Sunday, October 30, 2011
Friday, October 28, 2011
Wednesday, October 26, 2011
I have been developing a light source for my installation, as a symbol of
both enlightenment, and of technological progress. Hovering over the centre point of the inside
of the structure, over grass, it serves as a representation of the life source.
A question to people of, perhaps, whether they will be part of an active seeking of
progress, not only of the technological kind, but of finding solutions to ecological damage, to the problems of industrial alienation etc.
It seeks also to reference Helio Oiticica "Nucleus", and position the person at the centre of the work- to lighten the space they must actively search for a means to light the cube.
Friday, October 21, 2011
http://aeaf.org.au/about/aboutaeaf.html
The Australian Experimental Art Foundation is where Jim Allen, a New Zealand
sculpture and installation artist, spent much time in the 70s.
It is an organisation dedicated to promoting emerging and established artists
who create innovative and challenging works. Included in the Foundation's
Mission Statement is a concern for emerging technologies and works that
challenge the status quo.
The Australian Experimental Art Foundation is where Jim Allen, a New Zealand
sculpture and installation artist, spent much time in the 70s.
It is an organisation dedicated to promoting emerging and established artists
who create innovative and challenging works. Included in the Foundation's
Mission Statement is a concern for emerging technologies and works that
challenge the status quo.
Wednesday, October 5, 2011
My concept for final installation
Curvilinear 'tent' like structure, that can be unravelled and constructed
from a height. Will require two people to work as a team releasing it.
Flooring will consist of greenery or plants, in an attempt to elicit notions
of some of the ecological utopias, and to symbolise ideas of interconnedness
of life systems. [Perhaps some interation where users have to care for the
inhabitants of their utopia would be beneficial].
In this one I hope to achieve a combination of the collaborative and ecological
ideologies of utopianism. It also references the creation of alternative
spaces within institutional settings as witnessed in the art of Helio Oiticica and
The Situationists, who aimed to create new spaces for creativity by in a sense
challenging norms. Helio Oiticica's installation work of the late 60s and early 70s
shows alternate ways of inhabiting space, and encourages spontaenous happenings,
poetry and performance. The Situationists employed elements of drama to create
social critique.
It is my hope that with this part of the installation, I will challenge the institutional
space of Design School, as well as leaving people with a sense of questioning-
questioning their relationship with their immediate environment, with the new
social space created by a novel design, with ideas of how life could be.
It is quite abstract and conceptual, not so much a -'we should live in tents inside', as
a, why don't we seek more engaging ways to learn ?. Also, can we communicate
through a non-text language? Can we educate without words, but with forms,
poetic gestures, textures? The concept of Dialogical Education plays a part in my
construction of this installation, that of seeking other ways that are more engaging to
convey a message.
Juxtaposed against this more fluid structure will be one embodying some of the ideals
of 19th Century Utopian theory. Among these facets are:
Curvilinear 'tent' like structure, that can be unravelled and constructed
from a height. Will require two people to work as a team releasing it.
Flooring will consist of greenery or plants, in an attempt to elicit notions
of some of the ecological utopias, and to symbolise ideas of interconnedness
of life systems. [Perhaps some interation where users have to care for the
inhabitants of their utopia would be beneficial].
In this one I hope to achieve a combination of the collaborative and ecological
ideologies of utopianism. It also references the creation of alternative
spaces within institutional settings as witnessed in the art of Helio Oiticica and
The Situationists, who aimed to create new spaces for creativity by in a sense
challenging norms. Helio Oiticica's installation work of the late 60s and early 70s
shows alternate ways of inhabiting space, and encourages spontaenous happenings,
poetry and performance. The Situationists employed elements of drama to create
social critique.
It is my hope that with this part of the installation, I will challenge the institutional
space of Design School, as well as leaving people with a sense of questioning-
questioning their relationship with their immediate environment, with the new
social space created by a novel design, with ideas of how life could be.
It is quite abstract and conceptual, not so much a -'we should live in tents inside', as
a, why don't we seek more engaging ways to learn ?. Also, can we communicate
through a non-text language? Can we educate without words, but with forms,
poetic gestures, textures? The concept of Dialogical Education plays a part in my
construction of this installation, that of seeking other ways that are more engaging to
convey a message.
