Renewing Knowledge Structures for Media Art
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Preserving New Media Art: Re-Presenting Experience
Preserving New Media Art: Re-presenting Experience Jean Bridge Sarah Pruyn Visual Arts & Interactive Arts and Science, Theatre Studies, University of Guelph, Brock University Guelph, Canada St. Catharines, Canada [email protected] [email protected] ABSTRACT Keywords There has been considerable effort over the past 10 years to define methods for preservation, documentation and archive of new Art, performance art, relational art, interactive art, new media, art media artworks that are characterized variously as ephemeral, preservation, archive, art documentation, videogame, simulation, performative, immersive, participatory, relational, unstable or representation, experience, interaction, aliveness, virtual, technically obsolete. Much new media cultural heritage, authorship, instrumentality consisting of diverse and hybrid art forms such as installation, performance, intervention, activities and events, are accessible to 1. INTRODUCTION us as information, visual records and other relatively static This investigation has evolved from our interest in finding documents designed to meet the needs of collecting institutions documentation of artwork by artists who produce technologically and archives rather than those of artists, students and researchers mediated installations, performances, interventions, activities and who want a more affectively vital way of experiencing the artist’s events - the nature of which may be variously limited in time or creative intentions. It is therefore imperative to evolve existing duration, performance based, -
How Artists Can Develop Their Artwork, Its Market and Deliver Their Creative Content for Virtual Reality Environments?
http://dx.doi.org/10.14236/ewic/EVA2019.54 How Artists Can Develop Their Artwork, Its Market and Deliver Their Creative Content for Virtual Reality Environments? Maureen Kendal Mehmet Mulla Elaine Thomazi-Freitas Ravensbourne University Dreamstudio.io London Metropolitan University London, UK London, UK London, UK [email protected] [email protected] [email protected] This research investigates how artists, from traditional fine art and applied art backgrounds, can create innovative immersive and virtual art and build upon their tangible skills, through a digital pipeline and tools? Findings indicated opportunities to co-create partnerships, develop transferable design skills; and exhibitions which enable new markets and audiences. Virtual Reality. Immersive technologies. TiltBrush. Visual effects. Spatial audio. 1. INTRODUCTION. experience of VR technology for artists may find a new home in a virtual immersive setting. The project aimed to introduce a variety of eXtended Reality (XR) experiences to PingHub The project aims were to: network of artists and creatives, to prepare the way for an immersive platform for use by artists, gallery 1. Introduce immersive design skills to owners, globally dispersed, to enable greater these fine art artists. interconnectivity for their audiences, patrons and 2. Enable artists to use these tools artists. independently or in collaborative multi-disciplinary partnerships with The PingHub curatorial team led by Peng Seng VR specialists. Ong, investigated immersive technologies, 3. Investigate how the transfer of providers, costs and availability; the chosen artists’ creative content to a VR provider offered hands-on tasters of Virtual Reality platform could promote their work (VR) tools, global partners and an understanding of across PingHub galleries in other usability and psychological measures. -
Transilient Minds
The Screen as Architecture Olga Venetsianou University of Thessaly (Greece) Abstract the screen. The argument will be presented through a series of case studies that are This paper deals with the spatial properties of located between architecture and non- the cinematic, television or computer screen architecture, dating from the beginning of in multimedia installations. Through a series the twentieth century until now. The of case-studies dating from the interwar selected works use a diverse range of avant-garde movements to contemporary expressive means, materials and multimedia installations, we will attempt to techniques, thus breaking down the barriers illustrate the way that the screen surface is within the arts. transformed from flat and frontal to a three- dimensional space of visualization. Artistic Expansion and Multiplication of experimentations, in particular the expansion and multiplication of screen space and the Screen Space encouragement of audience participation, In regard to media art, two underlying assisted by the evolution of technology from currents are identified. The first may be analogue to digital, marked the introduction of described as an audiovisual experience immersive environments and interactive constrained by a bounding border, which relations between spectator and image. In separates fictional from real space, i.e. the digital culture, the screen functions as a frame of a painting, the proscenium arch of communication space for events and a theatre, the casing of a television, the scenarios. Moreover, contemporary border of a cinema screen. The second multimedia installations use the strong group of artworks is characterized by the illusionary powers of the moving image and attempt to discard the frame, so that the the notion of interactivity in an attempt to created space is released as an immersive converge all modalities of perception in a experience. -
