Titles
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Technologies Evolve: Visualizing Mixed Reality Over Time in ...Temporal Place(s): Transitory Representations of the Landsca...Temporospatial Mediator: Site-specific Theater within Cultur...The Digital Agency, Protest Movements, and Social Activism d...The Dormant Buildings of Imbros: Dami, Photogrammetry and Dr...The Empty Eerie: Exploring the uncanny nature of empty space...The Future of Dwelling: The KitchenThe Future of Object, Approach, and Setting when Curating in...The Image of Territory: Landscape Perception and Infrastruct...The Image, the Imaging and the Imagining of the InteriorThe Incomplete Results of an Act of MappingThe Inter-generational Comparison of Balinese Houses: a Spac...The Intersecting Landscapes of Cinema Production and Exhibit...The Poverty of EmbodimentThe Realities of FragmentsThe Role of Screen Space in Architecture and Film as Multime...The Screen as Surface, Site and SpaceThe Screen, Intimacy, and the Attention Economy: Are We Ever...The Space of VistaVisionThe Substantive Content of Eryri - A Lived Landscape with a ...The Time HouseThe Unrepresented Chicago of 1893The Urban Photographic Portrait: Paradigms and ProjectsThe Visual as Narrative Practice: Using Images to Construct...The Visuality of Urban Digital TwinsTlatelolco Disproved; a participatory mapping of life, in Ma...Tools to Imagine: Digital Methods of Investigating Classical...Towards the Unknown. Projection, Prediction, PotentialityTracing the Familiar: Spatial Research through Essayistic Fi...Undergoing Change: the Potential of a Liminal State for Hosp...Undocumented History: Accessing the Intangible Past Through ...Uniting Space and Time in the Documentation of Urban Setting...Visionary Rumours Lost in Space – between rationale and re...Visualising Storytelling through a Locally Based Digital Way...Visualization and Parametric Design of Sustainable Domes, In...Walk’s Eye: Traversing Diverse Territories with GoPro Came...Welcome and IntroductionWhiteness, Reloaded: Addressing the ghosts in reverse* of th...Who needs film for city symphonies? Edwin Rousby. Showcasing...‘Zoom-Walks’ and Cyanotypes: Materializing Screen Ontoph...“You’ve seen one post-apocalyptic city, you’ve seen th...
Presenters
Schedule

Representing Pasts – Visioning Futures

‘Zoom-Walks’ and Cyanotypes: Materializing Screen Ontophanies
A. Grossman
4:30 pm - 6:30 pm

Abstract

During the recent COVID-19 lockdowns, I embarked on a series of Zoom experiments with a long-time friend and artistic collaborator, Selena Kimball. Intrigued by how screen-mediated interactions were reconfiguring our experiences of spatial and environmental intimacy, we investigated ways of shifting and subverting our customary uses of this technology. Instead of succumbing to the sense of flatness, numbness, and distance permeating the ubiquitous grid that had come to scaffold so much of our screen-based communication, we wanted to call attention to Zoom’s material structures of representation, to tap into the haptic potential of the screen, and invoke its sensory, affective, and spatial qualities. Manipulating the placement of our bodies and our computers’ cameras, generating new angles for viewing each other and our own screens, and engaging in physical movements such as extended outdoor walks with our laptops, all served as means to catalyze new Zoom ontophanies (Vial 2019), disrupting and reframing our habitual screen-mediated interactions and perceptual experiences. Kimball and I subsequently co-authored an article about this project (Grossman and Kimball 2021). But we also wanted to make an artwork that would materially activate our insights, to visually and tangibly disrupt conceptions of Zoom’s transparency as a medium, and viscerally render the role of screens as producers of embodied, sensory experience. My presentation will describe our current work-in-progress making a series of cyanotype prints on cloth, an artistic-anthropological project that amplifies our earlier research on Zoom and digital screens, through harnessing a photographic medium that is cameraless, screenless, and analogue.

Biography

Alyssa Grossman is a social and visual anthropologist interested in individual and collective memory, material and visual culture, museums and archives, trans-disciplinary and experimental methodologies, and the intersections between anthropology and contemporary art. She is a founding member of the collective ‘General Assn.’ with Selena Kimball, stemming from their long-term art/anthropology collaborations and exchanges. She is currently Lecturer in the Department of Communication and Media at the University of Liverpool.