http://www.embodiedmedia.com/
This is both an archive of past artistic works and an ongoing record of Keith Armstrong's individual and collaborative new media, hybrid arts and arts research practices. Australian
http://www.embodiedmedia.com/projects/IT/philosophy.htm
Intimate Transactions
Intimate Transactions is inspired and directed by an examination of what Dr. Liz Baker calls ecological subjectivity; a sense of self that is intimately relational, embodied and embedded.
"We live under the enduring mantle of a global crisis, a self-imposed act of unparalleled and seemingly irrational self-destruction which we misname as ecological - we are the crisis. Numerous contemporary theorists have suggested that this 'problem of ecology' indicates a crisis of human subjectivity (understanding of self) and agency (how we choose to act), suggesting a fundamental problem in how we image ourselves within the world."
Dr. Keith Armstrong
Intimate Transactions is hence underpinned by ideas synthesized from theories of critical ecology, ecological subjectivities and the systemic flow of energy and matter within scientifically defined ecologies. It therefore questions how might principles of ecological science and philosophy lead to the evolution of new forms of process, practice and outcome in the media arts. These key ideas have long steered director Keith Armstrong's work.
To achieve this Intimate Transactions brings together, explores and dissects ideas and practices from the media arts, interactive design, performance, telematics, interactive sound-scape design, custom electronics, furniture design and alternate human-computer interfaces.
Installation processes data from the body - Intimate Transactions is a new type of interactive installation that allows two people located in separate spaces to interact simultaneously using only their bodies. As this highly immersive experience evolves, each participant begins to sense their place in a complex web of relations that connect them, and everything else within the work.
Cardiomorphologies (2004-7)
http://www.georgekhut.com/biofeedback/cardiomorphologies/movie/
(Sydney based team) 14-21 September 2005
Cardiomorphologies is an interactive installation that uses bio-sensing and multimedia technologies to create real-time visual and sonic representations of the audiences breath and heart rate. Participants interact with the work one person at a time through heart and breath sensors. During their interaction participants are encouraged to use the work as a feedback system to observe and experiment with their own breath and heart-rate patterning.
Cardiomorphologies takes as its subject matter and material, the participants own psycho-physiology, allowing them to reflect on the physically and emotionally mediated nature of our actions and perceptions through a gentle but highly focused process of observation and interaction. The work examines some of the ways in which different kinds of mental activity impact on our physiology and conversely how particular heart and breath patterns seem to entrain certain kinds of feelings and perceptions.
About the creative team
George (Poonkhin) Khut is an artist working in the area of sound and immersive installation environments. He is researching a Doctorate of Creative Arts at the University of Western Sydney, Australia, in the incorporation of biofeedback training technologies with interactive music and sound environments. The development of Cardiomorphologies has been supported by Performance Spaces Head Space artists residency program.
Lizzie Muller is a curator specializing in interactive artwork. She is currently researching audience experience of interactive art for her Ph.D. at Creativity and Cognition Studios, University of Technology, Sydney. She is the curator of Beta_space.
Greg Turner is an interaction designer who specialises in creativity support. He is currently developing flexible software tools for artists for his Ph.D. at Creativity and Cognition Studios, University of Technology, Sydney.
Alex White is an artist working in the fields of experimental audio and improvised performance. Alex lives in Sydney and is completing his Honors in Electronic Arts at The University of Western Sydney.
HYBRID ART
SymbioticA:
The Art and Science Collaborative Research Laboratory,
University of Western Australia, Perth
(represented by its co-founder and Artistic Director Oron Catts) (AU)
www.symbiotica.uwa.edu.au Located at the School of Anatomy & Human Biology, University of Western Australia SymbioticA is an artistic laboratory dedicated to the research, learning and critique of life sciences. SymbioticA is the first research laboratory of its kind, in that it enables artists to engage in wet biology practices in a biological science department.