Video Installation in Public Space
Center for Open Access in Science ▪ https://www.centerprode.com/ojsa.html Open Journal for Studies in Arts, 2018, 1(1), 29-42. ISSN (Online) 2620-0635 ▪ https://doi.org/10.32591/coas.ojsa.0101.03029d _________________________________________________________________________ Video Installation in Public Space Lili Atila Dzhagarova South-West University “Neofit Rilski”, Blagoevgrad Theater and Cinema Art Received 31 May 2018 ▪ Revised 27 June 2018 ▪ Accepted 29 July 2018 Abstract The present study is dedicated to the research of video installations placed in the public space, such as exhibition halls, streets and theatrical spaces. The theme “Video installations in the public space” is the understanding of the essence of video and space and its aspects through the production of various spatial solutions and practical imaging solutions in the field of video art. The subject of the study is essence of the problem. In the case of this study the object is the video installations, and the subject is the process of their creation, and the concept of environment. The whole range of phenomena studied is related to the works of video art, their development and expression of opportunities and the idea of environment is an aspect of exploring the space in which they are presented. Keywords: installations, video, public space, phenomenon, movement. 1. Introduction When we think of artists, we think of paint on canvas, or clay masterpieces, or beautiful, timeless drawings, but what do you think when you hear digital artists? The acceptance of digital art into the mainstream art community is a controversy that is slowly becoming history. The controversy is essentially what many people believe in that art is created by the computer, and not by the artist. -
Museum and Archive on the Move Introduction
Oliver Grau / Wendy Coones / Viola Rühse Museum and Archive on the Move Introduction Landscape of Museum and Archive The world-wide museum community is more than 55,000 institutions strong. The US has more than 17,000 alone, Japan 5,700, and Germany 6,300. It may seem that this infrastruc- ture in all its diversity and history is such a mighty monolith that drastic change would be difficult to imagine. But the digital age enters with force and alters that status quo. It comes with new tools to present, collect, access (cultural artefacts), connect, explore, research, manage, and visualize data. It comes with its own digital-born arts and cultures, which have their own history of more than five decades. Digital arts and cultures play a role in 200 biennials around the world and in hundreds of specialized festivals, but do not signifi- cantly enter the walls of the museum world. The museum setting in our contemporary world has diversified not only due to the digital revolution that has come to permeate global culture and interaction, but also due to many other non-digital transitions that have come about alongside or due to digital developments. Digital technology has introduced new multifarious ways of expression that change the nature of the object to be collected, as well and changing the expressive methods available for displaying and archiving collections. These new objects and the tech- niques used to preserve and interpret them embrace interactivity, make use of linear and non-linear structures equally, and encourage new methods and ever deepening degrees of participation. -
Redalyc.Virtual Art -The Aura of the Digital Fortunately, It Is Unknown
Interin E-ISSN: 1980-5276 [email protected] Universidade Tuiuti do Paraná Brasil Schuricht, Susanne Virtual Art -the Aura of the Digital Fortunately, it is unknown where the journey will end. Dr. Oliver Grau, based in Berlin, Germany, interviewed by Susanne Schurich Interin, vol. 1, núm. 1, 2006 Universidade Tuiuti do Paraná Curitiba, Brasil Available in: http://www.redalyc.org/articulo.oa?id=504450754010 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Virtual Art - the Aura of the Digital Fortunately, it is unknown where the journey will end Dr. Oliver Grau, based in Berlin, Germany, interviewed by Susanne Schuricht Dr. Oliver Grau is a media art historian researching and lecturing at the Art History department at Humboldt University, Berlin. He studied art history, economics, archaeology and Italian literature in Hamburg, London and Siena. He has also done field research in the USA and Japan. Since 1988 he has been head of the German Science Foundation’s project on History of the Arts and Media Theory of Virtual Reality, and has led the "immersive art" project since 2001. Besides this, he and his team are developing a database for virtual art which will provide an overview of interactive installations over recent decades. He has published widely in Europe, the USA and Japan. His research focuses on the history of illusion and immersion in media and art, the history of the idea and culture of telepresence and telecommunication, genetic art and artificial intelligence. -
