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Master of Electronic Art
Representation and Presentation
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Interactive Art: Virtual & Augmented Reality
Overview Immersion like interaction is not unique to media art. In an immersive environment the immersant experiences a collapse of psychological and physical space. The staging of this kind of art often requires the audience to have an active input and addresses processes of perception. In 1896 people were running out of cinema fleeing the filmed train and in the 1960s Sensorama attempted to engage other than visual senses to give a convincing illusion that the reality presented is experienced as real. There are two major ways in which the Virtual worlds are presented: one, it is constructed as in computer games in such a way that the participant enters that world metaphorically via an interface which allows for navigation through that world, and two, where a space is customised or build from scratch to create a literal possibility for a full physical immersion/interaction. The Shadow Dance , an engraving dating back to 1675, shows magica laterna at play, a precursor to augmented reality involving incorporation of actual and illusionistic or virtual space. In a work such as Raphael Lozano-Hemmer's Vectoral Elevation , a direct reference is made to this pre-cursive example. In 2004 interaction was defined in new media art to also engage system interaction, when Listening Post by Ben Rubin and Mark Hansen won the Golden Nica at Ars Electronica. Simon Penny , Lynn Hershman , Jeffrey Shaw , Myron Krueger , David Rockeby , Ken Feingold , Agnes Hegedues , Grahame Weinbren , Luc Courchesne , Mark Cypher , Christa Sommerer & Laurent Mignonneau , Perry Hobermann , Paul Sermon , Toshio Iwai , Judith Barry , Zoe Beloff , Charlotte Davis, Janet Cardiff . Alexei Shulgin , Decosted & Rahm , Entropy8zuper! , Jane Prophet , Diller + Scofidio
Primary Reading Weibel, Peter Expanded Cinma in Shaw, J & Weibel, P 2003 Future Cinema: The Cinematic Imaginary after Film , The MIT Press, Cambridge/Massachussetts, London/England, p110-125 Huhtamo, Erikki Trouble at the Interface Druckery, Timothy Real Telepresence , receiver #9 connecting to the future More Polaine, Andrew Lowbrow, High Art: Why Big Fine Art Doesn't Understand Interactivity Gunning, Tom Illusions Past and Future: The Phantasmagoria and its Specters Descrate's First Meditation Adorno, Theodor 2005 In Search of Wagner , Verso, London Benjamin, Walter discussions of World Expositions Goldberg, Ken (ed) 2000 The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet , MIT Press, Cambridge, Mass Electra exhibition Huhtamo, Erikki Silicon Remembers Ideology, or David Rokeby's meta-interactive art
Betsky, Aaron The Age of the Recursive in SFOMA 2001 010101: Art in Technological Times, Hemlock Printers, Canada Forde, K Step into the Frame , in SFOMA 2001 010101: Art in Technological Times, Hemlock Printers, Canada, p89-93 Baudrillard, Jean 2005 Simulations , Semiotexte, synopsis Deleuze, G & Guattari, F 1983 On the Line , The MIT Press, synopsis Durlach , N & Slater, M (eds) Presence. Teleoperators and Virtual Environments , The first journal for serious investigators of teleoperators and virtual environments, incorporating perspectives from physics to philosophy. Moser, M A & MacLeod (Eds) 1996 Immersed in Technology. Art and Virtual Environments , MIT Press synopsis Mary E & Kendrick, Michelle R 2003 Eloquent Images. Word and Image in the Age of New Media , MIT Press, synopsis Cyberdrama in Wardrip-Fruin, Noah & Harrigan, Pat (eds) 2006 First Person. New Media as Story, Performance, and Game , MIT Press synopsis Popper, Frank 2006 From Technological to Virtual Art , MIT Press, ch5 Mikas, Matt 2004 Tune(In))): Radio Community in Microcosm Pias, Claus Zombies of the Revolution , refresh! Banff, Oct 2005 Hansen, Mark 2006 Bodies in Code , Routledge, NY |