Ruggero Eugeni
Titoli dell'autore
Lytro: The Camera as Hypersensor
digital

formato:
Articolo
| COMUNICAZIONI SOCIALI - 2016 - 1. Snapshot Culture. The Photographic Experience in the Post-Medium Age


Anno:
2016
This article examines the Lytro Illum, a ‘plenoptic’ or ‘light-field’ camera. This device captures information on the colour, intensity and angle of incidence of each incoming photon and uses that to reconstruct the three-dimensional environment of the scene in the frame. The output file is an image that is quite easy to navigate and refocus. This type of image derives from the hybridization of digital photography, computer vision and computer-generated imaging within the fast-growing broader field of computational photography...
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L’autobiografia automatica. Google Glass e condivisione dell’esperienza soggettiva
digital

formato:
Articolo
| COMUNICAZIONI SOCIALI - 2012 - 3. L'impulso autoetnografico. Radicamento e riflessività nell'era intermediale


Anno:
2012
RIASSUNTO
L’intervento analizza il video One day..., diffuso viralmente nell’aprile 2012. Il video costituisce la mossa di
lancio del Google Glass, un paio di occhiali ad alta tecnologia che permettono sia di interagire con forme di
realtà aumentata, sia di condividere la rappresentazione della propria esperienza percettiva in prima persona
con altri soggetti. In primo luogo, il video viene analizzato come esempio di uso del first person shot, una
figura stilistica intermediale oggi estremamente diffusa; in quanto tale, il video esibisce la presenza di un corpo-
sensore situato attivamente all’interno del mondo diegetico, caratterizzato da un’oscillazione tra un polo
soggettuale-umano e uno oggettuale-tecnologico. In secondo luogo, il video viene analizzato in base all’idea
di soggetto e di costituzione della soggettività che esso implica: attraverso un confronto con alcune teorie
contemporanee, viene messo in rilievo il carattere situato e attivo del soggetto e la natura rappresentazionale
della sua costituzione. Nelle conclusioni viene profilata l’ipotesi che una simile concezione della soggettività,
definita ‘relazionale’, possieda una natura storica e culturale, e che tenda oggi a soppiantare la concezione
‘posizionale’, rappresentata dal dispositivo prospettico.
SUMMARY
The essay analyses the video titled One day..., broadcasted virally in April 2012. This video originated the
launching of Google Glass, a high technology pair of glasses which allow you both to interact with forms of
augmented reality, and to share with other subjects the representation of your personal perceptive experience.
First of all, the video is analyzed as an example of the use of first person shot, a stylistic multimedia figure very
popular today; the video as such shows the presence of a body-sensor actively positioned inside the diegetic
world, characterized by the swing between a subject-human pole and an object-technological pole. Secondly,
the video is analyzed according to the idea of the subject and the related construction of subjectivity: through
the comparison of certain contemporary theories, the active character of the subject and the representational
nature of its constitution have been observed. The conclusions outline the hypothesis that a similar conception
of subjectivity, defined ‘relationship-wise’, has a historical and cultural nature, and which today would tend to
replace the ‘positional’ conception, represented by the perspective device.
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Introduction
digital

formato:
Articolo
| COMUNICAZIONI SOCIALI - 2011 - CSonline 5. Conferences. Dottorato di ricerca in Culture della Comunicazione, Dipartimento di Scienze della Comunicazione e dello Spettacolo. | Open Access


Anno:
2011
The fifth issue of Comunicazioni Sociali on-line publishes the preprint version of a selection of papers presented by young scholars of the Department of Media, Communication and Performing Arts at the Università Cattolica del Sacro Cuore of Milan to international conferences during the years 2010 and 2011. The essays are sorted by author’s name alphabetical order. However, they can be distinguished into two groups of essays. The first group adopts a historical perspective, both on the history of media and on the history of media theory.
Conferences. Foreword
digital

formato:
Articolo
| COMUNICAZIONI SOCIALI - 2010 - CSonline 3. Conferences. Dottorato di ricerca in Culture della Comunicazione | Open Access


