Suchergebnisse

In September 2013, members of the artistic group "Fin de un Mundo", disguised as zombies, invaded a Buenos Aires subway station in a demonstrative action against Mauricio Macrì's austerity policies. On July 6, 2017 about one thousand activists of the "Gestalten" movement invaded the streets of Hamburg, completely covered in white to protest against the de-humanizing effects of technocapitalism. These are just two examples of political use of the zombie figure. The paper aims to explore the evolution of socio-cultural meanings associated with the figure of the zombie in the age of networks and globalization. In this sense, the political claims implemented through acts of zombic cosplay refer to the will of the Millennials to draw attention to the "dying generation", deprived of horizons and perspectives of life due to the precariousness of work, affections and relationships. ; In September 2013, members of the artistic group "Fin de un Mundo", disguised as zombies, invaded a Buenos Aires subway station in a demonstrative action against Mauricio Macrì's austerity policies. On July 6, 2017 about one thousand activists of the "Gestalten" movement invaded the streets of Hamburg, completely covered in white to protest against the de-humanizing effects of technocapitalism. These are just two examples of political use of the zombie figure. The paper aims to explore the evolution of socio-cultural meanings associated with the figure of the zombie in the age of networks and globalization. In this sense, the political claims implemented through acts of zombic cosplay refer to the will of the Millennials to draw attention to the "dying generation", deprived of horizons and perspectives of life due to the precariousness of work, affections and relationships.

The works of Harun Farocki (1944-2014) confronted in many ways with all the transformations of image production devices and also with AR and VR. In particular, in the installation Serious Games (2009-2010) Farocki confronts some of the issues that most characterized his artistic activity: the transformation of wars, the modification of the function of images in the perception of the war, the role of «operational images». Farocki uses the images themselves as a way to make the modification of our aesthetic relationship with images and their political function perceptible and comprehensible. The four videos that make up the installation Serious Games (exhibited in many museums including: MoMA New York, Ryerson Image Center Toronto, Hamburger Bahnhof Berlin, Jeu de Paume Paris) were shot entirely inside some training centers for U.S. Army soldiers in which "serious games" are widely used both for the training of fighters (Virtual Battle Space 2 by Bohemia Interactive), and for the immersion therapy of patients suffering from post-traumatic stress disorders: through AR and VR devices they can try to overcome the shocks suffered (in particular the Virtual Iraq program of clinical psychologist Albert Rizzo). The essay aims to analyze Farocki's installation focusing on the aesthetic and political issues related to the use of AR and VR technologies with particular reference to training and therapies for P.T.S.D. ; L'opera di Harun Farocki (1944-2014) si è confrontata in diversi modi con tutte le trasformazioni dei dispositivi di produzione delle immagini e anche con la AR e la VR. In particolare nell'installazione Serious Games (2009-2010) Farocki si confronta con alcune delle questioni che più hanno caratterizzato la sua attività artistica: la trasformazione delle guerre, la modificazione della funzione delle immagini nella percezione dell'evento bellico, il ruolo delle operative images. Farocki impiega le immagini stesse come via per rendere percepibile e comprensibile la modificazione del nostro rapporto estetico con le immagini e della loro funzione politica. I quattro video di cui si compone l'installazione Serious Games (esposti in numerosi musei tra cui: MoMA New York, Ryerson Image Centre Toronto, Hamburger Bahnhof Berlino, Jeu de Paume Parigi) sono stati interamente girati all'interno di alcuni centri di addestramento per soldati dell'esercito U.SA. in cui si fa ampio uso di serious games sia per il training dei combattenti (Virtual Battle Space 2 della Bohemia Interactive), sia per la immersion therapy di pazienti affetti da disturbi post traumatici da stress e che proprio attraverso dispositivi AR e VR possono tentare di superare gli choc subiti (in particolare il programma Virtual Iraq dello psicologo clinico Albert Rizzo). Il saggio si propone di analizzare l'installazione di Farocki con l'obiettivo di mettere a fuoco le questioni estetiche e politiche connesse all'impiego delle tecnologie AR e VR con particolare riferimento all'addestramento in guerra e alle terapie per pazienti P.T.S.D.