Instrumentalities of an Eternal Baroque: Project, (Ex)tend, Morph, (Sc)roll and Oscillate
This paper is an exploration of the exhibition Instrumentalities of an Eternal Baroque. The focus is on exhibition as a medium of art historical research in our digital era—through curating, making, drawing. Not only are several exhibited artifacts digitally produced, but numerous artifacts (both an...
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Facultad de Arquitectura, Universidad Nacional Autónoma de México
2021
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| Truy cập trực tuyến: | https://www.revistas.unam.mx/index.php/bitacora/article/view/79045 |
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oai:ojs.pkp.sfu.ca:article-790452021-05-06T22:48:31Z Instrumentalities of an Eternal Baroque: Project, (Ex)tend, Morph, (Sc)roll and Oscillate Instrumentalities of an Eternal Baroque: proyectar, (ex)tender, transformar, (en) rollar y oscilar Mansure, Adil Luarasi, Skender instrumentalidad exposición dibujo lo digital Barroco geometría paramétrica algorítmico San Carlo alle Quattro Fontane Francesco Borromini proyección extensión transformación enrollamiento oscilación This paper is an exploration of the exhibition Instrumentalities of an Eternal Baroque. The focus is on exhibition as a medium of art historical research in our digital era—through curating, making, drawing. Not only are several exhibited artifacts digitally produced, but numerous artifacts (both analog and digital) also locate prehistories of digital design. Through five instrumentalities—Project, (Ex)tend, Morph, (Sc)roll and Oscillate—we curate two categories of artifacts: original drawings (mostly those of Francesco Borromini’s San Carlo alle Quattro Fontane) and analytic artifacts such as animations, models, drawings and photographs of architectural artifacts throughout history. Suspicious of an ever-superseding digital techno-rationalism, these instrumentalities are reinterpretations and reframings of ‘the digital’ itself through an archaeology of architectural history. Este artículo explora la exposición Instrumentalities of an Eternal Baroque. El enfoque es la exposición como medio para investigar la historia del arte en nuestra era digital, a través de la curaduría, la creación y el dibujo. No sólo varios de los artefactos exhibidos se produjeron digitalmente, sino que muchos (tanto analógicos como digitales) también sirvieron para ubicar la prehistoria del diseño digital. A través de cinco instrumentalidades: proyectar, (ex)tender, transformar, (en)rollar y oscilar, seleccionamos dos categorías de artefactos, los dibujos originales –principalmente los de San Carlo alle Quattro Fontane de Francesco Borromini– e instrumentos analíticos como animaciones, modelos, dibujos y fotografías de artefactos arquitectónicos a lo largo de la historia. Con la sospecha de un tecnorracionalismo digital en constante superación, estos instrumentos son reinterpretaciones y reformulaciones de "lo digital" en sí mismo a través de una arqueología de la historia de la arquitectura. Facultad de Arquitectura, Universidad Nacional Autónoma de México 2021-04-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Investigación application/pdf application/xml https://www.revistas.unam.mx/index.php/bitacora/article/view/79045 10.22201/fa.14058901p.2020.46.79045 Bitacora Arquitectura; No. 46 (2020): Digital Media and Architecture; 78 - 95 Bitácora Arquitectura; Núm. 46 (2020): Medios Digitales y Arquitectura; 78 - 95 2594-0856 1405-8901 10.22201/fa.14058901p.2020.46 eng spa https://www.revistas.unam.mx/index.php/bitacora/article/view/79045/70094 https://www.revistas.unam.mx/index.php/bitacora/article/view/79045/70184 Derechos de autor 2021 Bitácora Arquitectura |
| institution |
Universidad Nacional Autónoma de México |
| collection |
OJS |
| language |
eng spa |
| format |
Online |
| author |
Mansure, Adil Luarasi, Skender |
| spellingShingle |
Mansure, Adil Luarasi, Skender Instrumentalities of an Eternal Baroque: Project, (Ex)tend, Morph, (Sc)roll and Oscillate |
| author_facet |
Mansure, Adil Luarasi, Skender |
| author_sort |
Mansure, Adil |
| title |
Instrumentalities of an Eternal Baroque: Project, (Ex)tend, Morph, (Sc)roll and Oscillate |
| title_short |
Instrumentalities of an Eternal Baroque: Project, (Ex)tend, Morph, (Sc)roll and Oscillate |
| title_full |
Instrumentalities of an Eternal Baroque: Project, (Ex)tend, Morph, (Sc)roll and Oscillate |
| title_fullStr |
Instrumentalities of an Eternal Baroque: Project, (Ex)tend, Morph, (Sc)roll and Oscillate |
| title_full_unstemmed |
Instrumentalities of an Eternal Baroque: Project, (Ex)tend, Morph, (Sc)roll and Oscillate |
| title_sort |
instrumentalities of an eternal baroque: project, (ex)tend, morph, (sc)roll and oscillate |
| description |
This paper is an exploration of the exhibition Instrumentalities of an Eternal Baroque. The focus is on exhibition as a medium of art historical research in our digital era—through curating, making, drawing. Not only are several exhibited artifacts digitally produced, but numerous artifacts (both analog and digital) also locate prehistories of digital design. Through five instrumentalities—Project, (Ex)tend, Morph, (Sc)roll and Oscillate—we curate two categories of artifacts: original drawings (mostly those of Francesco Borromini’s San Carlo alle Quattro Fontane) and analytic artifacts such as animations, models, drawings and photographs of architectural artifacts throughout history. Suspicious of an ever-superseding digital techno-rationalism, these instrumentalities are reinterpretations and reframings of ‘the digital’ itself through an archaeology of architectural history. |
| publisher |
Facultad de Arquitectura, Universidad Nacional Autónoma de México |
| publishDate |
2021 |
| url |
https://www.revistas.unam.mx/index.php/bitacora/article/view/79045 |
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