Juxtaposed against this more fluid structure will be one embodying some of the ideals
of 19th Century Utopian theory. Among these facets are:
- A pursuit of industrial production.
- A belief in scientific knowledge as predominant wisdom of the era.
- Selectivity in Utopian lilterature- people who would be included in the 'ideal society'would be selected by elitest criteria, often the aspect of eugenics and reproduction playsa large part in the literature.
- Centralist state control, or a central powerful figure
- Ideal future would be industrial and technological
For the tangible realisation of these ideologies I plan to construct:
A wooden chest, symbolic of treasure, has connotations with history, but possibly with an element of journey to. It will contain 3-5 individual lockers with items in each space that can only be revealed to the person who unlocks their locker. I will take on the role of "philosopher king", or central authority figure, by being the one who selects those to grant keys to.
Items at this stage will be crafted symbolic artefacts embodying some of the ideals of the era,
probably with a heavily industrial age aesthetic.
Sunday, October 2, 2011
http://www.leonardo.info/isast/spec.projects/osthoff/osthoff.html
An article showing the influence of Lygia Clark and Helio Oiticica on contemporary digital and interactive artists.
Saturday, October 1, 2011
Sunday, September 25, 2011
Saturday, September 24, 2011
Have been working on various ways to illustrate Modern and Post Modern theories about Utopia, here is one of my concepts.
This one has 2 sides/ "rooms" juxtaposed against each other. The Modernist conception is more exclusionary, and I was thinking about the possibility of having a door that could only be opened with keys that are distributed in locations, or given to selected people. Only those with a key can access this version of Utopia, which reinforces some of the early ideas about Utopia by Plato etc as being a place where only those of superior intellect as defined by "Philosopher Kings" could reside.
The Post-Modern side/room is more open, with a window frame but no glass etc stopping one from accessing the inner space through it. The floor of this one would be textural in some sense-possibly foam-like. Having entered the space, one would be expected to don a garment or wear some kind of designed symbol of the space (have yet to come up with what exactly this would be), and leave some kind of mark or sign that they had been there. The work in this sense is in development through the time of its duration in a space. This is intended to represent the communal aspect of utopian thought, but recognising the different identities of the visitors by the mark they leave. In this aspect I hope to illustrate some of the ideals of Signals gallery in London in the 60s, that of "providing a forum for all those who believe passionately in the co-relation of the arts and Art's imaginative integration with technology, science, architecture and our entire environment"(Isobel Whitelegg, Oiticica in London, 2007).
In this sense too, it will hopefully embody "didatic exposition and imaginative freedom" (Wells).
Thursday, September 8, 2011
Thinking through design: A quest for Utopia through Installation Design
Now that I've narrowed the focus of my research, the results have been a lot more
fruitful.
There appears to be a wealth of contemporary examples of designed installation space and interactive community installations that seek in some way to explore this theme.
These can be explicit, in their naming and imagery, such as with Helen Kontouris's
Zoie Utoipa installation, or more loosely dream-like. Phillip Beesley's Hylozoic ground,
in a way, theorises what living with responsive digital systems that can live autonomously
and produce life might be like, and produces with it a future-based scenario that does
not embody a nihilistic view of technology, but instead proffers a vision of a world that
operates in an integrated harmony.
fruitful.
There appears to be a wealth of contemporary examples of designed installation space and interactive community installations that seek in some way to explore this theme.
These can be explicit, in their naming and imagery, such as with Helen Kontouris's
Zoie Utoipa installation, or more loosely dream-like. Phillip Beesley's Hylozoic ground,
in a way, theorises what living with responsive digital systems that can live autonomously
and produce life might be like, and produces with it a future-based scenario that does
not embody a nihilistic view of technology, but instead proffers a vision of a world that
operates in an integrated harmony.
Zoie Utopia
http://howwecreate.com/CustomContentRetrieve.aspx?ID=656266
Installation exploring notions of Utopia by Australian designer Helen Kontouris.
The work incorporates aspects of plant design, music composition and is largely
collaborative in nature.
Installation exploring notions of Utopia by Australian designer Helen Kontouris.
