Ugo Volli
Ugo Volli is full professor of "Semiotics of the text" and "Philosophy of Communication" at the University of Turin, where he directs the Center for Research on Communication (CIRCe), and coordinates the program in Semiotics and Media of the PhD school in Humanities and is Deputy Director for Research in the Department of Philosophy and Education. He has worked in a number of Italian and foreign universities, including for long periods of time in Bologna University, IULM University, New York University, Brown University, Haifa University. He was was awarded an honorary doctoral degree from the New Bulgarian University. He directs “Lexia – Journal of semiotics” and is member of the scientific board of many international journals.His research deals with communication both from the theoretical point of view (Il libro della comunicazione, Il Saggiatore 1994
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Tra i paradigmi che hanno inciso profondamente nel corso del XIX e XX sec. non si può non ricordare l’indagine circa la migrazione di motivi iconografici così come la costruzione di “atlanti” in cui è indagata la sopravvivenza di “formule patetiche” che ritornano con efficacia rinnovata non solo all’interno di opere d’arte, ma anche in immagini prodotto della comunicazione di massa (francobolli, pubblicità etc.).
Se le metodologie di indagine ricordate ipotizzano forme di temporalità differenti sottese al divenire storico, è possibile tuttavia tracciare un filo rosso nell’idea di una ricorrenza e ripresentazione di determinati motivi, temi o figure, dunque di una loro pervasività trasversale o, attingendo a una metafora biologica in uso per il web, di una loro “viralità”.
Le domande a cui la summer school vorrebbe provare a rispondere sono: cosa succede alle immagini d’arte quando sono trasposte su supporto digitale? Qual è il loro destino in seno a un ambiente culturale e sociale, quale quello digitale, che ha profondamente riscritto le nostre pratiche quotidiane, i nostri usi dell’immagine e la nostra percezione della stessa ?
In particolare, i seminari proposti nel corso della settimana destinata agli incontri indagheranno alcune possibili piste inerenti alla più generale questione indicata.
-Nadine Dalton Speidel, Cuyahoga Cty. P.L., Parma, OH
Copyright 2000 Reed Business Information, Inc.
images has been a main topic of the Art History. The
investigation of the iconographic migration in art was
one of the most important paradigms of the 19th and
20th centuries, so as the construction of an “atlas of
images” which studies the survival of the “Pathos
formulas”. Those formulas appear with new strength
inside works of art, but also different images, results of
mass communication (stamps, advertisement, etc.).
The above mentioned methods of research postulate
different ideas of time in the course of history. However
all of them examine recurring motifs, themes or figures,
their across coming over or their “virality”, using a
biological metaphor widespread on the Net.
What does it happen to the works of art transferred to a
digital media? What’s their destiny inside a new social
and cultural context, so as the digital environment that
deeply changed our lives? The Summer School Digital
Life of Forms in Art will try to answer to all of those
questions. In particular, our seminars intend to explore
some aspects of this field of study:
The aesthetic side, the “post-media” condition and
the artistic creation
The immersive media, the social interactions and the
augmented reality stimulate the user body in a similar
way to some artistic experiences. It would be interesting
to investigate the relations between these mechanisms
and the aesthetic involvement of the user, in the sense
of discovery of the world coming through senses.
Many scholars think that the convergence of different
mechanisms on digital media determined the “postmedia”
condition: the old distinction between
traditional media is no yet valid, because the digital
environment comprehends different media. Which
affinities can be pointed out between the post-media
condition and the artistic creation? To what extent the
installation art (artistic genre of three-dimensional works
of art) did contribute to reach the post-media
condition? And how did the digitalisation of the artistic
process change the artistic creation?
The fruition of art and digital media
Always more frequently the fruition of artistic spaces
goes through digital media. What is the effectiveness of
such mechanism? And which are its “models of user”?
Moreover, does digital media amplify playful or
pedagogical dimensions? On the other hand, which
kind of fruition do digital museums, such as Google Art
Project, offer to the world of art?