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35 results on '"hyper-realism"'

1. PHOTOGRAPHY IN THE PRACTICE OF CONTEMPORARY PAINTING. A PEDAGOGICAL PERSPECTIVE.

Author

MUREȘAN, Anca

Subjects
PHOTOGRAPHS, LEARNING, HIGHER education
Abstract

Photography is a technological medium that suffers continuous evolution. From its earliest developments to the various types of recent printing, the photographic image has become an avatar of the world. Since images are irreversibly intertwined with human activity, their usage becomes an increasingly frequent practice in the area of traditional creative techniques. This article discusses some examples of this usage in the context of contemporary painting studios in higher education. Photography is accessed by young students and the foray into photographic documentation is now an inevitable tool. The way students use it as an intermediary can be disruptive to their learning process, as long as the role of photography in painting practice is not fully comprehended. There are different ways of integrating photography into the practice of contemporary painting. The present article addresses conceptual aspects, presents several particular situations and launches some perspectives for better understanding these practices. Photography is a tool, not an end, but what happens when these terms juxtapose or are taken for granted? What kind of painting results out of the practical process “contaminated” by photography? However, if technology is properly and timely integrated in the practice of painting, one can no longer talk about a “contamination”, but rather about a conscious process able to generate quality painting. [ABSTRACT FROM AUTHOR]

Published
2023
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2. Anticipatory realism : constructions of futures and regimes of prediction in contemporary post-cinematic art

Author

Dernbach, Rafael Karl and Webber, Andrew

Subjects
791.4301, media studies, philosophy, post-cinema, enactment, film studies, futures, anticipation, speculation, Farocki, Steyerl, Beloufa, Flusser, Derrida, extrapolation, Barad, cultural techniques, future construction, future scenarios, foresight, prediction, regimes of prediction, hypo-realism, hyper-realism, futurity, soft montage, rendering, epiphany, apophenia, precarity, documentary theory, digitalization, reality production, image technologies, testing, realism, critique
Abstract

This thesis examines strategies of anticipation in contemporary post-cinematic art. In the Introduction and the first chapter, I make the case for anticipation as a cultural technique for the construction of and adjustment to future scenarios. This framing allows analysis of constructions of futures as culturally and media-historically specific operations. Via anticipation, constructions of futures become addressable as embedded in specific performative and material economies: as regimes of prediction. The hypothesis is that cultural techniques of anticipation do not only serve to construct particular future scenarios, but also futurity, the very condition for the construction of futures. Drawing upon the philosophical works of, in particular, Vilem Flusser, Jacques Derrida and Elena Esposito, and the theory of cultural techniques, I conceptualize anticipation through the analysis of post-cinematic strategies. I argue that post-cinematic art is particularly apt for the conceptualization of anticipation. The self-reflexive multi-media interventions of post-cinematic art can expose the realisms that govern regimes of prediction. Three cultural techniques of anticipation and their use as artistic strategies in post-cinematic art are theorized: enactment, soft montage and rendering. Each of these techniques is examined in its construction of futures through performative and material operations in art gallery spaces. The second chapter examines strategies of enactment in post-cinematic installations by Neïl Beloufa. My readings of Kempinski (2007), The Analyst, the Researcher, the Screenwriter, the CGI tech and the Lawyer (2011), World Domination (2012) and Data for Desire (2014) propose that enactment allows for an engagement with futures beyond extrapolation. With Karen Barad's theory of agential realism, the construction of futures becomes graspable as a political process in opposition to a mere prolonging of the present into the future. The third chapter focuses on the strategy of soft montage in works by Harun Farocki. I interpret Farocki's application of soft montage in the exhibition Serious Games I-IV (2009-2010) as a critical engagement with anticipatory forms of organizing power and distributing precarity. His work series Parallel I-IV (2012-2014) is then analyzed as a speculation on the future of image production technologies and their role in constructing futures. The final chapter analyses the self-referential use of computer-generated renderings in works by Hito Steyerl. The installations How Not To Be Seen (2013), Liquidity Inc. (2014), The Tower (2015) and ExtraSpaceCraft (2016) are read as interventions in the performative economies of contemporary image production. I argue that these works allow us to grasp the reality-producing and futurity-producing effects of rendering as anticipatory cultural technique. My thesis aims to contribute to the discussions on a 'turn towards the future' in contemporary philosophy and cultural criticism. My research thus focuses on the following set of questions. What can we learn about the operations of future construction through encounters with post-cinematic art? How are futures and future construction framed in such art? What realisms do future constructions rely on? And how can anticipation as a cultural technique be politicized and democratized?

Published
2019
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3. Hyper-realism and loose-reality: the limitations of digital realism and alternative principles in landscape design visualization

Author

Kullmann, Karl

Subjects
Genetics, Human Genome, Critique, digital visualization, drawing, hyper-realism, landscape representation, Architecture
Abstract

Despite on-going advances in digital visualization technologies, the messy complexity of the corporeal landscape remains a challenging subject to represent. Nevertheless, realism-oriented rendering software developed in other fields drives an escalating supply and demand for hyper-realistic visualizations of design propositions. Through the lenses of perception, technology, technique, practice, and education, this paper argues that the limitations associated with hyper-realism in landscape design visualization are profound. In its place, the paper frames an adaptable visualization rubric that is more suited to the varied nuances of the landscape, while also complementing the intermediate skills of many designers who undertake landscape visualization.