The work incorporates aspects of plant design, music composition and is largely
collaborative in nature.
Tuesday, September 6, 2011
Sunday, September 4, 2011
Some Art Precedents
Oiticica's Tropicalia
Allen's Small Worlds
NZ artist Jim Allen's "Small Worlds" series (originally created in the late 60's, recreated from drawings for the recent Points of Contact exhbition at the Adam Art Gallery) . The sculptures are designed for interaction, and incorporate aspects of lighting design, textural design and poetry. Originally intended to challenge what Allen thought was a very limiting art world and brought post-object art into NZ. Art took on the role of experience-creating rather than centred on the production of market value.
Allen's works were shown alongside Len Lye's and Helio Oiticica's, both of whom ingeniously create experiences through their artworks. Oiticica in particular had an obsession with creating wildly expressive and colourful live-in gallery environments.
Wider Research Questions
To guide my investigation:
- What motivations do designers have to create alternative worlds/ alternative versions of reality?
- What past and current examples are there of interactive design and art utopias/ dystopias?
- How can designers challenge various ideologies/hegemonies through their artistic and creative virtual world development?
- What can the wider public gain from works, games and spaces that seek to challenge or create realities?
- What actually defines a virtual world? How loose or closed is the definition? Could a painting be said to represent a virtual world?
- What local precedents have successfully opened the conversation regarding this?
Virtual Worlds and Utopia
Utopia is an abstract philosophical, religious and sociological concept. It has
variously been considered a type of celestial nirvana, a state of equilibrium,
a potentiality of society to achieve bliss. More political regimes have considered
it the loss of capitalist systems and exchange.
In contemporary society it receives more attention in film, art and literature
more for its demonstration in dystopias- that is we react in defence of what
utopia could be as we are forced to consider the worlds of inception, the island,
1984, V for Vendetta etc. I wish to explore the link between the impulse in art
and design to consider virtual worlds, and what I feel is an inherent desire to
explore questions of Utopia.
As Mula (2011) covers in his introduction to the history of virtual worlds, the
first real consideration we have of the artistic impulse to create Virtual Worlds
in the Surrealists desire to re-imagine reality.
The works of Dali, Ernst, Magritte from surrealism clearly express the desire
to rethink our apprehension of reality. Installation artwork by Thecla Schiphorst
provides a contemporary examples of the creation of virtual worlds within the
gallery space, alternate realities delivered through ingenious tactile and digital
devices.
The use of Virtual World technologies has resulted in a burgeoning sociological
analysis on the benefits of such interactive spaces. As Castronova states, it is often
a playful escape from the burdens of the hectic society in which we operate.
However, this is it seen at only the most rudimentary form. Rather than
merely escapism, virtual reality, and more specifically virtual worlds, offer
the opportunity to engage in social interactions that can extend the potential
engagement of a range of individuals. It provides a medium in which to create
preferred situations, and offers an experiential space that has extended realms
of possibility. Virtual Worlds, and more specifically designed installation spaces
have the potential to incorporate a range of sensory and digital materials to
facilitate imaginative theorising about questions of utopia in our society.
variously been considered a type of celestial nirvana, a state of equilibrium,
a potentiality of society to achieve bliss. More political regimes have considered
it the loss of capitalist systems and exchange.
In contemporary society it receives more attention in film, art and literature
more for its demonstration in dystopias- that is we react in defence of what
utopia could be as we are forced to consider the worlds of inception, the island,
1984, V for Vendetta etc. I wish to explore the link between the impulse in art
and design to consider virtual worlds, and what I feel is an inherent desire to
explore questions of Utopia.
As Mula (2011) covers in his introduction to the history of virtual worlds, the
first real consideration we have of the artistic impulse to create Virtual Worlds
in the Surrealists desire to re-imagine reality.
The works of Dali, Ernst, Magritte from surrealism clearly express the desire
to rethink our apprehension of reality. Installation artwork by Thecla Schiphorst
provides a contemporary examples of the creation of virtual worlds within the
gallery space, alternate realities delivered through ingenious tactile and digital
devices.
