In order to fully understand my practice this term, I would hope that you can look at all of the blog posts I have made.
However, in the circumstance that this is unavailable, please specifically read:

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New Media Immersive Installations

Art in the Age of the Internet: 1989 to Today

Immersion within Installations

Exploring Emotional Involvement within Virtual Worlds

Virtual Worlds

Art and Literature

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Art and Literature

  Larry Achiampong & David Blandy

Finding Fanon Pt.2, 2015

The piece has become a work in response to the search for Fanon’s plays but also the conversations had between Achiampong and Blandy, and their personal development throughout the search for the plays. Such has produced art that speaks a narrative whilst within the game platform GTA. I really like the personal connection to the narrative that Larry has developed and then spoke about at his artist talk in 2016 – recording is available here – and I like how the conversations around the topics of personal connection such as race and colonisation have aided the development of the project and helped shape it into what it is. It’s this reflexivity that I think supports the piece well and makes it more interesting for the viewer to listen to and view. I want to be reflexive with the narrative/ audio accompaniment to my work that I will develop.

“inspired by the lost plays of Frantz Fanon, (1925-1961) a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation. Throughout the series, Achiampong and Blandy negotiate Fanon’s ideas, examining the politics of race, racism and decolonisation, and how these societal issues affect our relationship amidst an age of new technology, popular culture and globalisation.”


 

Jeff Wall

After “Invisible Man” by Ralph Ellison, the Prologue1999-2000

This example of going all the way when committing to recreating an environment is what I would love to do. It’s in response to a piece of literature that states that a guy has 1,369 lightbulbs illuminating his room, and so Jeff Wall has honoured this factor of the prologue and created an image to match to the written word. I think it’s interesting how he has taken this part of the novel and had such an emotional response to the prologue that he has dedicated so much time to create a world that fits this written description. I would like to make work in response to some of my favourite pieces of literature in the future or even use them within my practice.

“The novel’s eloquent prologue is short on specifics, except one: the 1,369 lightbulbs that cover the ceiling of the underground lair. Starting with this fantastic detail, Wall scrupulously imagined in his Vancouver studio the concrete form of Ellison’s metaphorical space. “

jeff wall.png


Ugo Rondinone

Mentioned in the blog post: Immersion within Installations


 

Virtual Worlds

I have often referred back to posts such as; Bringing the Virtual World into the Real World and Immersion through Physical Objects.


Ian Cheng

Emissaries, 2017

Cheng uses simulations to create virtual worlds that he displays for participants, bringing them into the world that he has created singlehandedly and exhibited for the purpose of viewing. I think that the exhibition of the simulations via the large panels that they are projected/screened onto is interesting, as with a simulation you usually see them on smaller screens such as laptops or even mobile phones, whereas these displays take up large portions of rooms, that when you go closer to the screen, as they are wide, they would encompass most of your vision, aiding the immersion into the virtual world itself.

 


 

Alicja Kwade

PERCEPTION IS REALITY: ABOUT THE CONSTRUCTION OF REALITY AND VIRTUAL WORLDS, 2017

Kwade’s latest practice appears to be exploring reality and virtual worlds through installations, but not always in a digital sense; the virtual worlds that Kwade may be alluding to the virtual worlds found within novels, films, etc. I find the inclusion of rocks very aesthetically pleasing due to my own personal fascination with geology and interest in the immersion of a world, bringing the virtual world into the real.

KOCHI-MUZIRIS BIENNALE, 2016

“Alicja Kwade creates a sculptural environment that extends the limits of observable reality. A structure composed of a two-sided concrete wall, a double mirror, and a large piece of glass chart out distinct perceptual spaces that coexist but cannot be entered simultaneously. Within these refractory environments, a found branch leans on one side of the installed concrete wall, while an exact copy of the branch made of corten steel leans opposite. In another face-off, a boulder is placed on the floor against a mirrored wall; its inverted double in aluminum peers back through the other side, the replica encroaching on the original’s impermeable reality.”

LINIENLAND, 2018

“the artist refers to the idea of parallel worlds, which has been the subject of much discussion since antiquity. Against this backdrop, the extensive structure, based on a system of 5 x 5 x 11 squares, is to be read as a multiverse, whereby each individual cubic metal boundary implies a distinct reality. The grid’s steel system correlates with the stones: Kwade adheres to a strict self-imposed principle, according to which, via the shifting within the system, the individual bars form the spheres’ supports. The resulting gateways invite the visitors to enter a multiverse and to experience the gravity of the large stone spheres, which bring to mind a gravitational field.”