Published
2014

4. Too True to be Alive. The Veristic Image of the Corpse and Contemporary Sculpture

Author

Tomislav Vignjević

Subjects
hyper-realism, dead body, contemporary sculpture, real, Visual arts, N1-9211
Abstract

The hyperrealist sculptor John de Andrea once said in an interview that he wanted to create such realistic sculptures that they would seem as if they were breathing. In such a way the ancient myth of Pygmalion, who creates a sculpture that comes to life, is re-enacted. This "Pygmalion effect" contains both the magic of the transformation of sculpture into a living being, and the artistic technique that establishes the simulacrum as a transgressive artistic creation, as written by Victor I. Stoichita. Yet in contrast to this desire for the enlivening of the dead matter of the sculpture, there is an image of an explicit dead body. Despite its hyperrealist mimetic precision, the sculpture in this case can not "be revived" since it is a depiction of a dead person. The group of contemporary sculptures created by Ron Mueck (Dead Dad), the Irwin group (The Corps of Art), Gavin Turk (Death of Che), Paul Thek (Death of a Hippie) and Maurizio Cattelan (Now) in a unique way visualises the desire for highly realistic images, which can actually appear as living, even though the fact remains in all cases that these are images of dead corpses. Their primary intention is to bring to the fore the traumatic confrontations with corpses and are undoubtedly typical for contemporary art. According to Foster, images of corpses come as a result of artists' dissatisfaction with the postmodern image or text, its illusion and superficial simulacrum of reality, given that it is precisely the real that is returned in this form of the corpse, which was marginalized in the poststructuralist version of postmodernism, but makes a reappearance here in its traumatic form. The paper intends to more thoroughly define the form, reason and meaning embodied by these sculptures, and place them in the context of contemporary rejection of any type of confrontation with death, which is, according to Philippe Ariès, characteristic of our time.

Published
2017
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5. ARQUITECTURAS MINIATURIZADAS Y SU CONTEXTUALIZACIÓN EN EL ARTE CONTEMPORÁNEO / Miniaturised architecture and its contextualisation in Contemporary Art

Author

Angélica Fernández-Morales, Luis Agustín Hernández, and Aurelio Vallespín Muniesa

Subjects
arte contemporáneo, modelo, hiperrealismo, maquetas, contemporary art, model, hyper-realism, Architecture, NA1-9428
Abstract

RESUMEN Los últimos años nos han dejado numerosos ejemplos de trabajos artísticos consistentes en modelos de edificios a escala reducida, un ejemplo más del prolífico diálogo entre arte y arquitectura. En este artículo se analiza lo específico de estos trabajos por su escala reducida y, a partir de varios ejemplos,se plantean cuatro tendencias presentes en el arte contemporáneo, sintomáticas de una emancipación de las formas e ideas de la modernidad: su carácter narrativo, el retorno de la figuración, el gusto por lo artesanal y una actitud posindividualista. Se describe cómo estas tendencias están también presentes, con algunas diferencias, en la arquitectura contemporánea, por lo que puede hablarse de rasgos comunes a ambas disciplinas y de una retroalimentación bidireccional.Desde el punto de vista del arquitecto, estas obras artísticas amplían el potencial expresivo de la maqueta arquitectónica y le permiten replantearse su papel, teniendo en cuenta consideraciones más allá del diseño formal, tales como la percepción emocional, la percepción simbólica, etc. SUMMARY In recent years we have seen numerous examples of artwork consisting of small-scale models of buildings, another example of the close relationship between art and architecture. This article analyses the specifics of these pieces of work through their reduced scale using several examples to do so, addressing four trends that are currently present in contemporary art, symptomatic of an emancipation away from forms and ideas of modernity: their narrative character, the return to figuration, a taste for craft and a post-individualist attitude. We describe how these trends are also present in contemporary architecture, albeit with some differences, therefore enabling us to talk about features that are common to both disciplines and two-way feedback. From the point of view of architects these pieces of artwork amplify the expressive potential of architectural modelling and permit redefining their role, taking into account considerations that go beyond formal design, such as emotion perception, symbolic perception, etc.

Published
2016
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6. Le « rêve américain » et sa fin : de la photographie à la sculpture, aller-retour

Author

Pietro Conte

Subjects
Imagery, resemantization, remediation, hyper-realism, image consciousness, Fine Arts
Abstract

The essay follows the path of the «American dream» imagery, which found one of its most famous and celebrated expressions in a photograph, Lunch atop a Skyscraper. In 1989, Duane Hanson presented a hyper-realistic sculpture that clearly refers to the very same imagery. However, compared to the serenity and confidence in the future that shone through the photograph, Lunch Break conveys a completely different atmosphere, suggesting that the «American dream» has been slowly turning into a nightmare. By adopting a phenomenological approach, we will show that the change of medium contributed greatly to the radical change in the meaning of the imagery itself, and this, in turn, will allow us to see all the tragic consequences of the «American dream». Duane Hanson’s work has been remediated and resemantized in 2003 by another US artist, Sharon Lockhart. By examining this very last stage of our iconic journey, we shall show that writing a «biography» of an imagery means to provide a biography of a whole nation.

Published
2018

8. THE PRESENCE OF THE UNREAL IN ALICE MUNRO'S NARRATIVE.

Author

Mete, Barış

Subjects
*SHORT story writing, *CANADIAN short stories, *NOBEL Prize in Literature, *SOCIAL context
Abstract

Mostly set in her native town in Ontario, Canada in a surprisingly uncomplicated prose style, Alice Ann Munro's short fiction has been so praised by literary critics that her writing is even compared to that of the Russian playwright and short story writer Anton Chekhov, who is considered to be one of the greatest short fiction writers in history. And already designated as the master of the contemporary short story, among other outstanding achievements of her in literature through years since the 1960s, Munro was awarded the Nobel Prize in Literature in 2013. Although Munro's clearly detected regional focus, deliberately applied in her stories and made visible to the eye especially through her simple yet detailed descriptions of the physical and the social environments of her characters, is a significant display of her devotion to literary realism as a contemporary writer, there is obviously a room in her writing style for the practice of fantasy. Therefore Munro's fiction has generally been studied under two broad categories: magic realism and hyper-realism. Principally focusing on her use of fantastic elements in her otherwise realistic stories, this study thus aims at providing the reader with a closer look at Munro's selected short fiction in order to contribute to the discussions about the presence and the purpose of the unreal in Munro's writing. [ABSTRACT FROM AUTHOR]

Published
2017

9. A realidade da ficção na pintura de Carlos Alberto Petrucci.

Author

NICOLAIEWSKY, ALFREDO

Abstract

Copyright of Revista Gama is the property of Revista Gama and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Published
2017