A N N E M a R C H A
www.annemarchand.com A N N E M A R C H A N D Washington, DC Selected Solo Exhibitions 2022 International Museum of Art & Science (IMAS), McAllen, TX, “Anne Marchand” (forthcoming) 2021 Whittemore House, Woman’s National Democratic Club Museum & Gallery, Washington, DC, “Tellus/Caelus: Seeing Earth and Sky, Recent Work by Anne Marchand”, (Curator, Claudia Rousseau) Cross Contemporary Partners, NY “Tellus/Caelus: Seeing Earth and Sky”, (3D Virtual Online Exhibition) 2020 Frostburg State University, MD, “Anne Marchand Recent Abstractions” (Covid interrupt) 2019 Missouri State University, Springfield, MO, “Abstractions: Anne Marchand” Hardin Center for Cultural Arts, Gadsden, AL, “Abstractions by Anne Marchand” Museum of Arts and Sciences, Macon, GA, “Abstractions: Anne Marchand” Morris Museum of Art, Augusta, GA, “Recent Abstractions by Anne Marchand”, (Traveling Exhibition) 2014 Green Chalk Contemporary, Monterey, CA, “Vision of Myth” 2013 Emerge Fine Art, Cary, NC, “Illumination” Evolve Urban Arts Project, Washington, DC, “Anne Marchand at Evolve” 2012 ArtExpo, Pier 92, New York, NY 2011 Montgomery College, Silver Spring, MD, “Of Shining Worlds”, (Curator, Claudia Rousseau) 2010 Vornado/Charles E. Smith, Arlington, VA, “Luminous” 2006 Zenith Gallery, Washington, DC, “Ellipsis” Selected Group Exhibitions 2021 Zenith Gallery, Washington, DC, “Herstory” Latela Curatorial x Artsy, Washington, DC, “Turning Blue, Part DEUX” (Virtual Exhibition) Cross Contemporary Partners, Saugerties, NY, “The Universe Makers”, (3D Virtual Exhibition) 2020 Cross -
Open Text As
Virtual Art From Illusion to Immersion Oliver Grall tramlated by Gloria CIIStaJJce The MIT Press Cambridge, Massachusetts London, England Contents SERIES fOREWORD VIII FOREWORD by Joel Slaycon XI ACKNOWLEDGMENTS XI II Chapter 1 Introduction 2 The Science of the Image ll Immei'Sion 13 Chapter 2 Historic Spaces of Illusion 24 lmmersive Image Strategies of the Classical World 25 The Chambre du Cerf ln the Papal Palace at Avignon 33 In Rome on Mount Olympus: Baldassare Peruzzi's Sa/a delle Prospettive 37 Immersion in Biblical Jerusalem: Gaudenzio Ferrari at Sacro Monte 41 Bai'Oque Ceiling Panoramas 46 Viewing with Mili tary P1·ecision: The Birth of the Panorama 52 Barker's Invention: Developing the Space of Illusionistic Landscapes 56 Construction and Function of the Panorama 58 The Panorama: A Conti'Oversial Medium circa 1800 62 The Role of Economics in the International Expansion of the Panorama 65 Chapter 3 The Panorama of the Battle of Sedan: Obedience through Presence 90 The Battle in the Picture 92 The Power of Illusion, Suggestion, and Immersion 96 Anton von Werner: Artist and Power Player 99 Political Objectives 101 The Panorama Stock Exchange 103 With Helmholtz's l<nowledge: "Democratic Perspective" versus "Soldiers' Immersion" 105 Strategy and Work of the Panoramlst ll3 L'Art l ndustriel 118 The Rotunda 122 Chapter 4 Intermedia Stages of Virtual Reality in the Twentieth Century: Art as Inspiration of Evolving Media 140 Monet's Water Lilies Panorama in Giverny 141 Pram pol ini's Futurist Polydimensional Scenospace 143 Film: Visions -
Alliance for the Preservation of Media Art
Wachau 13 years – biannual - 2019 Aalborg, Denmark DECLARATION FOR INTERNATIONAL & SUSTAINABLE MEDIA ARTS RESEARCH =>mediaarthistory.org Sean CUBITT, Goldsmith; Oliver GRAU, Danube U; Ross HARLEY, UNSW Sydney; Christiane PAUL, New School, New York; Diana DOMINGUES, Universidade de Brasília; Horst BREDEKAMP, Humboldt-University Berlin; Barbara Maria STAFFORD, Georgia Tech; Frieder NAKE, University of Bremen; Peter WEIBEL, ZKM; Roy ASCOTT, University of Plymouth, Sir Nicholas SEROTA, Tate; Martin WARNKE, Leuphana University, Mike STUBBS, FACT Liverpool; Benjamin WEIL, LABORAL; Andreas BROECKMANN, Leuphana Arts Program; Jeffrey SHAW, City University Hong Kong; Eduardo KAC, Chicago Arts Institute; Christa SOMMERER, University of Art Linz; Alex ADRIAANSENS, Institute for the Unstable Media, Lanfranco ACETI, Sabanci U; Howard BESSER, NYU’s Tisch School of the Arts, Ianina PRUDENKO, National Univ. Kiew; Anna Maria GUASCH, Universidad de Barcelona; Anne-Marie DUGUET, Sorbonne; Sara DIAMOND, OCAD Toronto; Vera FRENKEL, FRSC, York University, Gilbertto PRADO, Sao Paulo University; Itsuo SAKANE, IAMAS, Gifu; Lev MANOVICH, UC San Diego; ZHANG Ga, Tsinghua University; Ryszard W. KLUSZCZYNSKI, University of Lodz; Wolfgang MUENCH, LASALLE College of the Arts Singapore; Raivo KELOMEES, Estonian Academy of Arts; Jin-Woo LEE, Pohang University of Science and Technology; Bent FAUSING, University of Copenhagen; Mitsuhiro TAKEMURA, Sapporo City University; Nelson VERGARA, National University of Colombia; Monika FLEISCHMANN, Fraunhofer Research; Uršula BERLOT, -
I Want to See How You See. Curatorial Practices of Exhibiting Virtual Reality 2018
