"There you are in the middle of the city, traffic all around, planes buzzing above and you notice a little boy on a giant screen pointing up. 'Look,' says the boy. And you look, and the on–screen boy is pointing at an actual plane flying in the sky. He knows its flight number, its destination. This is no joke. That is flight BA475 from Barcelona! He tracks its path with his little hand, and then, when the plane is gone, he dashes off. This is a British Airways display ad in London's Piccadilly Circus, and it's using to identify actual planes in the actual sky.
Digital billboards are stepping up their game. They are becoming . There's another stunning example at Euston Station (also in London) that shows a man furiously screaming at a woman who is clearly frightened. But you can help. If you have a cellphone, you can yank the man clear across the station, dragging him from screen to screen to screen until he's way on the other side of the terminal.
I've got one more. This time it's a fantasy experience available to anyone who steps into a marked spot in the middle of Victoria Station. (London's a happening place for billboard experimentation.) Once you're there, a holographic angel drops down from heaven and lands beside you. You can't see her in real space, but you and she are plainly visible on a screen that everybody in the station can see, and you are free to interact anyway you please."
(Robert Krulwich, 04 January 2014, NPR)
Kinetica Art Fair 2013, February 28th – March 3rd 2013, Ambika P3, 35 Marylebone Road, NW1 5LS, London, UK
"The Kinetica feature exhibition and events programme is themed on 'Illusion and Reality' and the thin veil that divides what is real and perceived. The exhibition will focus on perceptions of reality, with works by 19 international artists exploring the many dimensions of illusion. The exhibition aims to challenge ideas on what is real, perceived or imagined, and focuses on transformation, metamorphism, visual paradox, vibration, nature, the subliminal and the subconscious.
The exhibition includes a huge interactive light sculpture from Dutch artist Titia Ex, an exoskeleton hybrid of man–animal–machine by Christiann Zwanniken and a giant three dimensional zoetrope by Greg Barsamian.
The boundaries between reality and illusion will be explored in a series of live performances using the Musion holographic projection system, and features an international line–up including the award–winning audiovisual collective Origamibiro ; a fusion of 3d imaging and quantum mechanics in danceroom Spectroscopy ; a hypnotic audiovisual experience from Simulacrum ; and multi–sensory Polish collective INIRE. The Musion Academy will present a further series of captivating performances including Analema Group, AV3, IEOIE and Paul Prudence.
Key figures and eminent pioneers in the fields of new media art and neurosciences have been invited to participate in a daily programme of Talks, which also features presentations by experimental artists exhibiting at the Fair."
(Kinetica Museum, UK)
"Such attention to practice creates considerable pressure to adopt at least a dualist ontology of art, in the sense that our practices appear to embed a distinction between singular and multiple forms of art. Singular artworks are unique, occurring at only one place at a time. Paintings, collages, carved sculptures, and Polaroids are typical examples of singular works. Multiple artworks are those which are capable of having more than one occurrence in different places at the same time. For example, a novel may have many copies, a play many performances, a film many screenings, and a photograph many prints. Each of the occurrences is, in some way, a full–fledged presentation of the work.
This distinction appears to doom the simplest thought, that all works of art are physical particulars. It may be plausible to claim that a painting is a particular material object, or that a jazz performance is a particular physical event, but one cannot identify Alfred Steiglitz's photograph The Steerage with any one of its prints or Peter Schaffer's play Equus with any one of its performances. As Wollheim (1980) first pointed out, the occurrences are potentially many, and one thing cannot be identical to many distinct things. So too, such works survive the destruction or passing of their occurrences, even such epistemologically privileged occurrences as manuscripts and holographs. They must be some other sort of thing."
Fig.1 Stieglitz, Alfred. The Steerage, 1907
"The Animator's Survival Kit – Animated is about how things move, and specific work methods used to make characters live, breathe, think and give a sustained commanding performance. Williams demonstrates his points with drawing, performance and over 400 specially animated examples – many from his best–selling book."
(Richard Williams Animation Masterclass, 2008)