Reading:“Simulations and Simulacra”

In the “Simulations and Simulacra” part, we can know the development of Virtual Reality(VR), and saw the  trajectory of VR through these artwork. Artists break the boundary between reality and virtual, and “pursuit to achieve likenesses that fool the eye and convincingly conflate simulation with reality. ” The 1950s saw the initial development of viral reality. The 1960s saw the initial development of navigable, interactive, computer-generated environments that later came to be known as VR, first used for artistic purposes in the 1970s.

 

Virtual Reality based artwork always employs audiences’ body as a real and physical media, then they use them to influence the artwork itself. Actually, the real part like people’s body can not be separated with the video or image, they all composed of the whole work and play a important role.

 

Another,artists employ surveillance explore the range of space and time. They use many kinds of exploratorium to seek more possibilities of landscape and subtle changing of daily life. They posted the concepts about “Hyperreality” and “Hypermedia” which are influential for latter digital artists.

 

Art+Com company’s work impressed me a lot. The work named “The invisible shape of things past”, which used parametric translations of movies and put into space. Many single frames from a film sequence are lined up in space, according to the camera movement with which they were shot. Through this translation of single frames consisting of single pixels (picture elements) into space, objects of voxels (volume elements) are generated.

http://www.artcom.de/book/invisible/

Image

Like the name, this work try to freeze the time and moment in space. In some way, they contrast the temporary and permanent. They use the multi-exposure photography and virtual reality technology, combining the cubists and futurist, disintergrated the linear representation of space and time in their pictures and sculptures. 

Recommend Exhibitions: Mike Kelley in MOMA PS1

 

Image

Mike Kelley

On view October 13, 2013–February 2, 2014

MoMA PS1 presents Mike Kelley, the largest exhibition of the artist’s work to-date and the first comprehensive survey since 1993. Regarded as one of the most influential artists of our time, Mike Kelley (1954–2012) produced a body of deeply innovative work mining American popular culture and both modernist and alternative traditions—which he set in relation to relentless self- and social examinations, both dark and delirious. Bringing together over 200 works, from early pieces made during the 1970s through 2012, the exhibition occupies the entire museum. This exhibition marks the biggest exhibition MoMA PS1 has ever organized since its inceptual Rooms exhibition in 1976.

Born in Detroit, Kelley lived and worked in Los Angeles from the mid-1970s until his tragic death last year at the age of 57. Over his thirty-five year career, he worked in every conceivable medium—drawings on paper, sculpture, performances, music, video, photography, and painting. Speaking of his early work and artistic concerns at large, Kelley had said, “My entrance into the art world was through the counter-culture, where it was common practice to lift material from mass culture and ‘pervert’ it to reverse or alter its meaning… Mass culture is scrutinized to discover what is hidden, repressed, within it.” Through his art, Kelley explored themes as diverse as American class relations, sexuality, repressed memory, systems of religion and transcendence, and post-punk politics. He brought to these subjects both incisive critique and abundant, self-deprecating humor.

Kelley’s work did not develop along a purely linear trajectory. Instead, he returned time and again to certain underlying themes—the shapes lurking underneath the carpet, as it were—including repressed memories, disjunctions between selfhood and social structures as well as fault lines between the sacred and the profane. The work Kelley produced throughout his life was marked by his extraordinary powers of critical reflection, relentless self-examination, and a creative—and surprising—repurposing of ideas and materials.

Recommend Exhibitions: Magritte: The Mystery of the Ordinary, 1926–1938

Image

This exhibition, co-organized by The Museum of Modern Art, The Menil Collection, Houston, and The Art Institute of Chicago, is the first to focus exclusively on the breakthrough Surrealist years of René Magritte, creator of some of the 20th century’s most extraordinary images. Beginning in 1926, when Magritte first aimed to create paintings that would, in his words, “challenge the real world,” and concluding in 1938—a historically and biographically significant moment just prior to the outbreak of World War II—the exhibition traces central strategies and themes from the most inventive and experimental period in the artist’s prolific career. Displacement, transformation, metamorphosis, the “misnaming” of objects, and the representation of visions seen in half-waking states are among Magritte’s innovative image-making tactics during these essential years.

