Emanuele Nicolo Andreoli

PhD Student

Mitra Azar
See relations at Aarhus University

Profile

Practice based:

My practice based research have aimed at building a virtuous circuit between an aesthetic and political philosophy, a nomadic life style, and a creative practice. The moments of this research have consisted in moving organically from a philosophy to a nomadic life style, and from a nomadic life style to a creative practice. 

The idea of border as fluid, flexible, amorphous entity and the political role of especially cinematic and post-cinematic art and digital technologies in the frame of an aesthetic of crisis and of mass event have been the focus of my practice based research. Since almost ten years I've been building an archive of site-specific works in some of the most controversial areas of the planet - usually at the very border between confining countries - or in the context of socio-political, cultural and ecological struggles, mainly through the lens of visual anthropology, art, and media philosophy. It is especially during the field work done in the Middle East during the so called ‘Arab Spring’ - where protesters combined the use of a new type of POV 'poor image' with social media - that the core ideas of my Ph.D. research  started to take shape. 

 

Research based:

The research is an in-depth investigation of the contemporary use of the cinema technique referred to as ‘subjective camera’ POV (Point of View). The research focuses on the various ways new technologies of vision adopt this technique to explore how images produced in this way move across multiple online-offline circuits of production and distribution. In developing a 'post-phenomenology’ of the migration of the POV image from the field of cinema to its present forms, the research aims to demonstrate that the POV is in a state of transformation from a cinematic technique into one of the most contested political-aesthetic battlefields of our times.

Thus, the research establishes a theoretical framework to understand the political and aesthetic implications related to new technologies of vision such as mobile phones, Google technologies of vision, virtual reality devices, and systems for machine vision, while exploring interconnected and emergent forms of 'subjectivation’ - especially characterized by processes of embodiment and disembodiment. How the 'engineering' of the gaze associated with new technologies of vision produces new subjectivities that circulate across online and offline spaces and that operate within new regimes of visibility?

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