Author: Pixelismo

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  • INTERACTIVE COMMUNICATION 

    INTERACTIVE COMMUNICATION 

    Art is interactive. Always has been. Spectator involvement, more or less implicit, is an integral part of artistic ontology. In a sense, the spectator has never been passive, even when merely standing in front of a painting. For a long time, the spectator-artwork relationship only involved one of the human senses: sight. However, throughout the…

  • EMOTIONAL BRANDING

    From their original artistic contexts, immersive installations have been adopted by the communication world as a corporate marketing medium. The high emotional involvement they are able to provoke, their ability to transport visitors inside other realities, and their degree of memorability are very attractive features for brand communication. Immersive installations are a powerful tool for…

  • Immersive Installations

    Only those who have had such experiences can truly understand them, however, this article is intended to address everyone: those who have experienced what it is like to visit an immersive installation may perhaps find themselves in these words; others I hope will be curious enough to try one by the end of reading. Worm…

  • BODY AND TECHNOLOGY

    The body is at the center of any human activity, including artistic activity, as a tangible element of its presence in the world. The body is the physical form of human identity: to act on it (even simply through “trivial” actions such as getting a tattoo, a piercing, changing hair color or cut…) is to…

  • Aesthetic experience

    Aesthetic experience is seen by some scholars as the product of several cognitive processes including perception, attention, memory, imagination, and emotion. While this is certainly true, it is almost reductive when we consider that these cognitive functions intervene even when we observe simple objects in everyday life. What is it, then, that makes the aesthetic…

  • ELEMENTS OF AN AUDIOVISUAL INSTALLATION

    What do we mean when we talk about “audiovisual installation”? Defining the ontology of such a practice is no simple undertaking. According to Rosalind Krauss, the advent of the Sony Portapak in 1964 and the consequent diffusion of the video medium in the artistic sphere caused a separation between “technical media,” those media utilized according…

  • Mondrian was a neuroscientist

    It is commonly thought that only neurologists, neuroscientists, and psycologists are capable of explaining how the brain works. After reading this article, your “vision” of things will expand, and perhaps you will be able to see art and reality in a new light. The vision of the artists Have you ever found yourselves in front…

  • SCENT MARKETING

    What is more powerful and attractive than temptation? The stronger the prohibition, the greater the desire. Inducing temptation is the task of the sense of smell. It is there that the greatest potential is expressed. Scent Marketing touches the heart of consumers through their noses. It makes people eager to connect with the Brand, share…

  • ANTI-STORYTELLING IN MOVING IMAGES

    Video art was born in the 1960s out of the need to reflect on and experiment with the possibilities that the television could offer by breaking free from the reality of the television schedule. It has undergone various changes over the decades, dealing from time to time with different issues related to the ever-changing video…