of a building represented a clear distinction ... more Throughout the history of architecture, the facade of a building represented a clear distinction between inside and outside. It was the modernist concept of flowing, open space that revolutionized the relationship between open and enclosed spaces, providing a glimpse into the ever-changing life of a building interior. Besides representing a border dividing interior and exterior spaces, one of the primary functions of facade is communication. What used to be inscribed in stone, concrete, wood or glass, is now communicated via digital media, which became an integral part of architecture in the information society we live in today. Even though this research includes investigation of media supported facades as architectural elements, much broader discourse oriented towards relational aesthetics in urban spaces will be employed in order to analyze the new media potential of communication layer in architecture.
Urban digital media represent the intersection of architecture, information and culture which coexist in the arena of technology and construction. Through networking and content-sharing they are creating a possibility for global multimedia infrastructure for commercial and cultural exchange. Term mediatecture will be used to describe the field of new media in which architecture operates in urban context. Each communication carried through mediatecture can be divided into a certain number of polymedia pixels, which represent smallest possible units of communication transmitted via mediatecture. This paper will analyze the implications of new technologies, such as virtual and augmented reality on the communication process in urban context, as well as the relation between event and experience, and how it is dictated by the specificities of human perception. If a certain amount of people interacts with a certain space, thus receiving, but also creating a certain amount of information, or, in other words – communicates with and within that space – does urban environment becomes a social network?
INTERNATIONAL INTERDISCIPLINARY SCIENTIFIC CONFERENCE RADICAL SPACE IN BETWEEN DISCIPLINES RSC 2015 - CONFERENCE PROCEEDINGS, Dec 2015
Throughout theatre history light had complex relationship with the space of performance. At first... more Throughout theatre history light had complex relationship with the space of performance. At first used solely for practical reasons of illuminating actors and scenery, lighting has emancipated from its primary function to a potent scene design tool, even evolved to an independent layer of performance with its own performative potential. If analyzed in the context of post-structuralist approach, light as a medium and technology which provides it cannot be separated from each other. Likewise, immanent textuality that both immaterial medium of light and concrete objects used to produce it possess cannot be seen independently. The main change instigated by the technological advances in stage lighting was better means of control, which allowed the light to be used as a medium. Chiaroscuro of the baroque period brought the new role – light and shadow were used as a sign, along with their symbolic values. The use of light as a medium in the representational theatre served as an opportunity for added meaning. However, this layer was not autonomous – it was subordinated to an imaginary world imitated on stage. Appia and Craig are considered to be the pioneers of stage modernism, which brought upon paradigm shift from stage to place. The apprehension of stage lighting followed. Appia ontologized the light on stage, freeing it from the constraints of stage and bringing it into a space, where it can work together with music, rhythm and human body to create a performance. Bauhaus and their light plays, along with futurist approach to light as actor has fully released it as an artistic medium, not necessarily connected to a theatre play. Time became important, performance was not a representation of something happening somewhere anymore, but a presentation happening in real time. Modernist ideas preceded available technology, but it was Czech scene designer Josef Svoboda who fully realized them through his work several decades later. Light was not only a medium conveying meaning subordinated to a theatre play, and it was Svoboda who made enough room for its textuality to come forward. He used the term psycho-plastic space to describe the dynamic and ephemeral nature of mixed media spaces, referring to the important role of inner world of the spectators. This paper aims to investigate the influence of expected technological advances, which will bring even better light control in space and time and further dilute borders between different media, on the paradigm of stage lighting. Stage lighting design, with improved possibilities of control is increasingly operating within the realm of film montage – what implications does that hold for light, both as a medium and a text? Keywords: stage lighting technology, light as a medium, textuality, mixed media performance, immersive space 1 INTRODUCTION Throughout theatre history light had complex relationship with the space of performance. At first used solely for practical reasons of illuminating actors and scenery, lighting has emancipated from its primary function to a potent scene design tool, even evolved to an independent layer of performance with its own performative potential. This paper will try to investigate the influence of expected technological advances, which will bring even better control of light in space and time and further dilute borders between different media, on the paradigm of stage lighting.