The use of Virtual World technologies has resulted in a burgeoning sociological
analysis on the benefits of such interactive spaces. As Castronova states, it is often
a playful escape from the burdens of the hectic society in which we operate.
However, this is it seen at only the most rudimentary form. Rather than
merely escapism, virtual reality, and more specifically virtual worlds, offer
the opportunity to engage in social interactions that can extend the potential
engagement of a range of individuals. It provides a medium in which to create
preferred situations, and offers an experiential space that has extended realms
of possibility. Virtual Worlds, and more specifically designed installation spaces
have the potential to incorporate a range of sensory and digital materials to
facilitate imaginative theorising about questions of utopia in our society.
Position of the Surrealists
"..with its smug, superficial way of life and its belief in the the omnipotence of technological and scientific achievement, society had succumbed to a process of degeneration to which the only answer was a revolutionary new anti-art. Andre Breton, the unifying figure and charismatic leader, who, over the next two decades would coordinate acitvities and rally the troops, envisioned a movement that could really make a difference.
Surrealism would not only embrace art and literature, but would also play a part in solving the principal problems of life. It would bring about social and psychological change".
(Surrealism, Cathrin Klingsohr-Leroy, 2006)
Surrealism would not only embrace art and literature, but would also play a part in solving the principal problems of life. It would bring about social and psychological change".
(Surrealism, Cathrin Klingsohr-Leroy, 2006)
http://www.youtube.com/watch?v=UrUPCFO0O98
Scene from inception explaining dream virtual world creation.
Interesting filmic metaphor for our continual altering of reality.
Presents a sort of dystopian view, as one of the lead characters
uses the technology to relive the past dangerously, seeking comfort
in the escapism if proffers. On the other hand, the "architect" of
the dream world is able to break boundaries and creatively
reneogiate her conception of the real world.
Scene from inception explaining dream virtual world creation.
Interesting filmic metaphor for our continual altering of reality.
Presents a sort of dystopian view, as one of the lead characters
uses the technology to relive the past dangerously, seeking comfort
in the escapism if proffers. On the other hand, the "architect" of
the dream world is able to break boundaries and creatively
reneogiate her conception of the real world.
Wednesday, August 31, 2011
Refined Direction.
The concept of hyperreality needed to be narrowed down, thus I intend to explore from now on the concept of the artistic creation of virtual worlds, and how this can be connected with a desire to explore notions of utopia.
Virtual worlds can be variously witnessed or hidden in the creation of artworks. It is up to the artist or designer to decide and develop how far and how much they wish people to apprehend their vision. By devices such as tactile design, digital design, and interaction design, creators are able to incorporate their audiences into their vision of alternate world. It is my intention to explore notions of utopia and dystopia through virtual world tactile and sensory design in the project following this film one.
Some inspiration for this film work and following endeavours are:
The Futurists,
The Surrealists-namely Dali, Ernst, Magritte, Breton
Theckla Schiphorst
And cinematic and literary precedents:
Inception,
V for Vendetta
The Island
1984
A Modern Utopia
Virtual worlds can be variously witnessed or hidden in the creation of artworks. It is up to the artist or designer to decide and develop how far and how much they wish people to apprehend their vision. By devices such as tactile design, digital design, and interaction design, creators are able to incorporate their audiences into their vision of alternate world. It is my intention to explore notions of utopia and dystopia through virtual world tactile and sensory design in the project following this film one.
Some inspiration for this film work and following endeavours are:
The Futurists,
The Surrealists-namely Dali, Ernst, Magritte, Breton
Theckla Schiphorst
And cinematic and literary precedents:
Inception,
V for Vendetta
The Island
1984
A Modern Utopia
Monday, August 29, 2011
Some Ideas
Some initial storyboarding. Character wakes up in unknown, unexplored and sterile surroundings. Begins to get intrigued, starts to explore, and discovers a door/ window into a virtual world.
Sunday, August 7, 2011
Some Potential Scenarios.
Virtual and Hyper Technologies are developed and used by industry and government to collaborate on projects with high revenue potential. This leads to innovation but creates wider inequalities in the world as many do not have access to the technology. People seek escapism via alternate hyper social worlds (such as specific co-action fields in areas of their interest) and are able to live out virtual scenarios. They lose the ability to differentiate between real people and computer-generated avatars uploaded into databases.
