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Universita' Degli Studi Di Udine Dottorato Internazionale UNIVERSITA' DEGLI STUDI DI UDINE DOTTORATO INTERNAZIONALE STUDI AUDIOVISIVI: CINEMA, MUSICA E COMUNICAZIONE CICLO XXV TESI DI DOTTORATO DI RICERCA IL FLICKER NELLE PRATICHE AUDIOVISIVE IMMERSIVE DOTTORANDA CLAUDIA MARIA D’ALONZO RELATORE COSETTA G. SABA ANNO ACCADEMICO 2012/2013 I soli testi contenuti nella tesi sono rilasciati in licenza Creative Commons Attribuzione - Non commerciale 3.0 Italia ad eccezione delle citazioni per le quali si rimanda all’autore e relativi editori. 2 INDICE Introduzione 7 1| Dalle neuroscienze all'immersività digitale Una ricognizione sull'uso del flicker nella storia plurale dell'audiovisione 1.1| La visone ad occhi chiusi: l’applicazione della luce pulsante nelle neuroscienze 21 1.2| Sulle tracce del flicker: un percorso nella storia delle arti 1.2.1| Il passaggio dalle neuroscienze all'arte attraverso la Dream Machine di Brion Gysin 29 1.2.2| Flicker film: dalla modulazione di impulsi luminosi alla creazione di sequenze percettive 33 1.2.3| Il movimento di Arte Cinetica e Programmata in Italia: le ricerche stroboscopiche del Gruppo T e MID 39 1.2.4| Il flicker nell'audiovisivo espanso 48 1.2.4| Uno sguardo attraverso, appunti da un’analisi diacronica. Ricorrenze tematiche e linee di convergenza 61 2| Il corpo, i sensi, lo spazio L’opera come dispositivo percettivo e ambientale 2.1| Dall’occhio al corpo. La percezione come sistema embodied e l’emanazione soggettiva dello spazio 69 2.1.1| La visione oltre l’occhio e la percezione incarnata 72 2.1.2| Sconfinamenti tra soggetto e ambiente: il meccanismo immersivo 84 3 2. 2 | L'audiovisione 91 2.1| Contaminazione tra linguaggi del suono e della visione: un percorso storico e teorico 92 2.2.2| La musicalità del flicker nelle ricerche di Peter Kubelka, Tony Conrad e Paul Sharits 100 2.3 | L’opera come processo effimero 107 2.3.1| Definire l’esperienza 108 2.3.2| Per un paradigma condiviso tra performance e installazione 116 3 | Il flicker nell’audiovisivo espanso contemporaneo 3.1| Suonare la luce 122 3.1.1| Bruce McClure: Christmas Tree Stand (2005) 125 3.1.2| otolab: Megatsunami (2010-2012) 130 3.2| Micro-strutture temporali nello spazio 137 3.2.1| Granular Synthesis: NoiseGate-M6 (1998) 141 3.2.2| Keiichiro Shibuya e Takashi Ikegami: filmmachine (2006) 147 3.3| Il setting dell’esperienza 153 3.3.1| Ivana Franke: Seeing with the Eyes Closed (2011) 155 3.3.2| Chris Salter, Tez, David Howes: Displace (2011-2012) 161 4| La stroboscopia nelle ricerche di Kurt Hentschläger 4.1| Un percorso nella produzione dell’autore 171 4.1.1| Una ricognizione per temi nell’opera di Granular Synthesis 173 4.1.2| La produzione solista: sulle tracce del corpo disseminato 180 4 4.2| Il sublime luminoso: gli ambienti stroboscopici FEED e ZEE 189 4.2.1| FEED (2005) 192 4.2.2| ZEE (2008) 194 4.2.3| Dallo schermo all’immersività 199 4.3 | La documentazione, dall’oggetto visivo al racconto del pubblico 205 4.3.1| L’intervista al pubblico come prassi documentale 208 4.3.2| Un esempio di racconto dell’esperienza: la video interviste per ZEE 217 Conclusioni 229 Apparati Interviste 237 Immagini 271 Bibliografia 285 Emerografia 299 Résumé Général 305 5 INTRODUZIONE Il termine flicker è utilizzato ad indicare il trattamento temporale del dato visivo in opere filmiche e time based o l’alternarsi rapido di luce e buio tipico delle lampade stroboscopiche e, insieme, una fenomenologia percettiva conseguente e caratteristica.1 La ricerca intende indagare quali particolari configurazioni nello statuto di opera e di esperienza estetica siano suggerite dalle pratiche audiovisive di flicker puro, nelle quali cioè il ritmo stroboscopico astratto costituisce la sola o predominante componente visiva. Il progetto di interroga sui possibili punti di contatto tra arte e scienza sul piano dell’esperienza percettiva, a partire dalla specifica dimensione sensoriale determinata dalla luce stroboscopica e suono spazializzato. Tali espressioni dell’audiovisivo sperimentale, vengono rintracciate nel frastagliato panorama della produzione estetica a carattere immersivo, termine ampiamente in uso nella scena artistica contemporanea e rispetto al quale la ricerca intende offrire una ricognizione, utile a fissare alcuni aspetti caratteristici. L’interesse per l’applicazione del flicker in ambito artistico nasce originariamente da una prassi curatoriale, in particolare dalla preparazione di un video screening realizzato nel 2009 per DOCVA Documentation Center for Visual Art di Milano, in collaborazione con INVIDEO. 