My Artistic Practice Blog can be found at this link.
After Eliasson flooded a Danish gallery for his exhibition, it became a different landscape to explore. I really like the extent that the artist went to to achieve this piece, I think it works incredibly well and is very immersive, I’m not sure whether it would just be me, but I could spend days in there hunched over just inspecting all of the rocks and ground around me, with a bonus of no weather to worry about. I want to create something this immersive in my installation, although this will perhaps have to wait until next term, and also I do not think LICA would appreciate me flooding a room or filling it with dirt and rocks.
This piece is really really awesome. The angular poly shape of the sculptures he has made to project onto are very like Pat Flynn as mentioned in the blog post: Immersion Explored. I think it works really well with the landscape imagery although I expected the subject matter to be of some form of video game descent, however it was not. This I would change, and am thinking of channeling this into my work, specifically through the progression of accessories again mentioned in the post above.
I am thinking about making something to bring Skyrim back out into the room when I install it, although going down the diorama route seems very museum-y to me and I want to eradicate any feeling of being at a museum from my practice, as I am very interested with textures and self-experiences, to do this generally you need to be involved, not just watching and looking on at what is happening from a fixed point. I like the idea of bringing the texture of the game out somehow, perhaps through a rock. Below are just some dioramas I found when researching that are quite interesting, although seeing them on my blog now has made me realise that they are not what I want to achieve.
This links heavily to the post about Breaking the confines of the screen.
Video games are currently working on bring the video game into the real world quite literally, which is why Pokemon Go’s release in the summer of 2016 was such a hit, causing them to go on to make Harry Potter versions. It brings the video game to our everyday lives, as pictured below, I have screen shot the game sat on my lap in LICA. It can be anywhere you want it to be, and will not fail to immerse yourselves entirely. You could pretty much walk around the entire time just with your head in your phone, looking through the games augmented reality feature and map, not once lifting your head, it really truly is that immersive for the player.
“mARChive creates a navigable interactive data landscape for visitors inside the Melbourne museum’s permanent 360-degree, 3-D display system”
I have written more extensively about Jeffrey Shaw in my Immersion post previously, however this piece deals more with the breaking of the mold that is the rectangle screen. Again using his signature 360 degree immersive installation, Shaw has conquered the rectangle in that sense, but also by sporadically displaying the archive that is featured within this piece, he has not kept to the very rigid display of a screen, but instead creating a web of images that does not fit any specific shape. With my practice, I have been experimenting with a mirror to bring an aspect of my projection out of the projected space, by doing this I have further broken up the image of the screen, even more so than with the silk screen and glass panes. I am fascinated by experiencing video games in an unconventional way which is why I have been exploring the breaking up of the screen and also the depiction of a video game.
Here, Lee has done away with the rectangle all together and projected onto spheres, I like this exploration of shape, it reminds me a lot of Tony Oursler’s projected horrible faces, although I prefer this more.
Even-Chen uses the screen in an unconventional way, and by doing so, has broken the rectangle of the screen and made it into their own free shape. Although their work is displayed as rectangle prints, the work still utilises the screen and makes it entirely their own, whatever they want it to be.
Using the disregarded, failed attempt to create a clouded screen with rice flour for my back projection experiment, I have contrasted the recipe that had too much water, with that of Mark Tribe’s, ‘Plein Air’ piece, as they have a striking resemblance to each other. The watery impact on the flour recipe has created water marks that mimic the water marks of a valley in a landscape where water would have once ran to create the textures we see today. The projected images of the Skyrim landscapes, add the colour and depth to my photographs, adding shadows and texture to an already textured material. If you squint when looking at my photos, you can make out the projected image, although I think that the overall impact of them as they are works very well with the comparing images. It is finding a likeness between something far away and natural, with something fictional and up close. I like the experiments outcome in this sense as it further bridges my work with real landscapes and aids the bringing of the virtual world into the real world.
“these pictures are meant to be exhibited on large ultra-high-definition screens with immersive sound systems”
These are 24-hour long video shots of areas explored by Mark Tribe, he seems to capture the essence of the landscape in these shots, which is intriguing. He seems to capture the atmosphere and landscape in the videos by just letting them be, essentially capturing it as if you were peeking into it, not disturbing it. It shows me the landscape or even world that is hidden and altered when humans interfere with places, how this place functions without being disturbed and transports me there by simply being. I have used a similar process when capturing my video game landscapes, by leaving them to themselves, and letting them show the participant/ viewer what they are like without interference. I have essentially played the role of Mark Tribe, however, simply inside Skyrim. In contrast, Mark Tribe uses this footage to help him create worlds inside game platforms that mimic the video world, and I do the complete opposite, by taking footage of the video game world and bringing it into the real world for people to experience themselves.