SymbioticA sets out to provide a situation where interdisciplinary research and other knowledge and concept generating activities can take place. It provides an opportunity for researchers to pursue curiosity-based explorations free of the demands and constraints associated with the current culture of scientific research while still complying with regulations. SymbioticA also offers a new means of artistic inquiry, one in which artists actively use the tools and technologies of science, not just to comment about them, but also to explore their possibilities.
Feed
a garden raised by television
by shane cooper (currently living in NZ, Wellington)
shanecooper@shanecooper.com - sent email no reply
DescriptionThe work is composed of two halves. The upper half is a video wall of television screens, each tuned to a different channel and playing at low volume. The lower half is a garden of ferns that can survive under conditions of extreme lighting. The television screens provide light to the plants, which grow towards them in a constricted space, eventually colliding.
The video wall has also been run from live feeds - infrared cameras installed in the gallery space. In this case, the garden survives on the presence of people, as infrared cameras convert images of visitors into visible light. "Feed" is part one in a series of four, and this subject is further explored in the second work "Light of Life".
Feed: interactive installation to show how life is fed by media - According to Pier Luigi Capucci, nowadays the relationship between arts and life follows two different paths. The first and more ancient is deep-rooted in the organic matter and is inspired by scientific disciplines: biology, biotechnology and genetic. The second path, more recent, comes from different approaches: artificial life and robotics. The essential difference between the two (apart from tools, approaches and technologies in use) is that in the first path life is presented as it is, while in the second it is represented, i.e. simulated. Shane Cooper’s installation Feed, recently displayed at Museum of Contemporary Art Taipei’s Zone_V2_ Unstable Media, combines the two paths. The work is composed of two halves.
EKTA: A Sensory Awareness Installation
http://www.spark-envision-media.com/home.htmlby Ashanti Vivia and Chris Korda (AMERICAN)
EKTA is an interactive multimedia and biofeedback installation that allows a user to control light and sound directly with their brain waves. EKTA mirrors the user's brain state, allowing them to mentally program many aspects of the experience, in real time. The user wears a special EEG headband, which radios their brain waves to a network of computers. The computers respond with synthesized algorithmic music, and a video projection of continuously morphing kaleidoscopic imagery, both of which follow changes in the user's brain waves. For example, as the user relaxes, the music gets slower and deeper, encouraging them to relax even more (positive feedback). The experience leads the user through seven distinct stages, which correspond to the seven chakras (energetic centers) of the human body. Each chakra is represented by a unique color, geometry, bass note, and change of musical instrument.
EKTA is the Sanskrit word for UNITY. EKTA allows the user to experience the unification of their inner and outer vibrations. The goal of this heightened awareness is transcendence, a state in which they see things as they really are. As with many meditative and spiritual practices, this has the potential to bring about internal transformation.
Ashanti Vivia and Chris Korda
Artists have worked in America - but bouncing of Eastern Culture
Shifting our state of awareness can be a powerful tool. In many Asian cultures this observation is still practiced in daily life. It is in the study of different cultures through video art I seek to explore as a tool for teaching. I seek to understand what influences one another and how our actions are connected. By weaving together the everyday and the sacred I look to generate examples from my travel footage. This is executed through experimental documentary montage. My emphasis is on showing the juxtaposition of meditative acts in temple life to transitions of everyday city life. I have captured footage of a monastic and city life in India, Thailand, and Cambodia. While also including rhythmic scenes from the streets of American life I represent a comparable thread that may unite the pulses of daily activities to a sacred intentional force. These images explore an interconnectedness of consciousness from around the globe.
http://www.sonicsfromscratch.co.nz
http://www.sonicsfromscratch.co.nz/visual.php
Philip Dadson (NEW ZEALANDER)
Polar Projects 2003-6
http://www.sonicsfromscratch.co.nz/dadsonics.php?id=4
Seven video/sound works make up the series: Echo-logo, Aerial Farm, Stone Map, Flutter, Arc, Chthonion Pulse & Terra Incognita - an interactive 3 screen work devised in association with James Charlton. One audio work, Stone,Water,Air,Ice was devised as both radiophonic and headphone piece, related to the video works.