Zbornik PRVE MEĐUNARODNE KONFERENCIJE SMARTART – UMETNOST I NAUKA U PRIMENI „Od inspiracije do interakcije”, 2020
Апстракт: Теоријски оквир рада подразумева истраживање политика перцеп-ције, односно начина на ко... more Апстракт: Теоријски оквир рада подразумева истраживање политика перцеп-ције, односно начина на које специфичности људске перцепције и когниције уређују однос између субјекта и света, отварајући тако могућност за њихово преиспитивање у контексту уметности. Перцепција представља високо ауто-матизован процес, који у спрези са когницијом даје значење свету, одређу-јући тако наше акције, а на основу искустава из прошлости и претпоставка-ма о будућности које из њих произилазе. Ако су наше перцепције и акције у садашњости унапред одређене мапом сопствене перцептивне историје, намеће се питање како, и да ли је уопште могуће изменити их у будућности. Неуронаучник Бо Лото (Beau Lotto) уводи претпоставку да се шанса да изме-нимо своје ставове и понашање крије у интроспекцији, односно опажању про-цеса сопствене перцепције и когниције. Моменти зачудности, неочекиване или амбивалентне ситуације чине да наше опажање постане оштрије, а пажња усмерена на саме процесе перцепције и когниције-освешћивањем њихових пристрасности у садашњости, добијамо шансу да изменимо њима условљене реакције у будућности. Квалитативно истраживање користи методу студије случаја, како би испита-ло претпоставку да различити феномени опажања могу бити коришћени као основа уметничког поступка. Термин раслојавање перцепције усвојен је како би се означиле специфичне ситуације у контексту уметности-конструиса-на одступања од очекиваног, у којима почињемо да опажамо саме процесе перцепције и когниције. Значајна је претпоставка да се, проласком кроз ове мета-процесе у контексту уметничког рада, отвара могућност за освешћива-ње когнитивно-перцептивних пристрасности и у осталим сегментима живота. Иако доживљај било којег уметничког дела, па и свесно искуство уопште, под-разумева непрекидно одвијање процеса перцепције и когниције, они су у овом раду коришћени као основа уметничког поступка. Кључне речи: раслојавање перцепције, неуроестетика, феноменолошки обрт, политике перцепције, естетски режим перцепције
Besides representing a border dividing interior and exterior spaces, one of the primary functions... more Besides representing a border dividing interior and exterior spaces, one of the primary functions of the facade is communication. What used to be inscribed in stone, concrete, wood or glass, is now communicated via digital media, which became an integral part of architecture in the information society we live in today. Even though this research includes an investigation of media-supported facades as architectural elements, a much broader discourse oriented toward relational aesthetics in urban spaces will be employed in order to analyze the new media potential of communication layers in architecture.
Fourth International Conference and Exhibition ON ARCHITECTURE - SCALE OF DESIGN FROM MICRO TO MACRO, Dec 2016
Throughout the history of architecture, the facade of a building represented a clear distinction ... more Throughout the history of architecture, the facade of a building represented a clear distinction between inside and outside. It was the modernist concept of flowing, open space that revolutionized the relationship between open and enclosed spaces, providing a glimpse into the ever-changing life of a building interior. Besides representing a border dividing interior and exterior spaces, one of the primary functions of facade is communication. What used to be inscribed in stone, concrete, wood or glass, is now communicated via digital media, which became an integral part of architecture in the information society we live in today. Even though this research includes investigation of media supported facades as architectural elements, much broader discourse oriented towards relational aesthetics in urban spaces will be employed in order to analyze the new media potential of communication layer in architecture.
Urban digital media represent the intersection of architecture, information and culture which coexist in the arena of technology and construction. Through networking and content-sharing they are creating a possibility for global multimedia infrastructure for commercial and cultural exchange. Term mediatecture will be used to describe the field of new media in which architecture operates in urban context. Each communication carried through mediatecture can be divided into a certain number of polymedia pixels, which represent smallest possible units of communication transmitted via mediatecture. This paper will analyze the implications of new technologies, such as virtual and augmented reality on the communication process in urban context, as well as the relation between event and experience, and how it is dictated by the specificities of human perception. If a certain amount of people interacts with a certain space, thus receiving, but also creating a certain amount of information, or, in other words – communicates with and within that space – does urban environment becomes a social network?