Repositorium für die Medienwissenschaft Ina Neddermeyer I Want to See How You See. Curatorial Practices of Exhibiting Virtual Reality 2018 https://doi.org/10.25969/mediarep/12210 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Neddermeyer, Ina: I Want to See How You See. Curatorial Practices of Exhibiting Virtual Reality. In: Luisa Feiersinger, Kathrin Friedrich, Moritz Queisner (Hg.): Image – Action – Space: Situating the Screen in Visual Practice. Berlin: de Gruyter 2018, S. 203–214. DOI: https://doi.org/10.25969/mediarep/12210. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.1515/9783110464979-016 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 Attribution - Non Commercial - No Derivatives 4.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0 Ina Neddermeyer I Want to See How You See Curatorial Practices of Exhibiting Virtual Reality Displaying time-based media art poses major challenges for the process of seeing. Despite their diversity all works in the presentation and reception in exhibitions. Sound over- the following essay can be characterized as VR-HMD thus lays, distraction effects or the missing reset button, which virtual realities consisting of CG Imagery generated in real would make it possible to start an artwork as soon as visitors time and displayed on HMDs. enter the room are everyday problems in curatorial practice. -
From Multimedia to Software Art Installations
Collaborative and Transdisciplinary practices in Cyberart: from Multimedia to Software Art installations Diana Domingues Eliseo Reategui NTAV Lab – Universidade de Caxias do Sul/CNPQ Mestrado em Comunicação e Linguagens – Universidade Tuiuti do Paraná Brazil How to synthesize Leonardo? The efficiency of collaborative practices related to complex systems in Cyberart dissolves the old rupture and the well-known historical divergences between artists and scientists. The main point of convergence is when all disciplines investigate the same issues, all sciences become one unique science. Interactivity, immersion, autonomy and mobile connections in Cyberart require collaborative practices related to Science of Complexity and its emergent proprieties. Speculative software are written to respond for artistic projects and they place art in the three recent realms of “engineering art”, “engineering culture” and “engineering nature”1. These investigation fields respond to the high level of Cyberart’s philosophical, technical, biological, social, ethical and emotional implications of scientific discoveries. A variety of disciplines related to the use of computers and networks in genetics, engineering, biotechnology, cognitive sciences, communication, anthropology, computer science, and other areas require sometimes a scripted software when applied in art practices. Writing software is not new in art practices, it has been done since the beginning of computer art, mainly in the development of formalistic aesthetics. However, artists embrace nowadays the design of adequate software by taking algorithmic information content for searching “rules” to be included in the code. Art works in cyberspace search for forms of communication close to the expansion of life in the post-human culture. The focus is the human factor of technologies or the humanization of technologies in the cross- boundaries with creativity and changes in daily life2. -
Installation Art 1 Installation Art
Installation art 1 Installation art Installation art describes an artistic genre of site-specific, three-dimensional works designed to transform a viewer's perception of a space. Generally, the term is applied to interior spaces, whereas exterior interventions are often called Land art; however the boundaries between these terms overlap. History Installation art can be either temporary or permanent. Installation artworks have been constructed in exhibition spaces such as museums and galleries, as well as public- and private spaces. The genre incorporates a very broad range of everyday and natural materials, which are often chosen for their evocative qualities, as well as new media such as video, sound, performance, immersive virtual reality and the internet. Many installations are site-specific in that they are designed to exist only in the space for which they were created. A number of institutions focusing on Installation art were created from the 1980s onwards, suggesting the need for Installation to be seen as a separate discipline. These included the Mattress Factory, Pittsburgh, the Museum of Installation in London, and the Fairy Doors of Ann Arbor, MI, among others. Installation art came to prominence in the 1970s but its roots can be identified in Marcel Duchamp, Fountain, 1917. earlier artists such as Marcel Duchamp and his use of the readymade and Kurt Photograph by Alfred Stieglitz Schwitters' Merz art objects, rather than more traditional craft based sculpture. The intention of the artist is paramount in much later installation art whose roots lie in the conceptual art of the 1960s. This again is a departure from traditional sculpture which places its focus on form.