11. Hiperrealismo escultórico, una visión personal.

Abstract

[ES] La realización de este trabajo final de grado se basa en la escultura híper realista, queriendo mostrar mediante esta corriente escultórica algún ámbito de la realidad. El híper realismo genera un impacto visual muy fuerte y crudo y esto acompaña a la magnificación de el significado o mensaje de la obra. La idea de representación me gustaría que estuviera estrechamente relacionada con la retórica visual, dandole de esta forma poética al cuerpo humano conjugando el modelado y lo retórico, intentando de esta forma unir en el mismo trabajo lo corporal y lo ́ ́espiritual`` Desde el principio tengo en mente la idea de querer realizar este trabajo mediante el modelado y posteriormente la reproducción de este en una serie de siliconas que otorgan el aspecto de transparencia y realidad a los elementos de el cuerpo humano ya que quiero que este sea el centro de atención en el trabajo Personas caminando por el techo, como referentes en estas técnicas y modo de trabajo tengo a artistas como Ron Muek, Isaac Cordal, entre otros. La idea que quiero llevar a cabo son una serie de cuerpos humanos entre 30 y 40cm realizando la acción de caminar de forma aleatoria por el techo de la sala, generando un espacio, en el plano superior o incluso en las paredes, de interés para el espectador, acompañando de significado a cada figura con las poses que realicen o los supuestos objetos que puedan tener, dándoles a cada uno de los cuerpos cierta carga retórica para englobar un mensaje general entre toda la instalación escultórica., [EN] The realization of this final work of degree is based on the hyper realistic sculpture, wanting to show through this sculptural current some area of reality. Hyper realism generates a very strong and raw visual impact and this goes along with the magnification of the meaning or message of the work. The idea of representation I would like to be closely related to the visual rhetoric, thus giving poetics to the human body, combining modeling and rhetoric, trying to unite in the same work the corporal and the spiritual. From the beginning I have in mind the idea of wanting to do this work by modeling and then reproducing it in a series of silicones that give the appearance of transparency and reality to the elements of the human body as I want this to be the center of attention in the work People walking on the ceiling, as references in these techniques and way of working I have artists like Ron Muek, Isaac Cordal, among others. The idea I want to carry out is a series of human bodies between 30 and 40cm performing the action of walking randomly across the ceiling of the room, generating a space, in the upper plane or even on the walls, of interest to the viewer, accompanying meaning to each figure with the poses they perform or the alleged objects they may have, giving each of the bodies some rhetorical charge to encompass a general message between all the sculptural installation.

Published
2021

12. Hiperrealismo escultórico, una visión personal.

Abstract

[ES] La realización de este trabajo final de grado se basa en la escultura híper realista, queriendo mostrar mediante esta corriente escultórica algún ámbito de la realidad. El híper realismo genera un impacto visual muy fuerte y crudo y esto acompaña a la magnificación de el significado o mensaje de la obra. La idea de representación me gustaría que estuviera estrechamente relacionada con la retórica visual, dandole de esta forma poética al cuerpo humano conjugando el modelado y lo retórico, intentando de esta forma unir en el mismo trabajo lo corporal y lo ́ ́espiritual`` Desde el principio tengo en mente la idea de querer realizar este trabajo mediante el modelado y posteriormente la reproducción de este en una serie de siliconas que otorgan el aspecto de transparencia y realidad a los elementos de el cuerpo humano ya que quiero que este sea el centro de atención en el trabajo Personas caminando por el techo, como referentes en estas técnicas y modo de trabajo tengo a artistas como Ron Muek, Isaac Cordal, entre otros. La idea que quiero llevar a cabo son una serie de cuerpos humanos entre 30 y 40cm realizando la acción de caminar de forma aleatoria por el techo de la sala, generando un espacio, en el plano superior o incluso en las paredes, de interés para el espectador, acompañando de significado a cada figura con las poses que realicen o los supuestos objetos que puedan tener, dándoles a cada uno de los cuerpos cierta carga retórica para englobar un mensaje general entre toda la instalación escultórica., [EN] The realization of this final work of degree is based on the hyper realistic sculpture, wanting to show through this sculptural current some area of reality. Hyper realism generates a very strong and raw visual impact and this goes along with the magnification of the meaning or message of the work. The idea of representation I would like to be closely related to the visual rhetoric, thus giving poetics to the human body, combining modeling and rhetoric, trying to unite in the same work the corporal and the spiritual. From the beginning I have in mind the idea of wanting to do this work by modeling and then reproducing it in a series of silicones that give the appearance of transparency and reality to the elements of the human body as I want this to be the center of attention in the work People walking on the ceiling, as references in these techniques and way of working I have artists like Ron Muek, Isaac Cordal, among others. The idea I want to carry out is a series of human bodies between 30 and 40cm performing the action of walking randomly across the ceiling of the room, generating a space, in the upper plane or even on the walls, of interest to the viewer, accompanying meaning to each figure with the poses they perform or the alleged objects they may have, giving each of the bodies some rhetorical charge to encompass a general message between all the sculptural installation.