INTERNATIONAL INTERDISCIPLINARY SCIENTIFIC CONFERENCE RADICAL SPACE IN BETWEEN DISCIPLINES RSC 2015 - CONFERENCE PROCEEDINGS, Dec 2015
Throughout theatre history light had complex relationship with the space of performance. At first... more Throughout theatre history light had complex relationship with the space of performance. At first used solely for practical reasons of illuminating actors and scenery, lighting has emancipated from its primary function to a potent scene design tool, even evolved to an independent layer of performance with its own performative potential. If analyzed in the context of post-structuralist approach, light as a medium and technology which provides it cannot be separated from each other. Likewise, immanent textuality that both immaterial medium of light and concrete objects used to produce it possess cannot be seen independently. The main change instigated by the technological advances in stage lighting was better means of control, which allowed the light to be used as a medium. Chiaroscuro of the baroque period brought the new role – light and shadow were used as a sign, along with their symbolic values. The use of light as a medium in the representational theatre served as an opportunity for added meaning. However, this layer was not autonomous – it was subordinated to an imaginary world imitated on stage. Appia and Craig are considered to be the pioneers of stage modernism, which brought upon paradigm shift from stage to place. The apprehension of stage lighting followed. Appia ontologized the light on stage, freeing it from the constraints of stage and bringing it into a space, where it can work together with music, rhythm and human body to create a performance. Bauhaus and their light plays, along with futurist approach to light as actor has fully released it as an artistic medium, not necessarily connected to a theatre play. Time became important, performance was not a representation of something happening somewhere anymore, but a presentation happening in real time. Modernist ideas preceded available technology, but it was Czech scene designer Josef Svoboda who fully realized them through his work several decades later. Light was not only a medium conveying meaning subordinated to a theatre play, and it was Svoboda who made enough room for its textuality to come forward. He used the term psycho-plastic space to describe the dynamic and ephemeral nature of mixed media spaces, referring to the important role of inner world of the spectators. This paper aims to investigate the influence of expected technological advances, which will bring even better light control in space and time and further dilute borders between different media, on the paradigm of stage lighting. Stage lighting design, with improved possibilities of control is increasingly operating within the realm of film montage – what implications does that hold for light, both as a medium and a text? Keywords: stage lighting technology, light as a medium, textuality, mixed media performance, immersive space 1 INTRODUCTION Throughout theatre history light had complex relationship with the space of performance. At first used solely for practical reasons of illuminating actors and scenery, lighting has emancipated from its primary function to a potent scene design tool, even evolved to an independent layer of performance with its own performative potential. This paper will try to investigate the influence of expected technological advances, which will bring even better control of light in space and time and further dilute borders between different media, on the paradigm of stage lighting.
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Papers by Milica Stojsic
Urban digital media represent the intersection of architecture, information and culture which coexist in the arena of technology and construction. Through networking and content-sharing they are creating a possibility for global multimedia infrastructure for commercial and cultural exchange. Term mediatecture will be used to describe the field of new media in which architecture operates in urban context. Each communication carried through mediatecture can be divided into a certain number of polymedia pixels, which represent smallest possible units of communication transmitted via mediatecture. This paper will analyze the implications of new technologies, such as virtual and augmented reality on the communication process in urban context, as well as the relation between event and experience, and how it is dictated by the specificities of human perception. If a certain amount of people interacts with a certain space, thus receiving, but also creating a certain amount of information, or, in other words – communicates with and within that space – does urban environment becomes a social network?
Urban digital media represent the intersection of architecture, information and culture which coexist in the arena of technology and construction. Through networking and content-sharing they are creating a possibility for global multimedia infrastructure for commercial and cultural exchange. Term mediatecture will be used to describe the field of new media in which architecture operates in urban context. Each communication carried through mediatecture can be divided into a certain number of polymedia pixels, which represent smallest possible units of communication transmitted via mediatecture. This paper will analyze the implications of new technologies, such as virtual and augmented reality on the communication process in urban context, as well as the relation between event and experience, and how it is dictated by the specificities of human perception. If a certain amount of people interacts with a certain space, thus receiving, but also creating a certain amount of information, or, in other words – communicates with and within that space – does urban environment becomes a social network?