subject

Subject: Virtual space and digital public art


I am going to write about "Virtual space and digital public art."
I will research how public art has been expanded and changed after digital technology and networks are developed.

Reference: Digital Art/ Public Art: Governance and Agency in the Networked Commons by Christiane Paul

Chapter11 Intelligence, Interaction, Reaction, and Performance

Chapter11 Intelligence, Interaction, Reaction, and Performance




The performances consist of various physical/virtual interactions using a diverse range of technologies including motion capture, artificial intelligence and or 3D animation. With the technological advancements, new liminal spaces exist where there is a potential for a diverse creativity and experimentation.


Blue Bloodshot Flowers (Performed at Brunel University, 2001)
It is a movement-scripted piece. This performance consisted of the real-time interaction between a human performer Elodie Berland, and Jeremiah(a head model based upon Geoface technology), an avatar and also between Jeremiah and the audience. Jeremiah consists of computerised artificial intelligence with the ability to track humans, objects and other stimuli and to react to something near him directly and in real time.
It was divided into two sections The first part consisted of a scripted movement-based interactive piece with Berland, while the second part involves the spectators who were invited to interact with Jeremiah.
***origin and identity


Dead East, Dead West (Performed at Institute of Contemporary Arts, 2003)
it was an experimental sound and movement-based piece with some fragmented script and fused with 3D interactive technology. It consisted of motion tracking interactive pads, ad miniature cameras worn by the performers. When seeing the performance with polarised glasses the captured images come straight out at the spectators. In addition this was n intercultural and interracial performance that explored and exploded the margin between dominant Western art practices and the exotic performance of the other.
' Intelligence, interaction, reaction and performance' is an ongoing project of what is hoped will be a variety of performances which combine the physical and virtual in performance. Emphasis was placed more in the process of adaptation rather than on the finished product.
The performances are hybridised and intertextual and demonstrate such aesthetic features as heterogeneity, indeterminancy, reflxivity, framentation, a certain shift-shape style, and a repetitiveness which produces not sameness but difference. The digital, like all formal systems, has no inherent semantics unless meaning is added.
For Merleau-Ponty, instrumentation and technology is mutually implicated with the body in an epistemological sense. The body adapts and extends itself through external instruments. The experience of the corporal schema is not fixed or delimited but extendable to the various tools and technologies that may be embodied. Our bodies are always open to and intertwined with the world. Therefore, technologies implies a reconfiguration of our embodied experience. The intertwining of body ,technology, and world is important since instead of abandoning or subjugating the physical body, instrumentation and technology extends it by altering and recreating its embodied experience. The body, in turn, creates new technologies and instrumentation to bring potential creativity and mediation into its corporeal world.

Chapter8 Kinaesthetic Traces Across Material Forms

Chapter8 Kinaesthetic Traces Across Material Forms:


Stretching the Screen's Stage
America performing artist Lois Fuller and French scientist Etienne Jules Marey created techniques that mediated and materialised body movement beyond its ephemeral ever-changing natureand sought to expand the scientific and artistic scope of movement over time with movement perception and transformation.
Marey" isolates the body into a controlled environment to capture quantitive shifts of movement over time with 'movement mapping' techniques.
He contributed to what constitutes movement and kinaesthetic knowledge, by framing amplifying and converting movement into linear, sequential, two dimensional representations
Fuller: created an expressive body-screen which transformed her body and its surrounding space into animalistic(serpentine) and elemental(fire) metaphors.
she contributed to what constitutes movement and kinaesthetic knowledge, by creating performances which transfigure the expressive materiality of bodily movement.


Fuller and body screenographies:
She extended the figurative body by transforming and chreographing movements with mechanical 뭋 electronic techniques and strategies. Fuller attached meters of white fabric 시 bamboo cane-shaped arm extensions to create a screen that enveloped her body. Using these techniques, Fuller transformed her body into illusions of fire, animals and flowers. She transformed the figurative femalebody with bodily screenographies into metamorphic and kinaesthetic sculptures.


Marey and movement mapping
Marey was framing and mapping the body by creating instruments to study the movement of animals, bodies and atmospheric elements. He developed instruments to frame, isolate, amplify, record and analyse movement.


Trajet
In trajet, the screen is not only a projection surface, but also a dynamic participant in the screenography, with video and reactions that move in relationship to the visitorin real-time. The interactive experience is articulated through motorised 녀spended screens moving in response to the visitor's path. The screens' movements introduce the visitor to alternative pathways to follow, and movements with which to play and dance. Like Fuller's undulalting screen, the movement of the screens 's ripples around the bodies of the visitors. The visitor's body in trajets has the opportunity to experience its inner-felt movements' kinaesthesia, a sense of empathy for other movements and physical connection to the images.


Cinedance
cinedance is an artform that extends both what is cinema and what is dance. This extends the body-medium of the audience through movement empathy and haptic perception with cinematic techniques of shifts in point of view, referential framing, decor, montage, compositing and so on.