Published
2021

13. Hiperrealismo escultórico, una visión personal.

Abstract

[ES] La realización de este trabajo final de grado se basa en la escultura híper realista, queriendo mostrar mediante esta corriente escultórica algún ámbito de la realidad. El híper realismo genera un impacto visual muy fuerte y crudo y esto acompaña a la magnificación de el significado o mensaje de la obra. La idea de representación me gustaría que estuviera estrechamente relacionada con la retórica visual, dandole de esta forma poética al cuerpo humano conjugando el modelado y lo retórico, intentando de esta forma unir en el mismo trabajo lo corporal y lo ́ ́espiritual`` Desde el principio tengo en mente la idea de querer realizar este trabajo mediante el modelado y posteriormente la reproducción de este en una serie de siliconas que otorgan el aspecto de transparencia y realidad a los elementos de el cuerpo humano ya que quiero que este sea el centro de atención en el trabajo Personas caminando por el techo, como referentes en estas técnicas y modo de trabajo tengo a artistas como Ron Muek, Isaac Cordal, entre otros. La idea que quiero llevar a cabo son una serie de cuerpos humanos entre 30 y 40cm realizando la acción de caminar de forma aleatoria por el techo de la sala, generando un espacio, en el plano superior o incluso en las paredes, de interés para el espectador, acompañando de significado a cada figura con las poses que realicen o los supuestos objetos que puedan tener, dándoles a cada uno de los cuerpos cierta carga retórica para englobar un mensaje general entre toda la instalación escultórica., [EN] The realization of this final work of degree is based on the hyper realistic sculpture, wanting to show through this sculptural current some area of reality. Hyper realism generates a very strong and raw visual impact and this goes along with the magnification of the meaning or message of the work. The idea of representation I would like to be closely related to the visual rhetoric, thus giving poetics to the human body, combining modeling and rhetoric, trying to unite in the same work the corporal and the spiritual. From the beginning I have in mind the idea of wanting to do this work by modeling and then reproducing it in a series of silicones that give the appearance of transparency and reality to the elements of the human body as I want this to be the center of attention in the work People walking on the ceiling, as references in these techniques and way of working I have artists like Ron Muek, Isaac Cordal, among others. The idea I want to carry out is a series of human bodies between 30 and 40cm performing the action of walking randomly across the ceiling of the room, generating a space, in the upper plane or even on the walls, of interest to the viewer, accompanying meaning to each figure with the poses they perform or the alleged objects they may have, giving each of the bodies some rhetorical charge to encompass a general message between all the sculptural installation.

Published
2021

14. Evaluating the role of collage as a more effective representation in landscape architecture praxis

Author

George, Tina and Amoroso, Nadia

Subjects
design communication, graphic identity, landscape urbanism, graphic style, visual communication, design graphics, hyper-realism, drawing landscape, photo-realism, photomontages, landscape architecture, graphic communication, collages
Abstract

Photomontage has evolved from traditional collages to highly photorealistic simulations - the currently preferred style of landscape visual communication. These photorealistic graphics are popular, owing to their ease of interpretation, but limit discourse possibilities and fail to reveal the ideation process. On the other hand, traditional collage is credited with projecting the design process and promoting intelligent discourse. This study helped investigate the efficiencies of using traditional collage representation within current praxis. Literature review focused on the trajectory of landscape architecture graphics brought an understanding to why impressionist, realistic graphics are being used. A case-study analyzes of fifteen graphic representations by landscape architecture practices and the results of a questionnaire that tested for recognition of various graphic styles was used to consolidate information that led to the determination that collage techniques are superior and can be revived to be utilized effectively in praxis.

Published
2021

15. Hiperrealismo escultórico, una visión personal

Author

Catalá Nácher, Roberto

Subjects
Hiper-realismo, Visual rhetoric, Modeling, Retórica visual, Modelado, Sculpture, Photo-sculpture, Hyper-realism, Escultura, Installation, Grado en Bellas Artes-Grau en Belles Arts, Instalación, Fotoescultura
Abstract

[ES] La realización de este trabajo final de grado se basa en la escultura híper realista, queriendo mostrar mediante esta corriente escultórica algún ámbito de la realidad. El híper realismo genera un impacto visual muy fuerte y crudo y esto acompaña a la magnificación de el significado o mensaje de la obra. La idea de representación me gustaría que estuviera estrechamente relacionada con la retórica visual, dandole de esta forma poética al cuerpo humano conjugando el modelado y lo retórico, intentando de esta forma unir en el mismo trabajo lo corporal y lo ́ ́espiritual`` Desde el principio tengo en mente la idea de querer realizar este trabajo mediante el modelado y posteriormente la reproducción de este en una serie de siliconas que otorgan el aspecto de transparencia y realidad a los elementos de el cuerpo humano ya que quiero que este sea el centro de atención en el trabajo Personas caminando por el techo, como referentes en estas técnicas y modo de trabajo tengo a artistas como Ron Muek, Isaac Cordal, entre otros. La idea que quiero llevar a cabo son una serie de cuerpos humanos entre 30 y 40cm realizando la acción de caminar de forma aleatoria por el techo de la sala, generando un espacio, en el plano superior o incluso en las paredes, de interés para el espectador, acompañando de significado a cada figura con las poses que realicen o los supuestos objetos que puedan tener, dándoles a cada uno de los cuerpos cierta carga retórica para englobar un mensaje general entre toda la instalación escultórica., [EN] The realization of this final work of degree is based on the hyper realistic sculpture, wanting to show through this sculptural current some area of reality. Hyper realism generates a very strong and raw visual impact and this goes along with the magnification of the meaning or message of the work. The idea of representation I would like to be closely related to the visual rhetoric, thus giving poetics to the human body, combining modeling and rhetoric, trying to unite in the same work the corporal and the spiritual. From the beginning I have in mind the idea of wanting to do this work by modeling and then reproducing it in a series of silicones that give the appearance of transparency and reality to the elements of the human body as I want this to be the center of attention in the work People walking on the ceiling, as references in these techniques and way of working I have artists like Ron Muek, Isaac Cordal, among others. The idea I want to carry out is a series of human bodies between 30 and 40cm performing the action of walking randomly across the ceiling of the room, generating a space, in the upper plane or even on the walls, of interest to the viewer, accompanying meaning to each figure with the poses they perform or the alleged objects they may have, giving each of the bodies some rhetorical charge to encompass a general message between all the sculptural installation.

Published
2021

16. From Trauma in Austere Environments to Combat or Medical School: How Blended Hyper-Realism in the Real and Virtual Worlds Can Better Prepare Surgeons.