Bringing together some 80 paintings, collages, and objects, along with a selection of photographs, periodicals, and early commercial work, the exhibition offers fresh insight into Magritte’s identity as a modern painter and Surrealist artist. A richly illustrated catalogue accompanies the exhibition.

Recommend Exhibition: Janet Cardiff in Met-The Cloisters

Janet Cardiff

The Forty Part Motet

September 10–December 8, 2013

The Cloisters

Image

The installation is organized by The Metropolitan Museum of Art from the collection of the National Gallery of Canada, Ottawa.

Support for the project is provided in part by Sarah Peter and Rosamond Ivey.

The Forty Part Motet (2001), a sound installation by Janet Cardiff (Canadian, born 1957), will be the first presentation of contemporary art at The Cloisters. Regarded as the artist’s masterwork, and consisting of forty high-fidelity speakers positioned on stands in a large oval configuration throughout the Fuentidueña Chapel, the fourteen-minute work, with a three-minute spoken interlude, will continuously play an eleven-minute reworking of the forty-part motet Spem in alium numquam habui (1556?/1573?) by Tudor composer Thomas Tallis (ca. 1505–1585). Spem in alium, which translates as “In No Other Is My Hope,” is perhaps Tallis’s most famous composition. Visitors are encouraged to walk among the loudspeakers and hear the individual unaccompanied voices—bass, baritone, alto, tenor, and child soprano—one part per speaker—as well as the polyphonic choral effect of the combined singers in an immersive experience. The Forty Part Motet is most often presented in a neutral gallery setting, but in this case the setting is the Cloisters’ Fuentidueña Chapel, which features the late twelfth-century apse from the church of San Martín at Fuentidueña, near Segovia, Spain, on permanent loan from the Spanish Government. Set within a churchlike gallery space, and with superb acoustics, it has for more than fifty years proved a fine venue for concerts of early music.

Related link of Chang Liu’s Presentation Topic

Applied Art in Digital Art

Hussein Chalayan

http://www.youtube.com/watch?v=-Jz4-S1kLYI   

Cohen Van Balen – “Electrocyte Appendix” (2009)

http://www.cohenvanbalen.com/work/electrocyte-appendix   

 

“Patterned by Nature” 

 http://vimeo.com/41009719

 

Fine art in Digital art

Nam June Paik+ TV Cello (1974)

James Turrell+ “Ronin” (1968)

www.jamesturrell.com

 

Ryoji Ikeda+ Test Pattern [100m version]

http://www.ryojiikeda.com | https://vimeo.com/24435790

 

Quayola

Strata #3

http://www.quayola.com | https://vimeo.com/11777813

 

 

Reading:“Sherry Turkle’s book, Alone Together”Chapter2&4

In Sherry Turkle’s book- Along Together Chapter2, author used Furbies as an example to convey the reflection emotion of human. Furbies always like a pet , whatever it made of steel of fur, it can be a real pet or baby. They need care and “always on”. “We use the ambiguity of this new object to challenge our understanding of what they think what we already know.” It remind me a recent film called “Ted Bear”, in this film, the ted bear is a real man who can understand everything and help the man deal with his personal life issue. It can be a metaphor. In the other hand, It could just the imagination from people.

In Chapter 4, it began with the AIBO project of an artist, It is called “My Real Baby” actually is a robot. However, it can arouse the real emotion of people, for example, a woman who like it very much because she thing her love for the “baby” is can be shaped. Moreover, they talked about the artificial intelligence. From a PIXAR animation called “Wall-E”, the robotic love story is romantic and emotional. As we know, human try to trust to each other will take a long time to construct, but it is more simply for trusting a robot which just be programed by a commend. 

Week 8-Questions about “You are Cyborg”

Actually,I really can’t totally understand this article. I know it is about the cybernetics,philosophy and human perception. Deeply, It explored more about the subtle relationship between science, technology, society and human. 

I found some interesting points, it could be some questions and concerns in my mind. 

1. Is there have some real emotion or subtle feeling between man and machine,especially a cyborg? Such as Donna Haraway, she live on her machine, I think she might be have different emotion with that.

2. Deeply to explore science, philosophy or art, it can be the same thing? Because eventually every field will be combined human’s emotion and the relationship between real world and virtual space. 

3.Actually, the development of science is connect with history and society background. For example, in this article, the author mentioned “cold war” many times, this historical event is influencial for science as well as culture.