Marnix De Njis

Exploded Views_Remapping Firenze, 2008

To walk on a conveyor belt that dictates your movement through a virtual world is absolutely everything that I wish my practice could be one day. The level of self-exploration through these virtual worlds available to the participants would be amazingly complemented by a virtual reality headset, which would be something that when I eventually teach myself how to use 3D rendering software, that I would love to develop or even experience.

“Exploded Views is an interactive installation whereby three participants run on individual conveyor belts. They physically move themselves through both an interactive audio-environment and interactive imagery projected at the front of the belts. The action of the observer’s body is the determining factor for setting the 3D images into motion. This physical effort made by the viewer in turn reveals several cityscapes from all over the world.”


 

Stanley Kubrick

Kubrick always focuses on the viewer when filming, as opposed to the director. He puts the viewer first so much so that when we watch his films, it feels like we are present throughout the film. It almost turns into a game, an experience of virtual reality for the viewer, due to the wide shots, the p.o.v and indifference of central characters that we don’t feel empathy for, enabling us to become part of the films ourselves.

This is spoken about in the below video; (really fascinating need to remember this)


 

Exploring Emotional Involvement within Virtual Worlds

Participation Research

All conversations held and data is available here.

I sent out the post below, in order to speak to gamers about their personal emotional involvement and attachment to their favourite games, in order to gain a better understanding about how others feel about video games compared to my own opinions.

To do this, I asked the subjects three questions;
1. What is your most favourite/most played game? Why?
2. When you’re playing this game, what is your favourite thing to do? Why?
3. When you’re playing the game, where is your most favourite place to visit? Why?

And finally, after they stated their favourite place to visit, I asked them to send me an image of this favourite place in order to share the world that they inhabit with me on a personal level.

From their personal responses, I analysed the keywords that they used when describing the world of their game and gauged their emotional response to the game through this, implementing the section of our conversation that the participants displayed the most emotive response to their game, over the image that the participant sent me, which has taken the form of the documentation below.
Multiple participants used endearing terminology when speaking about their game’s world, such as ‘poor thing’ and ‘plagued’ alongside adjectives regarding the appearance of the world such as ‘beautiful’ and ‘enticing’. Some of the participants also indicated that it was a therapeutic exercise for them as one claimed that it helped them overcome a fear of spiders, and another stated that it enabled them to not think when they get home from work which is a relief and meditative.

After conversing with the willing participants, I have established that all of the participants spoke of the virtual world as that of a place which is actually real and exists, that they visit and inhabit frequently and all have an emotional attachment to. Games existing as virtual worlds have extended the realm of it simply being a virtual world, it’s become somewhere that is real.

Research post


 

Immersion within Installations

I have often been referring back to posts from Michaelmas term regarding immersion; such as Immersion through Physical ObjectsBringing the Virtual World into the Real World and Immersive Environments.


Ugo Rondinone

THANX 4 NOTHING, 2015

“America, thanks for the neglect, I did it without you. Let us celebrate poetic justice. You and I never were, never tried to do anything and never succeeded. Thanx 4 nothing.”

The experience of this installation in London was phenomenal coming from my friends that witnessed it. I really think the methodically perfected poem coming from performance artist John Giorno accompanies the flashing of monochromatic backdrops well. Then comes the changing of outfit for John, from the black to white suit, alternating alongside the backdrop, and then the alternating positions of him, AND the small screens around the room that display him from all different angles and zooms, I feel like it would be incredibly difficult to not become absorbed and immersed by this display. There were also four projections on all four walls accompanied by six television screens around the room, therefore I feel that the consciousness would become very overwhelmed by the footage being shown, but not in a negative way, as it is not all the same images. The difference between the images and variation displayed within the installation, I feel, would break up the feeling of being negatively overwhelmed and replace it with overwhelming curiosity for the viewer.

