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Thesis Info
- LABS ID
- 00376
- Thesis Title
- Inside out: Myself as Diana. Audiovisual and participatory installation. The femenine representation and the relation between public and private.
- Author
- Patrícia João Barbosa Moreira Reis
- E-mail
- patriciajoaoreis AT gmail.com
- 2nd Author
- 3rd Author
- Degree
- Master
- Year
- 2011
- Number of Pages
- 224
- University
- Universidade Lusófona de Humanidades e Tecnologias
- Thesis Supervisor
- Claudia Giannetti
- Supervisor e-mail
- cg AT artmetamedia.net
- Other Supervisor(s)
- Ivan Marino
- Language(s) of Thesis
- Portuguese
- Department / Discipline
- Escola de Comunicação, Artes e Tecnologias da Informação
- Copyright Ownership
- Patrícia J. Reis
- Languages Familiar to Author
- Portuguese, English, Spanish, French
- URL where full thesis can be found
- Keywords
- media art, interactivity, immersivity, body, feminine representation, voyeur.
- Abstract: 200-500 words
- This study deals with the production, creation and concept development of an interactive work of art entitled Inside out: Myself as Diana, with Vasco Bila. The work proposes an interactive device based on a video interface (small screen). The observer, by freely driving the small screen on a wall surface, sees the image of a woman bathing. Synchrony between movement and represented image is possible due to a digital optical tracking system made by an infrared sensor that detects position on the screen. The interactor can manipulate the screen freely on the wall to see small parts of the image, in order to compose the whole of the represented action. The screen works as an access window into a virtual and intimate space, a tangible interface between two realities, turning interactivity into a voyeuristic experience. The image is a self-representation of the artist as Diana, the roman goddess.Female representation is here being discussed by creating tension between representation of woman (naked female body, real and particular) and goddess (perfect and imaginary ideal), subject of the critical origins, in the 1960’s, of the first feminist artists. This work is therefore situated on the contextual follow-up, proposing a new thrust to these practices by using the body as a critical object in contemporary thought.