Polar Projects is a body of work produced by Philip Dadson during his 2003 Artist Fellowship in Antarctica. The exhibition explores Antarctica’s extraordinary Dry Valleys through a unique selection of sound and video works, along with a suite of rock drawings that record the surface of the stones and boulders of the Dry Valleys. Dadson’s vision of Antarctica challenges our perceptions of this unique environment in this subtle, playful investigation into the sonic properties and visual polarities of this landscape.
In Flutter, a single red flag is battered by a howling wind producing interesting tonal effects and creating a poetic display of Antarctica’s intense environmental affects. Similarly, Aerial-Farm presents an aerial-mast with multiple wires that are activated by the wind, producing an intense phonic resonance as the image fades in and out through the interference of the snow storm.
“Mostly the valley seems silent, with only a background hiss of pink noise to accompany the intrusive sounds of my body, my footsteps. No bird or animal noises, only occasional ice snaps and explosive retorts from the splintering glacial-face and the lakes of frozen seepage from the melt”
(Extract from Philip Dadson’s diary written while in Dry Valleys, Antarctica, January 2003)
Philip Dadson is a sound and intermedia artist based in Auckland. He is the founder of From Scratch, an innovative rhythm/performance group and has exhibited and performed widely in New Zealand and internationally. In 2001, Dadson was awarded the New Zealand Arts Foundation Artists Laureate.
Polar Projects shows at The Physics Room from 19 January - 19 February 2005,
http://www.antarcticanimation.com/content/about/about.php
Lisa Roberts, Candidate for PhD, College of Fine Art,
University of New South Wales, September 2007
The certainty of change:
Antarctic animation
How can animation be used to reveal the profound human connections
that some have made with Antarctica's changing landscape?
This is a work in progress - the site of an arts-based inquiry being undertaken by Lisa Roberts, candidate for PhD, College of Fine Arts, University of New South Wales (2007-2009).
Animations are being made in response to Antarctic landscape,
and to scientific and poetic texts provided by expeditioners
who have measured and experienced its changing nature.
| Events | Exhibitions | Screenings | |
|---|---|
| 2007 | Antarctic Midwinter Festival exhibition, screening, Hobart |
| 2006 | Changing Nature (Greenpeace Australia Pacific), Sydney |
| 2006 | Antarctica is Melting, m.a.d., Sydney |
| 2005 | Antarctica - the experience, Mura Clay Gallery, Sydney |
| 2005 | Artist in Residence Retrospective, Scotch Oakburn Centre of Visual and Performing Arts, Tasmania |
| 2004 | Antarctic Journeys - Meadowbank Gallery, Tasmania. |
| 2004 | Icemelt, Antarctic multimedia installation, Mura Clay Gallery, Sydney |
| 2004 | Antarctic artifacts, Mori Gallery, Sydney |
| 2004 | Icemelt - Antarctic multimedia installation, s.p.a.c.e. gallery, Launceston |
| 2002- 04 | Icemelt |
| An animated film and an interactive work on CDR-OM (42 days in Antarctica) An installation of Antarctic art work in mixed media developed on a Fellowship with the Australian Antarctic Division and funded by the Australia Council's New Media Fund. 2004 | |
| 2002- 03 | Imagining a Different View |
| An animated Antarctic Journal on CD-ROM. Author/Producer. Commissioned by the Australian Antarctic Division, 2003. |
Interrogating the Invisible
by Ian Malcolm Clothier
(Western Institute of Technology at Taranaki, New Zealand):
In this project, the Leistavian Federal Bureau of Information is gathering statistics and information about how people identify with their culture. It is also interested to know whether there are any differences between people with one cultural identity and those with two. The information was collated and presented visually initially as part of a project for the 13th International Symposium on Electronic Art in San Jose, and then at other exhibitions. All information is strictly confidential.
International Symposium on Electronic Arts/Zero One [ISEA 2006] San Jose
Quest for success C5 contestant ISEA 2006/Zero One
Finger Lakes Eco Film Festival (online category) Cornell University USA
No comments:
Post a Comment