 

IT’S LATE AND THE WIND CARRIES A FAINT SOUND AS IT MOVES THROUGH THE TREES. IT COULD BE ANYTHING. THE JINGLING OF LITTLE BELLS PERHAPS, OR THE TINY FLICKERING OUT OF TINY LIVES. I STROLL DOWN THE SIDEWALK AND CLOSE MY EYES AND OPEN THEM AND WAIT FOR MY MIND TO GO PERFECTLY BLANK. LIKE A ROOM NO ONE HAS EVER ENTERED, A ROOM WITHOUT DOORS OR WINDOWS. A PLACE WHERE NOTHING HAPPENS, 1999


 

Es Devlin

Mirror Maze

As a set designer, she uses space as her medium. I think this is a really interesting way of looking at installations that I hadn’t considered previously.  As well as including the aspect of smell to trigger memory within the brain, just everything about this installation is something I wish I could create.


 

Olafur Eliasson

Room For One Colour, 1997

I didn’t even know this existed, but it’s absolutely fascinating. He brings the participants into an alternate reality and world where they can only see in monochrome. To have your own eyesight manipulated beyond your own control… I don’t know if I’d like to interfere with people to this extent, but it’s a very intriguing concept. It’s like taking someone’s eyesight away from them for a period of time, I don’t think I’d like to be this invasive. This is purely down to personal preference and experience, as I’m very private and defensive and to walk into a room where it would appear that someone was in my brain plucking at the wires that control my sight would freak me out and make me uncomfortable, whereas friends I have just spoken to about it would think it was fascinating. When planning installations in the future I need to make a conscious effort to regard my own personal preferences are not always what participants would enjoy.


 

Art in the Age of the Internet: 1989 to Today

ICA Boston

The exhibition sounds AWESOME and is focused on various categories regarding how the internet has changed art, and one of the categories is VIRTUAL WORLDS(!!). The exhibition also has an accompanying webpage, that has its own section dedicated to virtual worlds, available at this link(!!!).

All of the exhibiting artists are mentioned on this webpage under this link.

Cory Archangel

Super Landscape #1

I actually don’t like Archangel’s work, especially his Mario clouds, I think Myfanwy Ashmore’s Mario Trilogy was so so much better. But, I do like the installation of his work pictured below; I think the way that the projection of the work on alternating panels of the wall works well and is suggestive of the space surrounding the exhibition, accompanied by the small televisions that are playing the same thing. The fact that it is being broadcast across multiple platforms makes it intriguing, although I’m unsure as to whether this would become boring after seeing the same gif for five minutes. I think I might look at exhibiting my installation across different technology in the future, I do love projection however the incorporations of television screens may add something to my installation? A possibility anyway.

 

John Rafman

New Age Demanded (Rippleface)

“Taking its inspiration from the ‘demand’ for new images in Ezra Pound’s poem Hugh Selwyn Mauberly (1920), this sculptual bust employs 3-D modeling technologues to portray characteristics of our digital age, one marked by technological transformation. This bust is incorporated in Rafman’s virtual reality experience View of Harbor

Taken from the Art in the Age of the Internet webpage

I’m not interested in the visuals of this work, however, I think it’s really interesting that Rafman has created it in response to a poem – this could work for me in the future for my installation with regards to a narrative, as I don’t want my work to be too overly personal, if I can avoid it. I might change my mind, but I have always loved literature so it would be a good thing to bridge with my piece. Should look at literature about escapism!!

rippleface


 

New Media Immersive Installations

Exhibitions I have experienced and visited personally over Lent Term:


Projection

Wu Tsang @ FACT Liverpool: Under Cinema / 9th Jan
The review I wrote for the exhibition in affiliation with FACT

“Under Cinema is part of Refuge, a wide-ranging programme investigating the idea of ‘safe spaces’ in relation to art”

When visiting the exhibition, I was specifically drawn to the projected installation called Where Hold We Study, as it was displayed as two projections that overlayed each other side by side, therefore creating an almost alternate universe between the two realities displayed. Within my practice, I thoroughly enjoy creating an environment that is a hybrid between reality and virtual spaces, which explains my attraction to this installation. The audio that accompanied the visuals was very all-encompassing for me to view, and being so absorbed by the installation and the visuals created an immersive experience for me as the viewer. The merging of the two projections worked so well that the videos on either side interacted with each other intermittently creating the aforementioned alternate universe. Other specifics I enjoyed are mentioned in the Review that is linked above.

 

Raqs Digital Media @ The Whitworth, Manchester: Deja Vu and Distance / 5th Feb

This installation of perspex accompanied by a screen that you are not intended to see was intriguing to experience, as you are only intended to see the reflections of the screen onto the perspex, breaking up the idea of the screen and translating it onto other reflective surfaces. This links specifically with the perspex sheets of plastic that I intend to project onto for my final installation, hopefully able to hang them within C15.