Author

LAPORTA, Anthony J., HOANG, Tuan, MOLOFF, Alan, TIEMAN, Michael, SCHWARTZ, Brian D., SLACK, Sean, CHALUT, Carissa, KANG, Jeff, and UNANGST, Alicia

Abstract

Surgical and simulation development have always been closely associated with military activity. The last ten years have continued that trend, allowing for training in real time, under reality-based conditions, learning technical and clinical skills with the dynamic of true human factors and team training in the actual environment. We present data from diverse activities in three separate scenarios: second-year medical students in clinical scenarios; the U.S. Ski Team physicians training in austere conditions; the U.S. Navy Fleet Surgical Team training for sea and land deployment. [ABSTRACT FROM AUTHOR]

Published
2014
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17. 1400 INTO 2011 REMARKS OF A HUNGARIAN ART HISTORIAN.

Author

BEKE, LÁSZLÓ

Abstract

The essay is a subjective overlook of Hungarian artistic culture from the point of view of an art historian who had an active role in Hungarian avant-garde scene both as a theoretician and as a curator as well. His essay is focused on hyperrealistic trends and their practices of rendering lively figures, perspectivic effects and the use of casts as well. [ABSTRACT FROM AUTHOR]

Published
2013
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18. O debate crítico sobre o Hiper-realismo.

Author

Fabris, Annateresa

Abstract

Figurative painting that often employs photographic images, Hyper-realism promoted a vehement critical debate both in the United States and Europe. This article, that intends to recover the critical debate of the 70s, discusses its two main categories -- mimesis and strangeness. [ABSTRACT FROM AUTHOR]

Published
2013

19. Political Recognition and Æsthetic Judgement.

Author

Corcoran, Paul

Subjects
*RECOGNITION (International law), *POLITICAL ethics, *INDUSTRIALIZATION, *DECOLONIZATION, *HUMAN rights, *INTERNATIONAL law, *CULTURAL rights, *LIBERALISM, *INTERNATIONAL relations
Abstract

The article presents the æsthetic view of politics as basis for ethical and moral appraisal, as well as the cognitive processes and perceptual capacities of recognition. It states that recognition accords legal status and engages a personal obligation to perform a public duty. Moreover, it notes that there has been a surprising reorientation of political recognition in Africa, Eastern Europe and the former Soviet Union over the past 20 years. However, it recognizes that there have been depressing examples of non-recognition in the Middle East and several countries in Africa. To strengthen the argument for humane respect and human rights in the multicultural state, the article mentions the views of several liberal theorists.

Published
2008
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20. Le « rêve américain » et sa fin : de la photographie à la sculpture, aller-retour

Author

Pietro Jacopo Alessandro Conte

Subjects
Reenactment, American dream, hyperrealism, médiologie, photography, aesthetics, media studies, Settore L-ART/06 - Cinema, Fotografia e Televisione, lcsh:Fine Arts, hyperrealism, médiologie, media studies, Settore L-ART/03 - Storia dell'Arte Contemporanea, American dream, Reenactment, photography, aesthetics, hyper-realism, remediation, Settore M-FIL/04 - Estetica, Imagery, resemantization, lcsh:N, image consciousness
Abstract

Cet article retrace les etapes du voyage de l’imaginaire de l’American dream, qui a partir des annees 1930 a trouve dans une photographie – Lunch atop a Skyscraper – un de ses symboles les plus caracteristiques et reconnaissables. En 1989, celui qui peut etre considere comme l’artiste hyperrealiste le plus celebre du xxe siecle, Duane Hanson, presente une œuvre qui fait directement allusion au meme imaginaire. Toutefois, comparee a la serenite et au sentiment de confiance dans le futur que la photographie etait censee vehiculer, la sculpture de Hanson, dont l’eclatante fidelite mimetique au reel constitue la caracteristique principale, donne a voir que le « reve americain » s’est lentement transforme en cauchemar. Une approche phenomenologique permettra d’evaluer comment le changement de support contribue de facon decisive au bouleversement radical du sens de l’imaginaire, ce qui laisse en meme temps entrevoir, comme en contre-jour, toutes les consequences de l’American dream. On montrera enfin comment l’œuvre de Hanson a ete remediee et resemantisee, en 2003, par l’artiste americaine Sharon Lockhart. Ainsi, en esquissant la biographie d’un imaginaire, on decouvrira qu’elle reflete la biographie d’une nation entiere.

Published
2018

21. Too True to be Alive. The Veristic Image of the Corpse and Contemporary Sculpture

Abstract

The hyperrealist sculptor John de Andrea once said in an interview that he wanted to create such realistic sculptures that they would seem as if they were breathing. In such a way the ancient myth of Pygmalion, who creates a sculpture that comes to life, is re-enacted. This "Pygmalion effect" contains both the magic of the transformation of sculpture into a living being, and the artistic technique that establishes the simulacrum as a transgressive artistic creation, as written by Victor I. Stoichita. Yet in contrast to this desire for the enlivening of the dead matter of the sculpture, there is an image of an explicit dead body. Despite its hyperrealist mimetic precision, the sculpture in this case can not "be revived" since it is a depiction of a dead person. The group of contemporary sculptures created by Ron Mueck (Dead Dad), the Irwin group (The Corps of Art), Gavin Turk (Death of Che), Paul Thek (Death of a Hippie) and Maurizio Cattelan (Now) in a unique way visualises the desire for highly realistic images, which can actually appear as living, even though the fact remains in all cases that these are images of dead corpses. Their primary intention is to bring to the fore the traumatic confrontations with corpses and are undoubtedly typical for contemporary art. According to Foster, images of corpses come as a result of artists' dissatisfaction with the postmodern image or text, its illusion and superficial simulacrum of reality, given that it is precisely the real that is returned in this form of the corpse, which was marginalized in the poststructuralist version of postmodernism, but makes a reappearance here in its traumatic form. The paper intends to more thoroughly define the form, reason and meaning embodied by these sculptures, and place them in the context of contemporary rejection of any type of confrontation with death, which is, according to Philippe Ariès, characteristic of our time.

