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din română în engleză: Introduction to "Art, Space and Memory in the Digital Era" by Tincuta Heinzel General field: Artă/Literatură
Text sursă - română Revoluţia care a avut loc în consumul de electronice şi a mijloacelor digitale de comunicare din a doua jumătate a secolului XX, ne obligă să vorbim de o adevărată turnură tehnologică. Oferind o bază comună, digitală, de reprezentare şi de operare a diferitelor elemente care compun cadrul nostru cotidian: sunet, imagine, informaţii, tehnologiile digitale au creat un nou model de abordare al realităţii. Prin aducerea la un numitor comun, numeric, a diferitelor date ale realităţii, tehnologia digitală a avut un impact direct nu doar asupra condiţiilor de viaţă cotidiană şi al modalităţilor de interacţiune socială, dar a condus la schimbări legate de maniera noastră de reprezentare şi concepere a lumii. Corelaţiile ce pot avea loc între diferitele elemente ale cadrului fenomenologic şi interfeţele care traduc aceste corelaţiile, interacţiunile care se pot naşte între spaţiul fizic şi cel virtual, antrenează o serie întreagă de procese. Complexitatea transformărilor care au loc sub ochii noştrii nu poate să ne lase indiferenţi. În acelaşi timp, potenţialul acestor tehnologii rămâne a fi încă explorat. Rapiditatea procesului de integrare în structurile cotidiene a tuturor acestor tehnologii, posibilităţile pe care ele le oferă, utopiile pe care le generează, fac parte dintr-un proces în care creatori şi utilizatori intervin constant în definirea şi negocierea noilor structuri ale cotidianului.
Nu trebuie să ne mire astfel faptul că problemele ridicate de noile medii au făcut şi vor face încă obiectul a numeroase analize. Abordările sunt din cele mai diverse. Nu puţini sunt cei care, chemaţi a descrie şi a defini fenomenele noilor medii au făcut apel la concepte şi termeni care se impuseseră în trecut în studiul tehnicii şi al contextelor ei moderne. Influenţele exercitate de Walter Benjamin, Martin Heidegger sau Marshall McLuhan sunt edificatoare în acest sens. Nu este de neglijat nici asocierea dintre studiului noilor medii şi fenomene precum modernitatea. Tocmai aceste tipuri de asocieri au necesitat ca analiza mediilor digitale să facă apel la abordări din cele mai complexe. Interdisciplinaritatea a devenit cuvânt de ordine. Împrumutarea de concepte din discipline din cele mai diverse s-a dovedit viabilă. Departajarea disciplinară a fost pusă în discuţie, reorganizarea structurilor de cercetare şi cunoaştere, recunoaşterea instituţională, nasc astăzi polemici. Dimensiunile sociale şi politice ale noilor medii sunt adesea subiectul cercetărilor teoretice.
Dacă măsurabilitatea a devenit o emblemă a timpurilor moderne, atunci, digitalizarea e expresia ei cea mai pregnantă. Dacă filosofia greacă distingea între tehne şi episteme, acest raport pare din ce în ce mai mult pus sub semnul întrebării din perspectiva modernă. Instrumentalizarea ştiinţei (Latour), matematizarea realului (Koyré), fac ca explicaţia ştiinţifică şi producţia să fie strâns legate în epistemologia modernă. Tehnica nu mai e imitare a naturii, ci extensie a acesteia. Volumul şi impactul cercetărilor ştiinţifice şi tehnologice în viaţa cotidiană, fac din actul de cercetare un act cultural. Dacă astăzi ştiinţa şi tehnologia sunt chemate să împingă frontierele cunoaşterii, artei i se cere să oglindească aceste noi experienţe. Ce poate şi ce ar trebui să facă actul artistic şi estetic în aceste condiţii?
Traducere - engleză The revolution that took place in the consumption of electronics and digital communication devices in the second half of the 20th Century compels us to speak of a real technological revolution. Digital technologies have become the common denominator of the way we represent and utilize the different elements that compose our environment: sound, image, and information, thus creating a new model for understanding reality. They had a direct impact not only on the conditions of our everyday life, and our models of social interaction, but they had induced changes in the way we represent and understand the world. The correlations that can be made between the different elements of the phenomenological environment and the interfaces that translate these correlations, the interactions that take place between the physical and virtual space, involve a complex set of processes. The change they produced compels us to reconsider the conditions of our modern lives, while their potential demands to be explored. The speed with which all these technologies integrate into our daily life, the possibilities they offer, the utopias they generate, are part of a process in which creators and users constantly interact in defining and negotiating the new structures of everyday life.
There is no wonder that the problems raised by the new media have been and will continue to be the subject of complex investigations. The approaches are diverse, as well. Not few of those asked to describe and define the phenomenon, have referenced concepts and terms that were outlined in earlier studies of technique and its contexts. The influences of Walter Benjamin, Martin Heidegger, and Marshall McLuhan are enlightening at this point. It should not be neglected also, the association often made between the study of new media and the phenomenon of modernity. Precisely these types of associations have demanded some of the most complex approaches in the analysis of digital media. Interdisciplinarity has become mandatory. Borrowing concepts from different disciplines turned out to be a viable approach, as well. The separation of genres was often questioned; the reorganization of research methods and the institutional recognition are polemic issues. The social and political dimensions of the new media are often subject of theoretical research.
If quantification has become the motif of modern times, then digitization is its most salient expression. If the Greek classical philosophy distinguished between téckhne and episteme, this relationship had been reformulated from a modern perspective. The complete reliance on instrumentation in science (Latour) and the mathematization of reality (Koyre) pushed the scientific explanation and production to become closely related in modern epistemology. The technology is not an imitation of nature any more, but an extension of it. The volume and the impact of scientific and technological research in our everyday life make it a cultural act. Today, technology and science are asked to push the frontiers of knowledge, while art is asked to mirror these new experiences. What can and should art and aesthetics do in these circumstances?
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I am a native speaker of Romanian, grew up in Romania and lived extensively in the US and Italy. I have studied and taught at Romanian and US universities and published in both English and Romanian. I provide translation services for academic papers and publications in art, design and the humanities, as well as to art galleries, museums, and non-profits interested in expanding their reach internationally.
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