The Screen as an In-between

Vanderbeeken, Robrecht

doi:10.1007/s10699-010-9191-x

Cited by 10 publications

(5 citation statements)

References 4 publications

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“…Robrecht Vanderbeeken (2011) designates the screen as an "in-between," as it acts as both a mediator and generator of the user's reality (245). In these designations, the relationship between the temporal and spatial become more intricate as the user engages in an emplaced act of comparison and site-specific memory recall.…”

Section: Augmented Erlebnis and Erfahrungmentioning

confidence: 99%

me-dérive: toronto: Remediating the [AR]chival Impulse

Morais

2024

Preprint

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This dissertation is an innovative exploration of the intersections between participatory archiving and augmented reality (AR), rooted in the necessity to engage more fully with Toronto’s diverse and historical cultural heritage. Foregrounded as research-creation, this work describes, theorizes, and disseminates an AR counter-archive— me-dérive: toronto. Mobilizing power away from institutional archives and into the hands of the public, me-dérive: toronto uses the power of locative media in order to provide records of Toronto’s diverse past and present in-situ. A portmanteau of the word ‘mediation’ and the Situationist’s notion of the dérive, the app produces a new paradigm to the archive— one that is simultaneously participatory and techno-informed. With every found photograph and submission alike the project multiples both in volume and vigor to combat the archival injustices that fail to narrativize Canadian immigrant identities. This counter-archive reclaims space through a participatory visual account of history, allowing for a different kind of knowledge—one that is techno-embodied—to emerge and be embraced. As the scope of the records and overall scale of the project amplifies, it engages a layer of complementary principles— the accrual of diverse narratives, the opposition of pre-prescribed history by governing institutions, and the dynamism to employ technology to engage critically with heritage records beyond the confinements of exclusive cultural spaces. Through historical research, precedent scanning, insights into cultural production, participatory and mobile app observation and research-creation projects, counter-archival projects demand that institutions become more inclusive, not only in collection practices, but in dissemination and access practices as well. My research addresses the gaps and omissions that exist in our institutional archives, while making explicit what is needed to make a more holistic, comprehensive archive of Toronto’s diverse narratives.

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Section: Augmented Erlebnis and Erfahrungmentioning

confidence: 99%

me-dérive: toronto: Remediating the [AR]chival Impulse

Morais

2024

Preprint

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“…Not simply a “window” into another world, the computer screen has become a “virtual invader” that both “mediates” and “generates” reality (Vanderbeeken, 2011: 247). As a mediator of reality, the screen provides us with virtual experiences that then “eclipse” and “overshadow” our physical-world experiences (ibid.…”

Section: Cyberspace As a Space Of Affective Simulationmentioning

confidence: 99%

The performativity of pain: affective excess and Asian women's sexuality in cyberspace

Saraswati

2016

Diogenes (Engl. ed.)

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This article employs a thumbs and thumbnails analysis to analyze the 85 most viewed Asian online porn thumbnails, videos, and their audiences’ comments to argue that cyberspace functions as a space of “affective simulation,” rather than simply as a space of representation. For these online viewers, the performativity of pain by Asian women porn stars functions as an entry point to access and externalize their affective excess.

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“…Since the early 20 th century, the translation of opera into audiovisual language has made it possible to appreciate these performances beyond the opera house (Citron, 2000;Vanderbeeken, 2011). For this example of the performing arts, this translation has been considered a complex process, as it is influenced by the original performance in the theater (Adorno, 2006;Auslander, 2008;Zizek & Dolar, 2002).…”

Section: Introductionmentioning

confidence: 99%

The audiovisual recreation of operas filmed in theaters: An analysis of Don Giovanni by W. A. Mozart

Villanueva

Lacasa-Mas

2021

Communication & Society

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This article analyzes select opera films produced during the 20th and 21st centuries by international opera houses in order to determine whether, when the diegesis of these films is recreated, there is also an attempt made for the films to reflect the conventions of operatic performance. We performed content analysis of the end of the first act in 29 filmed versions of the opera Don Giovanni by W.A. Mozart by evaluating 44 variables related to three categories that are central to translating the original story to the new audiovisual discourse: recreation of time and space and use of scenery. The main results reveal that in translating Don Giovanni to audiovisual media, the films continue to be influenced by the institutional conventions of operatic theater. In relying on the original performance, these films, even in the 21st century, do not exhibit full narrative autonomy. Our article proposes several ways to better adapt—from a cinematographic perspective—these scenic representations based on elements such as depth of field or scenery, without the need for greater resources than those already available to opera houses.

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The Screen as an In-between

Cited by 10 publications

References 4 publications

me-dérive: toronto: Remediating the [AR]chival Impulse

me-dérive: toronto: Remediating the [AR]chival Impulse

The performativity of pain: affective excess and Asian women's sexuality in cyberspace

The audiovisual recreation of operas filmed in theaters: An analysis of Don Giovanni by W. A. Mozart

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