HR and VR technologies are restricted by international conventions. People who develop HR technologies must make it obvious when an interaction or scenario is designed. They also must seek to experiment with sensory design to aid those with impairments etc, and find ways to make it medically and educationally benefical to the world. It makes international collaboration task forces on environmental issues etc more cost effective and allows a wider range of people to theorise about solutions to geographically isolated problems without the carbon footprint of commercial travel.
Virtual and Hyper Technologies are developed and used by industry and government to collaborate on projects with high revenue potential. This leads to innovation but creates wider inequalities in the world as many do not have access to the technology. People seek escapism via alternate hyper social worlds (such as specific co-action fields in areas of their interest) and are able to live out virtual scenarios. They lose the ability to differentiate between real people and computer-generated avatars uploaded into databases.
HR and VR technologies are restricted by international conventions. People who develop HR technologies must make it obvious when an interaction or scenario is designed. They also must seek to experiment with sensory design to aid those with impairments etc, and find ways to make it medically and educationally benefical to the world. It makes international collaboration task forces on environmental issues etc more cost effective and allows a wider range of people to theorise about solutions to geographically isolated problems without the carbon footprint of commercial travel.
After the discussion on future scenarios, have been thinking about the potential applications of HyperReality and immersive technologies more. If the "frames" are to disappear, what will be the implications...
- What will be the predominant use for the technology? What will it be a replacement for?
- Who will decide the boundaries of its development?
- How will our sensory apprehension of the world be altered if we cannot know whether a tactile environment has been computer generated or is real? How do we currently determine what is a "real" experience?
- Will it lead to a challenge to design more for senses such as sound and taste rather than predominantly visual? At the moment these are barriers to a "believable" virtual reality experience
Have been rethinking the connection made between HyperReality and Simulacra. Possibly interested to explore how exactly sensory innovation within design leads to a blurring of reality or an altering of it.
More research has lead me to find the work of Thecla Schiphorst, whose digital and material explorations seem to explore how we apprehend the world through haptic means etc.
More research has lead me to find the work of Thecla Schiphorst, whose digital and material explorations seem to explore how we apprehend the world through haptic means etc.
Saturday, July 23, 2011
Initial Ideas
After using the morphological matrix, I have decided to explore the connections between Hyperreality as it pertains to the creation of "HyperWorlds".
As a sociological concept, hyperreality is concerned with the inability of modern society to distinguish between real scenarios and created fantasies. In particular it is critical of western civilisation's onslaught of "simulacra" (as Baudrillard explains). Simulacra is here a word that defines various forms of media that seek to represent or signify reality, and in the process create distance from any possible reality.
"HyperWorlds" describe a medium where various aspects of Virtual Reality and Physical Reality are conjoined to create a communication and experience environment. The application John Tiffin and Nobuyoshi Terashima believe will be the most advantageous recipient of this technology is education, specifically that of a HyperUniversity.
One limitation I have concerns about at the outset is their belief that this is a "medium without a message". Obviously this is a technology that will need significant funding and collaboration. Due to the level of investment, it will likely be the prestige of industry and government for a time at least.
It may have many applications for medical treatment and communication however.
At this stage, is proving an interesting research field, however I need to explore
more sources .
As a sociological concept, hyperreality is concerned with the inability of modern society to distinguish between real scenarios and created fantasies. In particular it is critical of western civilisation's onslaught of "simulacra" (as Baudrillard explains). Simulacra is here a word that defines various forms of media that seek to represent or signify reality, and in the process create distance from any possible reality.
"HyperWorlds" describe a medium where various aspects of Virtual Reality and Physical Reality are conjoined to create a communication and experience environment. The application John Tiffin and Nobuyoshi Terashima believe will be the most advantageous recipient of this technology is education, specifically that of a HyperUniversity.
One limitation I have concerns about at the outset is their belief that this is a "medium without a message". Obviously this is a technology that will need significant funding and collaboration. Due to the level of investment, it will likely be the prestige of industry and government for a time at least.
It may have many applications for medical treatment and communication however.
At this stage, is proving an interesting research field, however I need to explore
more sources .
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