Published
2017

22. Miniaturised Architecture and its Contextualisation in Conemporary Art

Author

Angélica Fernández-Morales, Aurelio Vallespín Muniesa, and Luis Agustín Hernández

Subjects
Emancipation, Contemporary art, media_common.quotation_subject, Taste (sociology), Arte contemporáneo, Hiperrealismo, Art, Urban Studies, Formal design, Arts and Humanities (miscellaneous), Close relationship, Hyper-realism, Architecture, Humanities, Cartography, media_common
Abstract

RESUMEN Los ultimos anos nos han dejado numerosos ejemplos de trabajos artisticos consistentes en modelos de edificios a escala reducida, un ejemplo mas del prolifico dialogo entre arte y arquitectura. En este articulo se analiza lo especifico de estos trabajos por su escala reducida y, a partir de varios ejemplos,se plantean cuatro tendencias presentes en el arte contemporaneo, sintomaticas de una emancipacion de las formas e ideas de la modernidad: su caracter narrativo, el retorno de la figuracion, el gusto por lo artesanal y una actitud posindividualista. Se describe como estas tendencias estan tambien presentes, con algunas diferencias, en la arquitectura contemporanea, por lo que puede hablarse de rasgos comunes a ambas disciplinas y de una retroalimentacion bidireccional.Desde el punto de vista del arquitecto, estas obras artisticas amplian el potencial expresivo de la maqueta arquitectonica y le permiten replantearse su papel, teniendo en cuenta consideraciones mas alla del diseno formal, tales como la percepcion emocional, la percepcion simbolica, etc. SUMMARY In recent years we have seen numerous examples of artwork consisting of small-scale models of buildings, another example of the close relationship between art and architecture. This article analyses the specifics of these pieces of work through their reduced scale using several examples to do so, addressing four trends that are currently present in contemporary art, symptomatic of an emancipation away from forms and ideas of modernity: their narrative character, the return to figuration, a taste for craft and a post-individualist attitude. We describe how these trends are also present in contemporary architecture, albeit with some differences, therefore enabling us to talk about features that are common to both disciplines and two-way feedback. From the point of view of architects these pieces of artwork amplify the expressive potential of architectural modelling and permit redefining their role, taking into account considerations that go beyond formal design, such as emotion perception, symbolic perception, etc.

Published
2016

23. Arquitecturas miniaturizadas y su contextualización en el arte contemporáneo

Abstract

Los últimos años nos han dejado numerosos ejemplos de trabajos artísticos consistentes en modelos de edificios a escala reducida, un ejemplo más del prolífico diálogo entre arte y arquitectura. En este artículo se analiza lo específico de estos trabajos por su escala reducida y, a partir de varios ejemplos,se plantean cuatro tendencias presentes en el arte contemporáneo, sintomáticas de una emancipación de las formas e ideas de la modernidad: su carácter narrativo, el retorno de la figuración, el gusto por lo artesanal y una actitud posindividualista. Se describe cómo estas tendencias están también presentes, con algunas diferencias, en la arquitectura contemporánea, por lo que puede hablarse de rasgos comunes a ambas disciplinas y de una retroalimentación bidireccional.Desde el punto de vista del arquitecto, estas obras artísticas amplían el potencial expresivo de la maqueta arquitectónica y le permiten replantearse su papel, teniendo en cuenta consideraciones más allá del diseño formal, tales como la percepción emocional, la percepción simbólica, etc., In recent years we have seen numerous examples of artwork consisting of small–scale models of buildings, another example of the close relationship between art and architecture. This article analyses the specifics of these pieces of work through their reduced scale using several examples to do so, addressing four trends that are currently present in contemporary art, symptomatic of an emancipation away from forms and ideas of modernity: their narrative character, the return to figuration, a taste for craft and a post–individualist attitude. We describe how these trends are also present in contemporary architecture, albeit with some differences, therefore enabling us to talk about features that are common to both disciplines and two–way feedback. From the point of view of architects these pieces of artwork amplify the expressive potential of architectural modelling and permit redefining their role, taking into account considerations that go beyond formal design, such as emotion perception, symbolic perception, etc.

Published
2016

24. Arquitecturas miniaturizadas y su contextualización en el arte contemporáneo

Abstract

Los últimos años nos han dejado numerosos ejemplos de trabajos artísticos consistentes en modelos de edificios a escala reducida, un ejemplo más del prolífico diálogo entre arte y arquitectura. En este artículo se analiza lo específico de estos trabajos por su escala reducida y, a partir de varios ejemplos,se plantean cuatro tendencias presentes en el arte contemporáneo, sintomáticas de una emancipación de las formas e ideas de la modernidad: su carácter narrativo, el retorno de la figuración, el gusto por lo artesanal y una actitud posindividualista. Se describe cómo estas tendencias están también presentes, con algunas diferencias, en la arquitectura contemporánea, por lo que puede hablarse de rasgos comunes a ambas disciplinas y de una retroalimentación bidireccional.Desde el punto de vista del arquitecto, estas obras artísticas amplían el potencial expresivo de la maqueta arquitectónica y le permiten replantearse su papel, teniendo en cuenta consideraciones más allá del diseño formal, tales como la percepción emocional, la percepción simbólica, etc., In recent years we have seen numerous examples of artwork consisting of small–scale models of buildings, another example of the close relationship between art and architecture. This article analyses the specifics of these pieces of work through their reduced scale using several examples to do so, addressing four trends that are currently present in contemporary art, symptomatic of an emancipation away from forms and ideas of modernity: their narrative character, the return to figuration, a taste for craft and a post–individualist attitude. We describe how these trends are also present in contemporary architecture, albeit with some differences, therefore enabling us to talk about features that are common to both disciplines and two–way feedback. From the point of view of architects these pieces of artwork amplify the expressive potential of architectural modelling and permit redefining their role, taking into account considerations that go beyond formal design, such as emotion perception, symbolic perception, etc.