IMG_20180205_111311


 

Virtual Reality

Matt Collishaw @ National Media Museum, Bradford: THRESHOLDS / 12th March

This immersive display of virtual reality, able to use by anyone was an extremely surreal experience, especially to see how developed the technology has become in order to transport your consciousness into a virtual world. There were a few hiccups with the tech that inevitably pulled you out of the 19th Century display of photography, however it was extremely fulfilling to experience, even though I had no interest in the subject matter, the technology that I was able to use in order to immerse myself within a virtual world was just awesome. I’m planning on writing about this experience within my dissertation as it has left quite a mark on my personal experiences with immersion and technology that enables you to be immersed. Considering I was wearing upwards of £1000+ worth of kit on my back, that made me a bit frightened throughout the experience but I’m very grateful I went to see it, as it is not technology that is available everywhere for everyone, due to its expense, therefore it was unlike anything I had experienced before. Yes!!


 

Video

Rebecca Birch @ Peter Scott Gallery, Lancaster: Road / 31st Jan
Larry Achiampong @ Peter Scott Gallery, Lancaster: Sundays Best / 31st Jan

The calming nature of the video Rebecca has exhibited, is soothing for most viewers. It also leaves the impression that there is something that you are waiting for, yet it did not come in the few minutes I was watching the calm lady in the video which might sound frustrating but was actually very relaxing and positive. The little aspects of the video that move such as her hair and sometimes her facial expression, enable the viewer to determine that it is not a photograph but merely capturing the moment in it’s simple essence. This is what I thoroughly enjoy to do with my landscapes within the virtual worlds, by capturing that moment that I am exploring and within it for others to see, in it’s simple yet captivating nature.

Larry’s work is some of my favourite, and although I am not a fan of all aspects of his film Sundays Best, I really enjoyed the audio that accompanied the visuals, as they were very absorbing to listen to. Even as you walked in the gallery, you could hear the lady singing through the headphones, due to it’s volume, which beckoned you to go over and put them on to listen. It was very encompassing for the senses, as I zoned out whilst watching and then had the moment of realisation when you come back and remember that you’re in public, you’re watching something and that you’re sat on something. The visuals also began to frantically flicker over one another towards the end which was very aesthetically pleasing and almost culminated all of the footage within the film into one, minute long flicker of colour and images.

IMG_20180131_123202-ANIMATION

 

Neha Choksi @ Manchester Art Gallery: Faith in Friction / 5th Feb

I was unable to stay for long within this installation, however there were SO many screens all around the room, all playing different videos and audios that is completely overpowered my senses, and I’m not sure whether it was a positive or a negative. To sit in the middle of the room surrounded by so many visuals I began to get frustrated with the fact that I was missing parts of footage from each screen when my attention was drawn to another. This is something that I’ll remember in future for my installations, as to overload someone is not my intention, I want to immerse them.


 

Screens

Felix Luque Sanchez @ The Lowry, Manchester: Nihil Ex Nihilo: The Dialogue / 5th Feb
Nye Thompson @ The Lowry, Salford: Backdoored / 5th Feb

This entire exhibition was just fun. I was smiling all the way through and even laughing to myself frequently, and I wish that I could make my art like this. The CCTV footage installation by Nye Thompson was very intriguing, and I’m sure I was not the only one who would run out into the corridor and then run back into the screen room to see myself on camera. It encapsulated an essence of play within technological art and I really respected this throughout the exhibition.

Museum of Science and Industry, Manchester: Interactive Photography Installation

This was available for everyone who entered the building and there were many school children lining up to take photos of themselves in order for them to appear on the installation with a time delay. It was an interesting experience and it was nice to be surrounded by something that was beautiful, it brought people together and it was just a nice aspect of the museum, in that it wasn’t intended to be an art installation, just something that brought people together and broke up the very serious tone of the museum. I don’t know how to explain it, but I enjoyed the experience nonetheless as you can tell by my stupid grin in the picture below.


 

Audio

Susan Philipsz @ Scottish National Gallery of Modern Art (2), Edinburgh: You Are Not Alone / 25th Jan

This was actually fucking awesome. To walk around the room and be entirely surrounded by sound, it was like you could feel it in the air around you. It was a very weird yet rewarding experience, I would go and experience it again if I could.