The document is a passage from Lewis Carroll's Alice in Wonderland describing a conversation between a mouse and a cat named Fury. In the conversation, Fury proposes taking the mouse to trial for an unspecified offense, saying he will act as both judge and jury. The mouse objects that such a trial would be unfair without an actual jury or judge. Fury insists he will try the whole case himself and condemn the mouse to death.
Keynote lecture delivered at "Expanding Universes. Exploring the Transmedial & Transfictional Ways of World-building", 24 September 2016, Faculty of Polish Studies at Jagiellonian University in Kraków. Lecture recording available at: https://youtu.be/7muPBXTaIrY
Hyper-interactivism- ArtRadar: Contemporary Trends in ArtCoach Hall
This trend is a step further into interactive art, combining interaction with immersion in a virtual reality environment (mostly). Immersion is defined as the state of consciousness where a person’s awareness of physical self is diminished or lost by being surrounded in an engrossing total environment - often artificial. The term is widely used for describing immersive virtual reality, installation art and video games. This trend is obviously concerned with the art aspect. An immersive digital environment is an artificial, interactive, computer-created scene or "world" within which users can immerse themselves. Interactive art is generally considered to be something physical and solid to be messed with and moved around, but this trend incorporates computer and, often, projection or film technology. The whole idea is to involve the audience in a virtual, immersive experience. I titled this trend as “hyper-interactivism” or “immersionism” because of that extra level of involvement.
One artist, Maurice Benayoun, created the Tunnel Under the Atlantic and Cosmopolis. The Tunnel features an “entrance” in Paris and one in Monreal, allowing people in those areas to view each other by what has been described as “televirtuality.” Cosmopolis is a very large-scale rotunda of sorts with 12 screens facing a center. There are 12 little view stations that each show a 360 degree view of one of 12 cities. What is being viewed from those view-finders at a particular moment is projected onto the screens, creating a giant 360 degree view of a cityscape created by bits of other cities.
Another artist, Don Ritter, created Vested and Intersection. Intersection features a dark room with 4 speakers representing a 4-lane highway. Each speaker contains a sensor that, when it senses a person, will react by projecting sounds of cars screeching to a halt, accelerating, or crashing.
The last artist I chose for my presentation is Myron W. Krueger. He is an American computer artist who developed early interactive works, and is in the first generation of virtual reality researchers. One of his ideas sums up my trend well: the art of interactivity, as opposed to art that happens to be interactive. He did several pieces of art leading up to this bigger virtual immersion art in the late 60s and early 70s. The piece I featured was Small Planet, which allows the user to stand in from and control what he viewed of this small planet by moving his arms in an airplane fashion.
Keynote lecture delivered at "Expanding Universes. Exploring the Transmedial & Transfictional Ways of World-building", 24 September 2016, Faculty of Polish Studies at Jagiellonian University in Kraków. Lecture recording available at: https://youtu.be/7muPBXTaIrY
Hyper-interactivism- ArtRadar: Contemporary Trends in ArtCoach Hall
This trend is a step further into interactive art, combining interaction with immersion in a virtual reality environment (mostly). Immersion is defined as the state of consciousness where a person’s awareness of physical self is diminished or lost by being surrounded in an engrossing total environment - often artificial. The term is widely used for describing immersive virtual reality, installation art and video games. This trend is obviously concerned with the art aspect. An immersive digital environment is an artificial, interactive, computer-created scene or "world" within which users can immerse themselves. Interactive art is generally considered to be something physical and solid to be messed with and moved around, but this trend incorporates computer and, often, projection or film technology. The whole idea is to involve the audience in a virtual, immersive experience. I titled this trend as “hyper-interactivism” or “immersionism” because of that extra level of involvement.
One artist, Maurice Benayoun, created the Tunnel Under the Atlantic and Cosmopolis. The Tunnel features an “entrance” in Paris and one in Monreal, allowing people in those areas to view each other by what has been described as “televirtuality.” Cosmopolis is a very large-scale rotunda of sorts with 12 screens facing a center. There are 12 little view stations that each show a 360 degree view of one of 12 cities. What is being viewed from those view-finders at a particular moment is projected onto the screens, creating a giant 360 degree view of a cityscape created by bits of other cities.
Another artist, Don Ritter, created Vested and Intersection. Intersection features a dark room with 4 speakers representing a 4-lane highway. Each speaker contains a sensor that, when it senses a person, will react by projecting sounds of cars screeching to a halt, accelerating, or crashing.
The last artist I chose for my presentation is Myron W. Krueger. He is an American computer artist who developed early interactive works, and is in the first generation of virtual reality researchers. One of his ideas sums up my trend well: the art of interactivity, as opposed to art that happens to be interactive. He did several pieces of art leading up to this bigger virtual immersion art in the late 60s and early 70s. The piece I featured was Small Planet, which allows the user to stand in from and control what he viewed of this small planet by moving his arms in an airplane fashion.
some images pertaining to the illusion or symbolism of depth on a 2d surface: overlapping, linear perspective, atmospheric perspective, isometric perspective, and other traits of foreground vs background
some images pertaining to the illusion or symbolism of depth on a 2d surface: overlapping, linear perspective, atmospheric perspective, isometric perspective, and other traits of foreground vs background
2. "It _is_ a long tail, certainly," said Alice, looking
down with wonder at the Mouse's tail; "but why do you
call it sad?" And she kept on puzzling about it while the
Mouse was speaking, so that her idea of the tale was
something like this:----"Fury said to
a mouse, That
he met in the
house, `Let
us both go
to law: _I_
will prose-
cute _you_.--
Come, I'll
take no de-
nial: We
must have
the trial;
For really
this morn-
ing I've
nothing
to do.'
Said the
mouse to
the cur,
`Such a
trial, dear
sir. With
no jury
or judge,
would
be wast-
ing our
breath.'
`I'll be
judge,
I'll be
jury,'
said
cun-
ning
old
Fury:
`I'll
try
the
whole
cause,
Lewis Carroll, Alice in and
Wonderland, Chapter 3, “A con-
demn
Caucus Race and a Long Tale” you to
death'."
3. Rene Magritte, The Treachery of Images, oil on canvas, 63.5 cm x 93.98cm, 1928-29
4. Carl
Andre, Untitled, 1960, t
ypewriting on paper, 11
x 8 ½ inches (27.9 x
21.6 cm). The Museum
of Modern Art, New
York. Gift of Sally and
Wynn Kramarsky
5. Mel Bochner, “2 (12″ x 12″),” 1997, wood engraving with embossment on handmade paper, eight sheets, 16 x 36 inches
6. Sol LeWitt, “W,” 1995, relief print on hand dyed, handmade Twinrocker paper, 9 x 12 1/2 inches. Published by Two Palms, New
York.
7. John Baldessari, I Will Not Make Any More Boring Art, Lithograph, 22 3/8” x 29 9/16”, 1971
27. Blades Bojorquez, "Chaz Bojorquez, Señor Suerte tage with 'veterano/veterana' roll calls, Arroyo Seco River, Los Angeles"
(1975) (image via MOCA LA)