Published
2016

25. Arquitecturas miniaturizadas y su contextualización en el arte contemporáneo

Abstract

Los últimos años nos han dejado numerosos ejemplos de trabajos artísticos consistentes en modelos de edificios a escala reducida, un ejemplo más del prolífico diálogo entre arte y arquitectura. En este artículo se analiza lo específico de estos trabajos por su escala reducida y, a partir de varios ejemplos,se plantean cuatro tendencias presentes en el arte contemporáneo, sintomáticas de una emancipación de las formas e ideas de la modernidad: su carácter narrativo, el retorno de la figuración, el gusto por lo artesanal y una actitud posindividualista. Se describe cómo estas tendencias están también presentes, con algunas diferencias, en la arquitectura contemporánea, por lo que puede hablarse de rasgos comunes a ambas disciplinas y de una retroalimentación bidireccional.Desde el punto de vista del arquitecto, estas obras artísticas amplían el potencial expresivo de la maqueta arquitectónica y le permiten replantearse su papel, teniendo en cuenta consideraciones más allá del diseño formal, tales como la percepción emocional, la percepción simbólica, etc., In recent years we have seen numerous examples of artwork consisting of small–scale models of buildings, another example of the close relationship between art and architecture. This article analyses the specifics of these pieces of work through their reduced scale using several examples to do so, addressing four trends that are currently present in contemporary art, symptomatic of an emancipation away from forms and ideas of modernity: their narrative character, the return to figuration, a taste for craft and a post–individualist attitude. We describe how these trends are also present in contemporary architecture, albeit with some differences, therefore enabling us to talk about features that are common to both disciplines and two–way feedback. From the point of view of architects these pieces of artwork amplify the expressive potential of architectural modelling and permit redefining their role, taking into account considerations that go beyond formal design, such as emotion perception, symbolic perception, etc.

Published
2016

26. Arquitecturas miniaturizadas y su contextualización en el arte contemporáneo

Abstract

Los últimos años nos han dejado numerosos ejemplos de trabajos artísticos consistentes en modelos de edificios a escala reducida, un ejemplo más del prolífico diálogo entre arte y arquitectura. En este artículo se analiza lo específico de estos trabajos por su escala reducida y, a partir de varios ejemplos,se plantean cuatro tendencias presentes en el arte contemporáneo, sintomáticas de una emancipación de las formas e ideas de la modernidad: su carácter narrativo, el retorno de la figuración, el gusto por lo artesanal y una actitud posindividualista. Se describe cómo estas tendencias están también presentes, con algunas diferencias, en la arquitectura contemporánea, por lo que puede hablarse de rasgos comunes a ambas disciplinas y de una retroalimentación bidireccional.Desde el punto de vista del arquitecto, estas obras artísticas amplían el potencial expresivo de la maqueta arquitectónica y le permiten replantearse su papel, teniendo en cuenta consideraciones más allá del diseño formal, tales como la percepción emocional, la percepción simbólica, etc., In recent years we have seen numerous examples of artwork consisting of small–scale models of buildings, another example of the close relationship between art and architecture. This article analyses the specifics of these pieces of work through their reduced scale using several examples to do so, addressing four trends that are currently present in contemporary art, symptomatic of an emancipation away from forms and ideas of modernity: their narrative character, the return to figuration, a taste for craft and a post–individualist attitude. We describe how these trends are also present in contemporary architecture, albeit with some differences, therefore enabling us to talk about features that are common to both disciplines and two–way feedback. From the point of view of architects these pieces of artwork amplify the expressive potential of architectural modelling and permit redefining their role, taking into account considerations that go beyond formal design, such as emotion perception, symbolic perception, etc.

Published
2016

27. Hyper-realism and loose-reality: the limitations of digital realism and alternative principles in landscape design visualization

Author

Karl Kullmann

Subjects
Engineering, media_common.quotation_subject, Geography, Planning and Development, Subject (philosophy), Landscape design, computer.software_genre, landscape representation, Supply and demand, Human–computer interaction, Perception, Architecture, Genetics, Critique, media_common, Multimedia, business.industry, Human Genome, Software rendering, Rubric, digital visualization, drawing, Visualization, hyper-realism, business, computer, Realism
Abstract

© 2014 European Council of Landscape Architecture Schools. Despite on-going advances in digital visualization technologies, the messy complexity of the corporeal landscape remains a challenging subject to represent. Nevertheless, realism-oriented rendering software developed in other fields drives an escalating supply and demand for hyper-realistic visualizations of design propositions. Through the lenses of perception, technology, technique, practice, and education, this paper argues that the limitations associated with hyper-realism in landscape design visualization are profound. In its place, the paper frames an adaptable visualization rubric that is more suited to the varied nuances of the landscape, while also complementing the intermediate skills of many designers who undertake landscape visualization.

Published
2014

28. Hyper-realism and loose-reality: The limitations of digital realism and alternative principles in landscape design visualization

Author

Kullmann, K and Kullmann, K

Abstract

Despite on-going advances in digital visualization technologies, the messy complexity of the corporeal landscape remains a challenging subject to represent. Nevertheless, realism-oriented rendering software developed in other fields drives an escalating supply and demand for hyper-realistic visualizations of design propositions. Through the lenses of perception, technology, technique, practice, and education, this paper argues that the limitations associated with hyper-realism in landscape design visualization are profound. In its place, the paper frames an adaptable visualization rubric that is more suited to the varied nuances of the landscape, while also complementing the intermediate skills of many designers who undertake landscape visualization.

Published
2014

29. Synthetic

Author

MANFERDINI, ANNA MARIA, MANFERDINI, ELENA, MANFERDINI A.M., and MANFERDINI E.