Anno:
2010
Il gioco delle tracce. Inscrizione e trascrizione dell’esperienza nei media contemporanei
digital

formato:
Articolo
| COMUNICAZIONI SOCIALI - 2010 - 1. Lasciare tracce, essere tracciati


Anno:
2010
RÉSUMÉ
Dans leur développement historique les médias modernes ont fait référence à deux logiques différentes de
trace. Les médias de base mécanique, photographique, comme le cinéma, se référent à une idée, en tant qu’inscription:
l’image et le son reproduits dérivent d’une fixation pour l’empreinte et sont donc le témoignage durable
de l’événement qui les a créés. Les médias électroniques tels que la radio, la télévision et le vidéo en général,
nous reportent à une idée de trace en tant que transcription. Images et sons proviennent d’une enquête qui
apporte différents éléments sensoriels au sein d’une représentation unitaire et permet le monitorage d’un environnement
et son évolution. Quand les médias à base mécanique et ceux à base électronique ont vécu dans un
espace social, les deux logiques de l’inscription et la transcription ont constitué un important principe d’individuation
(c’est-à-dire de distinction et d’articulation) des expériences de différents médias.
Les médias numériques mettent en oeuvre, à l’égard de ce cadre, certains changements majeurs: ils font
converger et interagir étroitement les processus d’inscription et les processus de transcription, en outre, ils
rendent aussi immédiat le traçage et la présence de l’utilisateur, et enfin adoptent une hypertrophie des processus
de traçage. Résultant de tels changements, un paradoxe qui caractérise profondément le paysage
actuel: une de – identification des médias est une sur – identification des situations d’utilisation des médias
eux-mêmes.
L’article explore ce paradoxe en analysant les processus de trace que l’on trouve dans le jeu vidéo Spore
(Will Wright, Maxis / Electronic Arts, 2008), et propose des interprétations à cet égard.
SUMMARY
In their historical development, the modern media have referred to two different logics of the trace. The photography-
based mechanical media, such as cinema, refers to an idea of trace as inscription: the image and
sound reproduced are due to a fixation for leaving a mark and are thus witness of the event sustained production
that created them. The electronic media such as radio, television and video in general, refer to an idea
of trace as transcription: images and sounds derive from a survey which brings back different sensory elements
within a unitary representation and allows monitoring an environment and its changes. When the media
based on mechanics and those based on electronics have lived together within a social space, the two logics
of inscription and transcription have constituted an important principle of individuation (that of distinction
and articulation) of different media experiences.
Digital media implement, with respect to this framework, some major shifts: they make some processes
of inscription and transcription converge and interact closely; also make immediate the traceability of the
presence and actions of the user, and finally put up a hypertrophy tracking process. From these profound
changes arises a paradox which deeply characterizes the current landscape: a de-individuation of the media
corresponds to a hyper-individuation of the situations used by the media themselves.
The article explores this paradox by analyzing the processes of tracing to be found in videogame Spore
(Will Wright, Maxis / Electronic Arts, 2008), and proposes interpretations in this regard.
€ 6,00
Prefazione a due voci
Gratis
digital
formato:
Articolo
| COMUNICAZIONI SOCIALI - 2008 - 1. Incipit digitale. L'avvio della televisione digitale terrestre in Italia tra discorsi, prodotti e consumi


Anno:
2008
La relazione d'incanto. Ipnosi e archeologia dello spettatore cinematografico in Trilby di George du Maurier
digital
formato:
Articolo
| COMUNICAZIONI SOCIALI - 2001 - 2. AL CINEMA. SPETTATORE, SPETTATORI, PUBBLICO


Anno:
2001
€ 6,00
Sognare diamanti. Per un'analisi narratologica dei testi pubblicitari
digital
formato:
Articolo
| COMUNICAZIONI SOCIALI - 1989 - 2


Anno:
1989
€ 6,00
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