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Time and Space in Panoramic Photography
KTH, School of Electrical Engineering and Computer Science (EECS), Media Technology and Interaction Design, MID. (Interaction Design Lab)
2017 (English)In: Acoustic Space, Vol. 16, no 4, p. 233-245Article in journal (Refereed) [Artistic work] Published
Abstract [en]

This article intends to show a usage-hacking case of everyday technology for creating visual narratives. The photographic art project “Panorama Time” is discussed through a techno-cultural perspective and examines the spatial-temporal dimension in panoramic photography, which, in this case, is a digital camera in a mobile phone. The post-media condition and its characteristic of embracing the fusion of different media in one device without specifying any single one is examined in our project through the combination of photographic and cinematographic processes combined in the mobile device. The rolling shutter feature, which is the technological core of digital cameras, enables the strip-photography technique, in our case used in a panoramic technique to deliver a set of concepts: glitch, repetition, frozen frames, and similar. Through deliberate navigation and control, the user breaks the panoramic view, and thus the project’s technique presents the distinction between fault and glitch aesthetics. We show examples and demonstrate the process of creating our digital photography art project “Panorama Time”. By showing how we hacked the digital artifact, we also discuss insights from several experiments in connection to broader photographic concepts in relation to time and space. 

Place, publisher, year, edition, pages
Riga, Latvia, 2017. Vol. 16, no 4, p. 233-245
Keywords [en]
Digital photography, panorama camera, glitch aesthetics, fault aesthetics, spatial- temporal dimension, post-media condition
National Category
Humanities and the Arts
Research subject
Art, Technology and Design
Identifiers
URN: urn:nbn:se:kth:diva-224616OAI: oai:DiVA.org:kth-224616DiVA, id: diva2:1191734
Conference
Renewable Futures. Art, Science and Society in the Post-Media Age, RIXC, Riga, Latvia
Note

QC 20180321

Available from: 2018-03-20 Created: 2018-03-20 Last updated: 2018-03-21Bibliographically approved
In thesis
1. Humanizing Technology Through Post-Digital Art
Open this publication in new window or tab >>Humanizing Technology Through Post-Digital Art
2018 (English)Doctoral thesis, comprehensive summary (Other academic) [Artistic work]
Abstract [en]

I draw upon the idea of the post digital to create (1) art for humanization of technology and (2) art as manifestations of digital qualities in the physical world, e.g., through digital-analog convergence, or through enriching our experiences with hybrid constellations of techniques, concepts and aesthetics.

My work consists of two parts: practice-based research in the arts and conceptualizations arising from my practice. Four art projects are presented in this thesis: Metaphone, Delete By Haiku, S T R A T I C, and Panorama Time. My post-digital approach is manifest through the hacking activities, disruptive techniques and aesthetic approaches I apply. These thrive on a set of constitutive concepts: machine aesthetics, digital upcycling, aleatoricism and chance, deletion, repetition, fault aesthetics and glitch aesthetics. My post-digital aesthetic principles depend on machinic, systematic behaviors in the technologies I explore. Machine aesthetics expose operational and mechanical principles and behaviors. Digital upcycling is a repurposing design process wherein function follows form to add value to old defunct objects. I deploy chance in the design process through a “rolling a dice” approach. I use both deletion and insertion repetitively as design principles. In my work, I also induce technical faults and take deliberate control of machine glitches. These are all aesthetic approaches that help transform the “cold” appearance of information technologies and bring them closer to people, thereby humanizing technology. Some of the aesthetic principles (e.g., machine aesthetics or glitch aesthetics) might not seem “natural” or “human” but I use them to explore digital materiality analogously to how steel, iron and other materials were approached from the early phases of the industrial revolution and Modernism. As such these aesthetic principles are ways of interrogating the digital thriving o a cultural-historical point of view. 

Abstract [sv]

Jag bygger på idén om det post-digitala för att skapa (1) konst för human- isering av teknik och (2) konst som manifestationer av digitala kvaliteter i den fysiska världen, t.ex. genom digital-analog konvergens eller genom att berika våra upplevelser med hybridkonstellationer av tekniker, be- grepp och estetik.

Mitt arbete har två delar - praktikbaserad forskning inom konst och kon- ceptualiseringar som uppstår genom min konstnärliga praktik. Fyra konst- projekt presenteras i denna avhandling: Metaphone, Delete By Haiku, S T R A T I C, och Panorama Time. Mitt post-digitala tillvägagångssätt består av hackningsaktiviteter, disruptiva tekniker och olika estetiska tillvä- gagångssätt. Dessa kan beskrivas med följande begrepp: maskinestetik, digital ”upcycling”, ”aleatoricism” och chans, radering, repetition, feleste- tik och “glitch”-estetik. Mina post-digitala estetiska principer bygger på maskinella, systematiska beteenden i tekniken jag utforskar. Maskineste- tik exponerar operativa och mekaniska principer och beteenden i maskin- en. Digital ”upcycling” är en återanvändande designprocess där funktion följer form för att lägga till värde till gamla objekt. Jag använder chans

i designprocessen genom en “rullande tärning” -strategi. Jag använder både radering och upprepning som designprinciper. I mitt arbete inducer- ar jag också tekniska fel och tar medvetet kontroll över maskin-”glitches”. Dessa är alla estetiska tillvägagångssätt för att omvandla informationste- knologins “kalla” utseende och ta den närmare människor och därigenom humanisera tekniken. Några av de estetiska principerna (t.ex. maskineste- tik eller “glitch”-estetik) kanske inte verkar “naturliga” eller “mänskliga” men jag använder dem för att undersöka digital materialitet analogt till hur stål, järn och andra material utforskades under industriella revolu- tionen och modernismen. Som sådana är dessa estetiska principer sätt att utforska det digitala genom ett kulturhistorisk perspektiv. 

Place, publisher, year, edition, pages
Stockholm, Sweden: KTH Royal Institute of Technology, 2018. p. 160
Series
TRITA-EECS-AVL ; 2018:20
Keywords
Humanization of technology, post-digital aesthetics, abstraction, materiality, immateriality, interpretative digitality, hacking, disruption, accelerationism, interactive art, interaction design, human-computer interaction.
National Category
Engineering and Technology Humanities and the Arts
Research subject
Art, Technology and Design; Human-computer Interaction; Media Technology; Computer Science; Electrical Engineering
Identifiers
urn:nbn:se:kth:diva-224618 (URN)978-91-7729-712-3 (ISBN)
Public defence
2018-04-12, Reactor Hall (R1), Huvudentré Drottning Kristinas väg 51, Stockholm, 13:00 (English)
Opponent
Supervisors
Note

QC 20180321

Available from: 2018-03-21 Created: 2018-03-20 Last updated: 2018-03-21Bibliographically approved

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