Rodolfo Rojas-Rocha
Artiste visuel, conférencier et chercheur. Arts médiatiques de l’Université Laval,Canada (2012-2016). Il était chercheur au Laboratoire des Nouvelles Technologies de l'Image, du Son et de la Scène.(2013-2015),LANTISS, Québec, Canada. Maîtrise d' arts visuels, Université du Costa Rica (UCR,2008). Licence d' Arts plastiques en peinture (UCR,1999) et dessin publicitaire à l’Université Veritas (1995). Vice-doyen de la Faculté des arts de l'Université du Costa Rica (2018-2020). Professeur de la faculté de Beaux Arts de l’Université du Costa Rica (1999-2020). Il a effectué 16 expositions individuelles : galerie d'Art de l'Université du Mississippi, États-Unis (2005), Art au Costa Rica (Musée d'Art costaricien), biennal de Peinture d'Amérique centrale, Galerie Nationale, Costa Rica, Musée d'art moderne de Carthagène, Galerie Artegma de Panama, Ward-Nasse gallérie, New York,Aferro Art Gallery, Newark,NJ.EU (2009), Lahr, l'Allemagne (2011), San Salvador, El Salvador(2013), LANTISS , Canadá (2013-14-15), Collection Fundación Rozas Botrán, Museo Nacional de Arte Moderno “Carlos Mérida” de Guatemala (2015) . Il a plus de soixante-dix expositions collectives au Costa Rica et internationalement. Graduations académiques avec des honneurs et des mentions dans quelques concours comme le Salon interuniversitaire d'Arts Plastiques EUNED (1995) et le Premier Prix du concours bidimensionnel, Ambiant Universitaire (1994).
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Address: 2333 RUE CHAPDELAINE 205, QUÉBEC, G1V4X4 .CANADA
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Papers by Rodolfo Rojas-Rocha
introduces in “The Postcriticism of
Art: from video-mapping expanded to
the metaverse” several ideas focused
on the near future and the continuity
of a critical discourse based on the
plastic work. digitized visual. It is likely
that a criticism that arises, from the
circulation in an experimental exhibition
space, is argued according to haptic
technology: videomapping, virtual
reality (VR), augmented reality (AR) and
the metaverse, which originated from
the novel Snow Crash (1992) by Neal
Stephenson. The author raises several
questions in his article, namely: How to
approach scientific or poetic art criticism
in virtuality? How does the writing of
criticism become an interactive text with
the context of the artistic exhibition at a
spatial-simulated level?
This article analyzes the virtual path as an artistic practice. We explain it through the concept digital flânerie. The latter is recreated on the computer screen as an image of the web, which functions as a
geographical reference that guides the development of a work. Within this analysis, three categories of flâneur are identified: a) pre-modern, b) modern, and c) contemporary. Also, we present two types of
virtual walkscapes, following the manipulation of geographic images in order to establish visual strategies. The first aspect to consider is the virtual tour as an experience of data collection by the agents that
capture urban images and study Google Street View. The second operation—performed by the user, or flâneur final— is determined by the collection of the relevant information that aids in the development
of a visual work in the context of the laboratory. This is going collecting a series of patterns territories, modern landscapes and busy streets, photographed in 360 degrees, through which a set of specific
urban routes are made available. We are also interested in the manipulation of digital images where walking on the photos establishes a state of drill, due to the operational action on the captured image. This walk through Street View allows us to recognize some optical systems, such as abstractions and interactive displays, by using resources from the social web.
Keywords: flâneur; Google Street View; the virtual walk; creation
introduces in “The Postcriticism of
Art: from video-mapping expanded to
the metaverse” several ideas focused
on the near future and the continuity
of a critical discourse based on the
plastic work. digitized visual. It is likely
that a criticism that arises, from the
circulation in an experimental exhibition
space, is argued according to haptic
technology: videomapping, virtual
reality (VR), augmented reality (AR) and
the metaverse, which originated from
the novel Snow Crash (1992) by Neal
Stephenson. The author raises several
questions in his article, namely: How to
approach scientific or poetic art criticism
in virtuality? How does the writing of
criticism become an interactive text with
the context of the artistic exhibition at a
spatial-simulated level?
This article analyzes the virtual path as an artistic practice. We explain it through the concept digital flânerie. The latter is recreated on the computer screen as an image of the web, which functions as a
geographical reference that guides the development of a work. Within this analysis, three categories of flâneur are identified: a) pre-modern, b) modern, and c) contemporary. Also, we present two types of
virtual walkscapes, following the manipulation of geographic images in order to establish visual strategies. The first aspect to consider is the virtual tour as an experience of data collection by the agents that
capture urban images and study Google Street View. The second operation—performed by the user, or flâneur final— is determined by the collection of the relevant information that aids in the development
of a visual work in the context of the laboratory. This is going collecting a series of patterns territories, modern landscapes and busy streets, photographed in 360 degrees, through which a set of specific
urban routes are made available. We are also interested in the manipulation of digital images where walking on the photos establishes a state of drill, due to the operational action on the captured image. This walk through Street View allows us to recognize some optical systems, such as abstractions and interactive displays, by using resources from the social web.
Keywords: flâneur; Google Street View; the virtual walk; creation