Hello All,
in response to Kelli's posting, our Resonance project
http://www.resonance-electromagneticbodies.net
is focused on the electromagnetic environment
and artists' responses on the notion of making
the invisible/inaudible - visible/audible.
The project (based on the concepts of Nikola
Tesla) currently tours the work of 10 Canadian artists
in Europe.
nina
>Hello all - I am pleased to join this month's very active dialogue. It
>is interesting and pertinent that a discussion launching off the theme
>of 'Audio-Visual' should go into such detail with regard to theories and
>examples of computing and programming... One thing that strikes me, with
>regard to a range of contemporary, new-media/audio-visual - art, is the
>propensity that the work has, for both front-end and back-end
>aesthetics. Front-end often inferring something visible or tangible,
>along the lines of interface... back-end often inferring something
>behind the scenes which is more often than not - invisible. My
>engagement with artists working in this domain, who are creating
>new-media and/or audio-visual work, is often inspired by a discussion
>regarding underlying concepts, rather than the materials or methods
>employed on there own. Personally, I do tend to be most interested in
>work that demonstrates a detailed relationship to concept, which follows
>through in some way from the front-end to the back-end. I don't need a
>detailed understanding of, or be able to write Java, to appreciate a
>thorough and invigorated concept, but perhaps I need a certain type of
>appreciation for practices embedded in media and technological forms in
>order to understand how a programme (in computation terms) can indeed
>have an aesthetic and conceptual underpinning. When the function and
>aesthetic of a work is in harmony with a clearly defined concept, it
>tends to be evident through the success of the work over all.
>
>Further than the visible boundary of the work itself, its interface or
>object-ness - these conceptual and aesthetic concerns can run right
>through to platform, delivery, experience, distribution and time-base,
>both within the work itself and between the work and its associated
>audiences and architectures, encompassing social, political,
>technological and physical contexts.
>
>I wanted to draw attention to a work currently being exhibited in the AV
>fest by Gina Czarnecki, titled 'Spine', it in part seems exemplary of a
>type audio-visual work, common today, employing collaborative and
>interdisciplinary methods that aim, to not only visualise what a spine
>might look like, but further seek to represent in fact, what a spine is
>- and what it might become. The work has been developed by Gina in
>collaboration with biotechnologists, computer programmers, dancers and
>sound artists.
>
>And below - another example of a hybrid audio-visual practice, taken
>>from the biography of Carsten Nicolia (also performing as part of AV
>Fest this March).
>Carsten Nicolai is an artist using various media, such as sound, image,
>sculpture and computer, as hybrid tools in order to research the
>"codification of the world". Nicolai's work questions creativity,
>coincidence and artistic creative power. A lot of his works are directly
>linked with the natural sciences. The physics of oscillation in
>particular are a frequent means of his work and are not limited by
>audibility and visibility, but trying to make natural phenomena visible.
>Scientists like the Physicist Ukichiro Nakaya, who researched snow
>crystals in his studies, were an inspiration to Carsten Nicolai for his
>"snow noise" installation. The joint collaboration with scientists,
>search and research, will combine scientific experiment with artistic
>sculpture. In "snow noise", the laboratory becomes the exhibition space,
>the activity of the audience makes it a part of the sculpture itself.
>
>I would be interested to hear responses from the group on the notion of
>the visible and invisible or front-end and back-end aesthetics -- and
>would certainly invite further comment from those who may have been in
>Newcastle for the AV festival, who could comment further on the work of
>these two artists, in light of having had the real life experience...
>
>I will pick up further on the notion of interface, distribution and time
>base - between artwork/s, audience/s and architecture/s in a later post.
>
>Regards
>
>Kelli Dipple
>Webcasting Curator
>Digital Programmes / Education & Interpretation
>Tate
>www.tate.org.uk/onlineevents
|