Kinetica Art Fair 2013, February 28th – March 3rd 2013, Ambika P3, 35 Marylebone Road, NW1 5LS, London, UK
"The Kinetica feature exhibition and events programme is themed on 'Illusion and Reality' and the thin veil that divides what is real and perceived. The exhibition will focus on perceptions of reality, with works by 19 international artists exploring the many dimensions of illusion. The exhibition aims to challenge ideas on what is real, perceived or imagined, and focuses on transformation, metamorphism, visual paradox, vibration, nature, the subliminal and the subconscious.
The exhibition includes a huge interactive light sculpture from Dutch artist Titia Ex, an exoskeleton hybrid of man–animal–machine by Christiann Zwanniken and a giant three dimensional zoetrope by Greg Barsamian.
The boundaries between reality and illusion will be explored in a series of live performances using the Musion holographic projection system, and features an international line–up including the award–winning audiovisual collective Origamibiro ; a fusion of 3d imaging and quantum mechanics in danceroom Spectroscopy ; a hypnotic audiovisual experience from Simulacrum ; and multi–sensory Polish collective INIRE. The Musion Academy will present a further series of captivating performances including Analema Group, AV3, IEOIE and Paul Prudence.
Key figures and eminent pioneers in the fields of new media art and neurosciences have been invited to participate in a daily programme of Talks, which also features presentations by experimental artists exhibiting at the Fair."
(Kinetica Museum, UK)
"Hermeneutic theory is a member of the social subjectivist paradigm where meaning is inter–subjectively created, in contrast to the empirical universe of assumed scientific realism (Berthon et al. 2002). Other approaches within this paradigm are social phenomenology and ethnography. As part of the interpretative research family, hermeneutics focuses on the significance that an aspect of reality takes on for the people under study. Hermeneutics focuses on defining shared linguistic meaning for a representation or symbol.
In order to reach shared understanding as proposed in hermeneutic theory, subjects must have access to shared linguistic and interpretative resources (Marshall et al. 2001). However, hermeneutic theory also posits that linguistic meaning is likely open to infinite interpretation and reinterpretation due to the interpretative ambiguity coming from presuppositions, to the conditions of usage different from authorial intention, and to the evolution of words (Marshall et al. 2001).
Due to its interpretive nature, hermeneutics cannot be approached using a pre–determined set of criteria that is applied in a mechanical fashion (Klein et al. 1999). However, a meta–principal [sic], known as the hermeneutic circle, guides the hermeneutic approach where the process of understanding moves from parts of a whole to a global understanding of the whole and back to individual parts in an iterative manner (Klein et al. 1999). This meta–principal allows the development of a complex whole of shared meanings between subjects, or between researchers and their subjects (Klein et al. 1999).
Other co–existing principles that may help assure rigorous interpretive analysis involve: a) understanding the subject according to its social and historical context, b) assessing the historical social construction between the researcher and the subject, c) relating ideographic details to general theoretical concepts through abstraction and generalization, d) being sensitive to potential pre–conceptual theoretical contradictions between research design and actual findings, e) being aware of possible multiple interpretations among participants for a given sequence of events, and f) being conscious of potential biases or systematic distortions in the subject's narratives (Klein et al. 1999)."
(IS Theory, 15 November 2011, Information Systems PhD Preparation Program of the Marriott School of Management of Brigham Young University)
"But as a strategy and a form, the interview–oriented film has problems of its own. ... the film–maker with intertitles, making patently clear what has been implicit all along: documentaries always were forms of re–presentation, never clear windows onto 'reality'; the film–maker was always a participant–witness and an active fabricator of meaning, a producer of cinematic discourse rather than a neautral or all–knowing reporter of the way things truely are."
(David MacDougall p.260, 1985)
MacDougall, David. "The Voice of Documentary", in Movies and Methods: Volume II, Bill Nichols ed. Berkeley: University of California Press, 1985.
Fig.1 Dana Perry and her son Evan Scott Perry, at age 3, HBO documentary "Boy Interrupted" [http://www.hbo.com/documentaries/boy–interrupted]
"Unlike most documentaries of its day, An American Family had no host, no interviews, and almost no voice–over narration. Producer Craig Gilbert presented the family's daily life – as captured by filmmakers Alan Raymond behind the camera, and Susan Raymond covering sound – in the style of cinéma vérité. It was the most controversial and talked–about television program of its era.
PBS was then a fledgling 'fourth network' joining CBS, NBC and ABC, and despite its non–commercial profile was looking for blockbuster hits, according to Bill Kobin, Vice President for programming at NET at the time. In the course of its 12 week run, An American Family riveted the country and drew in a record 10 million viewers a week. In the years since it was first broadcast, the series has become the subject of lengthy articles and reviews, including panel discussions with anthropologist Margaret Mead, who speculated that An American Family could be the beginning of a new way to explore the complexities of contemporary reality, 'maybe as important for our time as were the invention of drama and the novel for earlier generations.'
Now, 40 years since filming, the original filmmakers have edited a new 2–hour feature–length special capturing the most memorable and compelling moments of the landmark series. See for yourself why An American Family is one of the 50 Greatest TV Shows of All Time (TV Guide, 2002)."
Public Broadcasting Service (PBS)
"La lumière brillante et surnaturelle qui avait dominé toute la scène du château (flamme des chandeliers, feu, reflets étincelants de l'argenterie) s'estompe pour laisser la place à la lumière naturelle du jour [plan 9] . Ces rayons lumineux rappellent ceux des dernières gravures de la Belle au vois dormant. D'autant plus que cette lumière naturelle n'est pas légitimée par la présence d'une fenêtre, comme c'est le cas chez Doré. C'est une lumière naturelle, la lumière du jour, mais elle semble toujours éclairer le personnage de manière surnaturelle : comment la lumière extérieure peut–elle pénétrer à l'intérieur sans la présence d'aucune fenêtre ? Les flambeaux s'éteignent un à un, le personnage traverse un grand pan de lumière blanche, la porte se referme toute seule, l'escalier apparaît en plongée : la scène semble se rejouer à l'envers, ce qui souligne la structure circulaire et la clôture de la séquence, mais aussi l'influence de l'œuvre de Gustave Doré. Le dialogue des contes et des illustrations se poursuit jusqu'à la dernière image de la séquence puisqu'elle se termine sur les ronces qui envahissent l'escalier du château de la Bête, comme celles qui envahissent les gravures du château de la Belle au bois dormant."
(Estelle Plaisant Soler, 26 juin 2006)
Fig.1 Jean Cocteau (1946). "la Belle et la Bête"
2). PDF of 100 Cult Films (Screen Guides).