2 Nell’ambito delle ricerche * Si ringraziano il Prof. Marco Maria Gazzano e il Prof. Enrico Pitozzi che, in qualità di referee, hanno offerto la loro valutazione alla prima stesura della tesi, insieme a suggerimenti indispensabili al suo completamento nella forma attuale. Un grazie anche al Prof. Osvaldo Da Pos e al Dott. Cosimo Urgesi, che hanno supervisionato i passaggi del lavoro più strettamente legati agli aspetti scientifici del discorso sulla stroboscopia e sulla percezione, fornendo spunti di grande interesse. 1 Sia che si tratti di un flusso di immagini sia nel caso della pura luce, il ritmo assunto dallo sfarfallio ha in genere una frequenza tra gli 8 e i 40 Hz. Come vedremo, in particolare il range tra gli 8 e i 14 Hz circa può provocare particolari effetti percettivi. 2 Quando l’occhio trema, rassegna a cura di Claudia D’Alonzo e Mario Gorni, dal 17 al 29 settembre 2009 presso il DOCVA di Careof, Milano –una realtà non profit nata nel 1987 per la promozione della ricerca artistica contemporanea. Il progetto ha visto, inoltre, la partecipazione di 7 preparatorie, il flicker è stato utilizzato come elemento di aggregazione elementare, attraverso il quale osservare diverse forme dell’audiovisivo sperimentale e porre in confronto materiali d’archivio, principalmente film sperimentali e video, con lavori legati al panorama delle pratiche performative e ambientali digitali. Le condizioni di allestimento e presentazione, previste per la rassegna hanno precluso la possibilità di accogliere una serie di esempi significativi sul piano del concept generale ma non riducibili nelle modalità espositive di quell’evento.3 Queste limitazioni di carattere operativo hanno avviato una riflessione che ha permesso una lettura più ampia degli aspetti spaziali delle opere di flicker: Caratteristica comune di questo particolare tipo di opere audiovisive, pur nelle rispettive specificità e differenze, è la tensione a ‘farsi ambiente,’ non in senso architettonico quanto come modo di esperienza dello spazio. Ciascuno secondo la propria poetica, i progetti stroboscopici offrono un passaggio, rispetto alla dimensione dello spazio, da dispositivo spazializzato, inteso come sistema di apparati finalizzati all’espansione dell’immagine, a dispositivo spaziale, basato sulla progettazione di un sistema di funzioni nelle quali coinvolgere il fruitore in senso fenomenico. Il farsi ambiente è, come vedremo, un tratto caratteristico di molto audiovisivo espanso. 4 All’interno di questo ampio panorama i lavori stroboscopici, in particolare quelli contemporanei, definiscono un particolare modo della condizione spaziale che si è scelto di definire ‘immersivo.’ Un termine questo ricorrente, perfino abusato, nel campo della sperimentazione elettronica ma tutt’altro che definito e per il quale la ricerca intende individuare alcuni punti di riferimento. Senza l’intento di creare polarizzazioni di carattere terminologico né temporale tra attivo e passivo, si può notare che anche la definizione del soggetto coinvolto nel momento estetico segna un avvicinarsi sempre maggiore al concetto di fruitore, presente ad esempio in molti scritti e dichiarazioni di poetica dell’arte INVIDEO, altra importante organizzazione che dal 1990 si occupa di diffusione e promozione della produzione audiovisiva sperimentale in Italia e all’estero. Tra gli autori presenti in mostra: Claudio Ambrosini, ape5+miky ry, Scott Arford, Alessandrà Arnò, Gerard Cairaschi, Paolo Chiasera, Antonin De Bemels, Thorsten Fleisch, Paolo Gioli, Graw & Bockler, Granular Synthesis (Kurt Hentschläger/Ulf Langheinrich), Girts Korps, otolab, Steina e Woody Vasulka. 3 L’allestimento prevedeva una black box con proiezione a parete del un flusso in loop dei lavori, della durata di circa 90’. 4 Duguet A. M., 1998. 8 cinetica e programmata, e che si sostituisce quasi integralmente a quella di spettatore nelle pratiche immersive del contemporaneo. Questo passaggio sembra determinare nel campo delle ricerche estetiche audiovisive un tipo di coinvolgimento paragonabile alla dimensione del soggetto in altre forme dell’immersività medializzata e negli ambienti immateriali, quali principalmente quelle determinate della realtà virtuale: con essa il fruitore degli ambienti immersivi passa attraverso ‘un’appropriazione di autorialità’ e colloca diversamente il suo, o per meglio dire, i suoi punti di vista nell’ambiente/opera, marcando una scissione rispetto alla coincidenza del suo sguardo con quello della camera e, quindi, dell’autore.5 Rispetto al complesso degli autori e delle pratiche stroboscopiche, si può notare come questa caratteristica, più evidente nelle opere installative e performative, sia un’attitudine trasversale, presente cioè in forma germinale anche nelle opere framed, che dichiarano un’eccedenza rispetto alla superficie bidimensionale e al perimetro del quadro, protese come alla riconfigurazione dello spazio fisico intorno al fruitore. Nel passaggio dalla prassi curatoriale alla ricerca, inoltre, il percorso necessario a configurare l’oggetto di studio ha portato
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