"Just as video and computer technology attracted pioneering artists in the 1960s and 1970s, the Internet today is inspiring artists to tinker with the possibilities and boundaries of the World Wide Web. What started as a playful and often tongue-in-cheek experimental venture by a few code-savvy artists in the early 1990s has grown into a global art movement that is attracting attention from museums and private collectors. Karlsruhe-based media museum Zentrum fuer Kunst und Medientechnologie, or ZKM, has been running a series of net.art exhibitions. Berlin's Digital Art Museum recently showed the video performance 'Hammering the Void,' by Gazira Babeli, the pseudonym for an artist who exists only in Second Life, an online virtual reality game.
Among the artists who first saw the potential for creative uses of the information superhighway were Belgrade-born Vuk Cosic and Amsterdam-based artist duo Joan Heemskerk and Dirk Paesmans, who perform under the pseudonym jodi on the Web. Their early digital works, much like the art being made today by Italian duo Eva and Franco Mattes - who call themselves 0100101110101101.ORG - often imitated or at least paid ironic homage to the clandestine machinations of computer hackers."
(Goran Mijuk, 29 July 2009, Wall Street Journal)
Fig.1 'T-Visionarium’ (2003-08), by Neil Brown, Dennis Del Favero, Jeffrey Shaw and Peter Weibel
"*_Zu Beginn sind auf dem Bildschirm eine weiße und eine schwarze Fläche sichtbar, in denen Continue bzw. 'quit' geschrieben stehen. Entscheidet man sich per Mausklick für die zweite Möglichkeit verlässt man die Arbeit. Entscheidet man sich für die erste Variante, so verdoppelt sich jeweils die Zahl der Felder. Bald sind die sich stets verkleinernden Flächen nicht mehr als einzelne zu erkennen und mit der Maus ist kein eindeutige Wahl mehr zu treffen.
Continue ist eine minimalistische, konzeptuelle Arbeit, die immer wieder neu die immer gleiche Frage nach dem Fortsetzen des interaktiven Prozesses stellt."
Fig.1,2,3 Dieter Kiessling (2002). 'Continue', artintact #4/2 in Jeffrey Shaw and Astrid Sommer Eds.'artintact', Zentrum für Kunst und Medientechnologie Karlsruhe
[The work progresses from distinct binary divisions identified as 'Quit' or 'Continue' to progressively smaller and smaller subdivisions creating an increasingly cinereous/greyer and more graduated field. In this way the work can be used as a metaphor to illustrate a type of complexity which Basil Bernstein describes as strong classification of discourse where 'the progression will be from concrete local knowledge, to the mastery of simple operations, to more abstract general principles' (2000, p.11).]
Bernstein, Basil. (2000). 'Pedagogy Symbolic Control and Identity, Theory Research Critique'. Oxford, Rowman & Littlefield Publishers, Inc.
"The VROOM will consist of an eight screen 360° rear projected stereoscopic display system. The system can be configured to be interactive with the use of wands and motion tracking devices, movement and immersive qualities will also be enhanced through the use of spatial soundscapes. The environment can be reconfigured to position the viewer into the interior or panoramic immersion (an octant enclosure), or perambulatory (or circumlocutory) exterior viewing (of a contained world)."
Conceived as a multi-disciplinary project that conjoins art and science, Web of Life provides us with radical new insights into the underlying processes of nature, economy, and society. In Web of Life, visitors can activate and change the continuous, algorithmically generated images. The interactive medium is the network of lines on the user's hands, which they can scan for feeding into the network. Symbolising the "Web of Life", these palm-prints amount to the most personal element visitors can contribute to the overall pattern. The individual hand-lines will be displayed on the screen, together with information on the contributors' physical log-in location.Web Of Life project (2002-2005) - consisting of a book, a website and a series of networked installations. Authors: Torsten Belschner, Michael Gleich, Bernd Lintermann, Manfred Wolff-Plottegg, Jeffrey Shaw and Lawrence Wallen. Sponsored by the Aventis Foundation, Strasbourg, France and produced by the ZKM Centre for Art and Media, Karlsruhe, German.Australian presentations made with the generous support of the Goethe Institut, Sydney and the UNSW iCinema Centre for Interactive Cinema Research, Sydney. This event is part of the Australian Innovation Festival.
Visual Studies Workshop & Gale Group (Jeffrey Shaw's upside-down, down-under look at multicultural Melbourne in Place-Urbanity (2001), which features some mean compositing, expansive QTVR panoramas, several levels of interactivity, edifying social content and, not to forget, some good jokes.
PLACE-Urbanity is part of a series of projects created by Jeffrey Shaw. This example allows users to listen to inhabitants of the suburbs of Melbourne presented through QTVR.