The exploration of projection here is exceptionally intriguing, as he projects from many different angles with many projectors to rid the participant of a shadow – therefore immersing them inside the lines and flickering atmosphere he has created. He creates a world for people to simply exist inside, no expectations of them of how to act, just simply exist which I think is a very alluring aspect of the piece. With my practice, I wanted to get rid of the shadow with my participants, which is why I explored the Rear Projection, exampled in my installations; Yogurt, Silk and Flour, which all in turn aided the creation of my subsequent installations that have developed each experiment, throughout the term.
Raqs Media Collective
I like the way that the light catches on the perspex and it reminds me a lot of the glass panes I have been using to divide up the screen for my installation, however I personally find the subject matter boring. The technique is the specific aspect that I wanted to highlight and put on here for future reference.
A 15 minute video of me talking to myself trying to figure out what the hell is going on. You don’t have to listen to this. Really.
Jeffrey Shaw on Masters of Art series – here
Shaw’s 360 immersive installation is a constant theme throughout his work, often appearing displaying a variety of subject matter. The immersive element of this appeals to me, as the position of the screen can envelop the eye, especially as it is at eye level, and can transport the viewer/ participant into the world that Shaw is displaying for them. I also like the element of decision present, as the participant can maneuver the image around the 360 degree installation. I would love to create something like this, I also really like how he has captured the image on something that is not necessarily a conventional display for a projection, due to it’s shape. When you think of a projection, initially I think of a rectangle. I want to break this rectangle and challenge the way that a projection can be displayed, a lot like this exploration of space and movement.
This level of participation is awesome. I’d love to create some form of software that put the participant inside the world that I had created, although for now I could experiment possibly with the idea of VR with my Google Daydream, although the Occulus would be a dream. The participant’s dictation on the piece of work itself is interesting, much like that of a video game. As in a game, comparable with this installation, there will be elements of the work that you do not see purely down to your own decisions. It also reminds me of those game books I used to get as a kid, the ‘turn to page 84’ ones, as I always felt conflicted like I had to read it from start to finish to fully appreciate it all.
Another example of Shaw breaking the rectangle mold of projection. I’m aware that projection mapping is a thing, although I think being able to bring a projection out of the area it is confined to would be really interesting – use a mirror.
From ’88, this piece predates the sophisticated software and technology that has absorbed the immersive side of art, although I think it’s still a really interesting way to get the participant’s involvement with the art to become the art itself. It’s putting the person inside the art you’ve created, and I’d like to try something like this with my worlds that I create, I just don’t think I have the knowledge or technology to do so currently.
Performing between two screens, I think the idea of being inside the art itself is really immersive. Being able to walk through screens and between them and behind them would really add to an installation, as often you see work in a gallery or wherever the way that the artist wants you to see it, from where they want you to see it from. To expose the art work like this adds a sense of vulnerability to the work and could possibly create a maze that you would essentially co-exist in for that period of time. I think it would be great to test out my screens like an interactive walk way for the participant/ viewer to walk around and through. -to do list.
“I think there’s a fifth zone, in addition to Warburton’s four proposed areas of development. With the rise of artificial intelligence, augmented reality, and virtual reality, we’re headed into what I would call “the Unknown.” In a few decades, the physical world we consider reality will dissolve into many computer-generated worlds with a billion dimensions, indistinguishable from reality. The borders of real and electronic life will be erased forever, in a way that books like Ready.Player.One can barely articulate. Machine-to-brain interfaces will allow us to sink or soar into these worlds. We’ll be able to make our own, just by thinking of them, the same way we dream at night. Like in the 17th century Spanish play Life Is a Dream, our reality will become whatever we choose to believe it is.”
I began to look at Simon’s work when my work was destined for a different path. It has deviated very far from this subject now, however the immersion achievable through his use of painting is extremely fascinating to me. I initially think that to achieve an immersive environment you need to have some form of digital media included however, his highly detailed paintings appear to create this for the viewer without the advantage of moving image. I really like his work and although I’ve not continued down the technological apocalypse route for my practice, I do believe his work and imagery has stayed with me, subconsciously informing certain decisions I have made this term.
“The journey through the Electric State continues”