Subjects
SYNTHETIC MATERIAL, 3D SCANNING, UNCANNY EFFECTS, MICRO-SCALE OBSERVATIONS, HYPER-REALISM
Abstract

Purpose: The aim of this paper is to show the results of a research whose aim is to investigate the potential of architectural surfaces to produce hyper-realistic effects through the invention of new breeds of artificial matter, using Nature and the observation of its micro-scale details as a field of investigation which is instrumental in analyzing and understanding its structure and behaviour. - Method: The research started from the digital three-dimensional acquisition of case studies drawn from plant and animal kingdom that were chosen as significant in terms of shape complexity and of the levels of detail of their geometry. Physical 3D models have been built using artificial materials with the purpose to extend the potential of digital surfaces and experience new visual and tactile effects. Modulation of texture, relief and colours derived from 3D scanned materials were the primary design sources. CNC machines combined with various techniques of tooling, laser etching, casting, vacuum forming, painting, and finishing were employed to fabricate physical model of the digital 3d acquisitions. The research provided a continuous transition from digital reality to the physical one: through the whole process, both analogical and digital procedures were used as agents of comprehension and design innovation. - Result: One of the challenges of this research was to test the possibilities of enlarging the dimensions of micro-scale details acquired using 3d laser scanners, without losing geometric detail. During the digital manipulation process, the quality of 3d models has constantly been compared to the required level of details provided by magnification of 2d images. In order to supply the lack of information due to laser scanner accuracy and resolution, reality-based models have been implemented using 3d modelling packages that allow adding the third dimension to 2d images. This improvement added hyper-realistic effects to digital models, with evident drawback upon the possibility of managing huge data sets, so that decimation procedures became necessary to overcome this aspect. In order to create new visual and tactile repertoire of synthetic materials, many different manufacturing methodologies and procedures have been tested, each one highlighting different characteristics and critical aspects. - Discussion & Conclusion: Although many technologies and methodologies to acquire and manipulate accurate 3d models are actually available and widespread, nowadays the best way to build reality-based 3D models that contain a pre-defined level of detail is still a combination of different modeling techniques. In fact, as a single technique is not yet able to give satisfactory results in all situations, concerning high geometric accuracy, portability, flexibility as well as hyper-realism, so that image-based and range-based techniques are generally combined to fully exploit the intrinsic potentialities of each approach.

Published
2011

30. Synthetic

Author

MANFERDINI, ELENA, MANFERDINI, ANNA MARIA, JOHNSON, J., TARON, J., PARLAC, V., KOLAREVIC, B., MANFERDINI E., and MANFERDINI A.M.

Subjects
SYNTHETIC MATERIAL, 3D SCANNING, MICRO-SCALE OBSERVATIONS, HYPER-REALISM, ComputingMethodologies_COMPUTERGRAPHICS
Abstract

This paper collects the results of a research project aimed at investigating the potential of natural materials to inspire hyper-realistic sensory effects. New artificial breeds of matter were created through the process of micro-scale observation, documentation and imitation, manipulation, and finally re-production as architectural surfaces. The research began with the acquisition of digital information via the 3D scanning of existing surfaces. The selected surfaces were chosen from the plant and animal kingdom because they exhibited significantly interesting complexity in terms of shape and recurrent geometry. The acquired scan information was then manipulated digitally through the modulation and layering of texture, relief, and color which was derived from or inspired by the original surface characteristics. The modified information digitally represented new “synthetic” variations of the natural models, which were translated back into the physical realm through the application of diverse tooling techniques including printing, CNC milling, laser etching, casting, vacuum forming, painting, and finishing. Critical to the research process was the fluid progression of surface information from physical to digital and back to physical which enabled the potentially resulting hyper-realistic effects to be manifested and assessed as visual and tactile surfaces.

Published
2011

31. O debate crítico sobre o Hiper-realismo

Abstract

Figurative painting that often employsphotographic images, Hyper-realismpromoted a vehement critical debate bothin the United States and Europe. Thisarticle, that intends to recover the criticaldebate of the 70s, discusses its two maincategories — mimesis and strangeness., Pintura de caráter representativo, queutiliza freqüentemente a fotografia, oHiper-realismo provocou um intensodebate crítico nos Estados Unidos e naEuropa. Duas categorias — mimese eestranhamento — são apresentadasneste artigo, que se propõe a recupe-rar o debate crítico da década de 1970.

Published
2013

32. O debate crítico sobre o Hiper-realismo

Abstract

Figurative painting that often employsphotographic images, Hyper-realismpromoted a vehement critical debate bothin the United States and Europe. Thisarticle, that intends to recover the criticaldebate of the 70s, discusses its two maincategories — mimesis and strangeness., Pintura de caráter representativo, queutiliza freqüentemente a fotografia, oHiper-realismo provocou um intensodebate crítico nos Estados Unidos e naEuropa. Duas categorias — mimese eestranhamento — são apresentadasneste artigo, que se propõe a recupe-rar o debate crítico da década de 1970.

Published
2013

33. O debate crítico sobre o Hiper-realismo

Abstract

Figurative painting that often employs photographic images, Hyper-realism promoted a vehement critical debate both in the United States and Europe. This article, that intends to recover the critical debate of the 70s, discusses its two main categories — mimesis and strangeness., Pintura de caráter representativo, que utiliza freqüentemente a fotografia, o Hiper-realismo provocou um intenso debate crítico nos Estados Unidos e na Europa. Duas categorias — mimese e estranhamento — são apresentadas neste artigo, que se propõe a recuperar o debate crítico da década de 1970.

Published
2006

34. O debate crítico sobre o Hiper-realismo

Abstract

Figurative painting that often employs photographic images, Hyper-realism promoted a vehement critical debate both in the United States and Europe. This article, that intends to recover the critical debate of the 70s, discusses its two main categories — mimesis and strangeness., Pintura de caráter representativo, que utiliza freqüentemente a fotografia, o Hiper-realismo provocou um intenso debate crítico nos Estados Unidos e na Europa. Duas categorias — mimese e estranhamento — são apresentadas neste artigo, que se propõe a recuperar o debate crítico da década de 1970.

Published
2006

35. O debate crítico sobre o Hiper-realismo

Abstract

Figurative painting that often employs photographic images, Hyper-realism promoted a vehement critical debate both in the United States and Europe. This article, that intends to recover the critical debate of the 70s, discusses its two main categories — mimesis and strangeness., Pintura de caráter representativo, que utiliza freqüentemente a fotografia, o Hiper-realismo provocou um intenso debate crítico nos Estados Unidos e na Europa. Duas categorias — mimese e estranhamento — são apresentadas neste artigo, que se propõe a recuperar o debate crítico da década de 1970.

Published
2006

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