36 | 2006

Browsing 36 | 2006 by Subject "art installation"

Now showing 1 - 6 of 6
  • Review
    Camille Utterback's Series EXTERNAL MEASURES
    Dorin, Lisa (2006) , S. 1-5
    Camille Utterbacks' work is often discussed solely in terms of its pioneering approach to interactivity. For Lisa Dorin, who curated the Animated Gestures exhibition of Utterbacks' External Measures series, Utterback's project also lays claim to a rich art-historical lineage of nonobjective painting, abstract animation, and avant-garde film.
  • Article
  • Article
    Editorial
    Simanowski, Roberto (2006) , S. 1-1
  • Review
    Das Publikum als Pinsel: Camille Utterbacks interaktive Installation UNTITLED 5
    Simanowski, Roberto (2006) , S. 1-6
    Jackson Pollock malte mit dem ganzen Körper, Yves Klein mit dem Körper seiner Assistentinnen, Camille Utterback mit der Bewegung des Publikums. Das Bild (ganz Code statt Farbe) ist das Ergebnis einer stattgehabten Performance - und vergeht (Dokument ohne Dauer) gemeinsam mit dieser. Ist die Installation Werk oder Werkzeug? Ist das Publikum der Künstler oder ist es Utterback? Roberto Simanowski geht der Frage nach und diskutiert die sensuellen und kontemplativen Effekte von Untitled 5.
  • Article
    Scott Snibbe's DEEP WALLS: A Close Reading
    Simanowski, Roberto (2006) , S. 1-6
    Deep Walls (2003), by Scott Snibbe (see interview), consists of a camera and a rectangular screen which is divided in 16 smaller rectangular screens. The camera records the projected shadow of the viewers who move in front of the screen, and each of the small screens plays one of those recordings over and over until a new recording replaces the oldest recording. The piece is set up in a way that the viewer is not aware that she is recorded; she only realizes that her oversized shadow is projected onto the big rectangle, not knowing that when she leaves her action materializes as a looping silhouette in one of the small screens. Given the inexplicitness of the grammar of interaction, in many cases what is recorded is the attempt to figure out the grammar of interaction. This can be considered a metacommentary on interactivity. However, there is much more symbolic in this installation.
  • Article
    Useless Programs, Useful Programmers, and the production of Social Interactive Artworks: Interview with Scott Snibbe
    Simanowski, Roberto (2006) , S. 1-12
    Scott Snibbe, who holds Bachelor’s degrees in Computer Science and Fine Art, and a Master’s in Computer Science from Brown University, creates electronic media installations that directly engage the body of the viewer in a reactive system. His work has been shown internationally at venues including the Whitney Museum of American Art’s Artport (New York), Eyebeam (New York), and The Kitchen (New York); the InterCommunications Center (Tokyo); Ars Electronica (Austria); The Institute of Contemporary Art (London); and the Yerba Buena Center for the Arts (San Francisco). He has been awarded a variety of international prizes, including the Prix Ars Electronica, and a Rockefeller New Media Fellowship. Snibbe has taught media art and experimental film at Brown University, the San Francisco Art Institute, the Rhode Island School of Design and UC Berkeley. He has held research positions at Adobe Systems and Interval Research. His works are designed to have specific social effects: to create a sense of interdependence, to promote friendly interaction among strangers, and to increase viewers’ concentration. Roberto Simanowski talked with him about kids, parents, Buddhism, benches and walls.