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      Chroma Screens –Intra-Actions, Connections and Gesturalities

      RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology (RE:SOUND 2019)

      Media Art, Science, and Technology

      August 20-23, 2019

      Chroma screens, Intra-action, Gesturality

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          There is no author summary for this article yet. Authors can add summaries to their articles on ScienceOpen to make them more accessible to a non-specialist audience.

          Abstract

          Chroma screens is a collective name for the blue and green screens that are commonly used in the process of compositing images in cinema, video and graphics. Taking into account the expanded functions of screens in the postmedia condition, screens are not merely ‘container’ of images, rather they emphasize, interconnect and constantly rearticulate relationships in a media assemblage. This paper explores the ‘intra-active gesturality’ of chroma screens, that is, screens as an enactment of material-discursive practices and analyses ways in which they sustain the relations between various parts of the media assemblage. In considering the specific instance of Sondra Perry’s artwork, the paper argues that chroma screens are a performance of colour where the practices of imagemaking and racial discrimination converge.

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          Most cited references 10

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          Looking at Shirley, the Ultimate Norm: Colour Balance, Image Technologies, and Cognitive Equity

           Lorna Roth (2009)
          Abstract: Until recently, due to a light-skin bias embedded in colour film stock emulsions and digital camera design, the rendering of non-Caucasian skin tones was highly deficient and required the development of compensatory practices and technology improvements to redress its shortcomings. Using the emblematic “Shirley” norm reference card as a central metaphor reflecting the changing state of race relations/aesthetics, this essay analytically traces the colour adjustment processes in the industries of visual representation and identifies some prototypical changes in the field. The author contextualizes the history of these changes using three theoretical categories: the ‘technological unconscious’ (Vaccari, 1981), ‘dysconsciousness’ (King, 2001), and an original concept of ‘cognitive equity,’ which is proposed as an intelligent strategy for creating and promoting equity by inscribing a wider dynamic range of skin tones into image technologies, products, and emergent practices in the visual industries.Résumé : Jusqu’à récemment, en raison d’un préjugé favorisant la peau claire dans les films couleurs et dans la conception des caméras numériques, la reproduction des couleurs de peaux non-caucasiennes a été très déficiente, exigeant le développement de diverses techniques de compensation et d’amélioration. Utilisant la carte de référence normative « Shirley » comme métaphore pour refléter l'évolution des rapports entre les races et leurs pratiques esthétiques, cet essai analyse les processus d’ajustement de la couleur dans les industries de la représentation visuelle et identifie certains prototypes de changements dans le domaine. L’auteur situe ces changements historiquement en se rapportant à trois concepts théoriques : « l’inconscient technologique » (Vaccari, 1981), la « dysconscience » (« dysconsciousness » – King, 2001), et un concept original, « l’équité cognitive », proposé comme stratégie intelligente pour créer et promouvoir l'équité en inscrivant un plus grand éventail de couleurs de peau dans les technologies et produits de l'image et dans les pratiques émergeantes des industries visuelles.
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            Machine Bias: There’s Software Used Across the Country to Predict Future Criminals. And It’s Biased Against Blacks

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              Race and/as technology; or, how to do things to race

               W.H.K. Chun,  W Chun (2009)
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                Author and article information

                Contributors
                Conference
                August 2019
                August 2019
                : 253-257
                Affiliations
                Article
                10.14236/ewic/RESOUND19.38
                © Maithani. Published by BCS Learning and Development Ltd. Proceedings of RE:SOUND 2019

                This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

                RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology
                RE:SOUND 2019
                8
                Aalborg, Denmark
                August 20-23, 2019
                Electronic Workshops in Computing (eWiC)
                Media Art, Science, and Technology
                Product
                Product Information: 1477-9358BCS Learning & Development
                Self URI (journal page): https://ewic.bcs.org/
                Categories
                Electronic Workshops in Computing

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