Enclosed by Images Architecture in the Post-Sputnik Age

Colomina, Beatriz

doi:10.5040/9781350036109.ch-014

Cited by 9 publications

(7 citation statements)

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“…Already at the 1939 New York World Fair, the ideal viewer was conceived as a "citizen-tourist," whose gaze was directed towards experiences that reaffirmed the centrality of consumption and leisure (Rydell 1993, 130;Urry 1990). Second, it exemplified the increasing importance, in the postwar period, of the idea of information and the use of communications technology and multisensory bombardment (Colomina 2001). The Soviet planners learned in advance how cuttingedge cinematic technology would be harnessed to present the American way of life; the chief "hook and propaganda device" would be a film America, Land and People projected in 360 degrees in a Circarama (Disney), which was to be shown for the first time outside the USA (GARF9470/1/9, 154).…”

Section: <Fig 1>mentioning

confidence: 98%

Cold War Cultural Transactions: Designing the USSR for the West at Brussels Expo ’58

Reid

2017

Design and Culture

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Focusing on the Cold War Expo in Brussels 1958, this article takes the metaphor of "design diplomacy" as a lens through which to explore the dilemmas of Soviet exhibition planners charged with designing a modern image of the USSR at the World Fair. Seeking ways to represent the advantages of socialism to foreign, especially Western publics, the exhibition organizers began to question established Soviet tradecraft in the production of mass exhibitions, concluding instead that if the USSR was to make itself understood by the capitalist "other," it must adopt selectively the idiom of its audience and interlocutor. The Soviet 'self was constituted in relation to two main "others": the USA, whose pavilion was adjacent to the Soviet one; and the anticipated public, about whom the Soviet designers knew little. As in diplomatic transactions, the art of persuasion demanded negotiation and compromise, resulting in a degree of transculturation and cross-fertilization.

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Section: <Fig 1>mentioning

confidence: 98%

Cold War Cultural Transactions: Designing the USSR for the West at Brussels Expo ’58

Reid

2017

Design and Culture

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“…9 'The shock of the new' followed its own trajectory along the history of technology; the thrill of a ghost show has evolved from Chinese shadow play to magic lanterns, 10 and from the Eameses' multi-screen architecture to Virtual Reality. 11 Today, new technologies not only bring about an all-round screen that includes the television tube, the computer display, the telephone, and so on; it also eventually allows the image to free itself from the traditional two-dimensional screen in different ways. Screens became 'mobile' thanks to small, built-in versions installed in all sorts of devices, or due to mega projections on façades of urban buildings.…”

Section: From Virtual Reality To Ar/mrmentioning

confidence: 99%

The Screen as an In-between

Vanderbeeken

2010

Found Sci

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This article refutes the apparently innocent, common sense idea that the audiovisual screen is just a window to the world that displays an extra set of sensual data alongside and independent of our personal, unmediated experience of reality. On the contrary, the screen as an in-between is both a mediator and generator of reality that eventually compromises the distinction between us and our environment. Part 1 discusses three examples of mediation: eclipsing, interpassivity and audiovisual media as a truth-procedure. Part 2 discusses three examples of generation: the production of simulacra, hyperreality and the emergence of a mixed reality.

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“…The same principle dominates the space of television news and television. The logic of the multiscreen of the Eames' is, simply, the logic of the mass media" 38 .…”

Section: Photography and Multiple Imagementioning

confidence: 99%

“…El mismo principio domina el espacio de los telediarios y de la televisión. La lógica de las multipantallas de los Eames es, simplemente, la lógica de los medios de comunicación de masas"38 .Los Eames utilizarían esta técnica repetidamente: "Habiendo descubierto el uso de imágenes múltiples, mostrábamos una tendencia a encontrar nuevos usos de ella. Si le das un martillo a un niño, encontrará que todo lo que ve necesita ser martilleado.…”

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House of Cards: El “Continente” Eames en Una Baraja De Cartas

Villalobos¹

2019

PPA

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Reservados todos los derechos. Ni la totalidad ni parte de esta revista puede reproducirse o transmitirse por ningún procedimiento electrónico o mecánico, incluyendo fotocopia, grabación magnética o cualquier almacenamiento de información y sistema de recuperación, sin permiso escrito de la Editorial Universidad de Sevilla. Las opiniones y los criterios vertidos por los autores en los artículos firmados son responsabilidad exclusiva de los mismos.

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Enclosed by Images Architecture in the Post-Sputnik Age

Cited by 9 publications

References 0 publications

Cold War Cultural Transactions: Designing the USSR for the West at Brussels Expo ’58

Cold War Cultural Transactions: Designing the USSR for the West at Brussels Expo ’58

The Screen as an In-between

House of Cards: El “Continente” Eames en Una Baraja De Cartas

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