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Which clippings match 'New Media Art Timeline' keyword pg.1 of 1
05 AUGUST 2014

ICC × Media Art Chronology 1988 - 2013

"ICC×メディア・アート年表 この年表では,メディア・アートを軸に編集された年表と,ICCの過去の活動の両方を見ることができます"

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TAGS

1988art museumchartchronological visualisationchronologydiagramdigital media timeline • digital media works • ICC Online • information designinteractive worksmedia art • media art chronology • media art timeline • media culture timeline • net artnew media artnew media art timelineNTT InterCommunication CentertimelineTokyovisualisation

CONTRIBUTOR

Simon Perkins
14 JULY 2006

Telematics Timeline

Walker Art Center
The Internet––specifically the World Wide Web––has become such a successful "meme" in our society, that there is almost a cultural amnesia about telecommunications–based art that pre–dates the Web. As powerful as early projects such as Muntadas's "File Room" (1994) or Ken Goldberg's "Telegarden" (1995) were (and are), many artists were working in the embrace of telecommunications for almost twenty years prior. Kit Galloway and Sherrie Rabinowitz's 1977 "Satellite Arts Project" first introduced the notion of a virtual space––a video space in–between physical spaces––and their 1980 "Hole–in–Space" was a kind of magic of open–systems, bi–coastal communications that may have since become commonplace but which directly inspired several of the artists in the exhibition. Many others, from Bob Adrian to Roy Ascott to Carl Loeffler to Heidi Grundmann, proseletyzed the aesthetics and politics of a global connectivity over the ensuing years, using the available means, from fax to Slowscan TV to early computing networks. Their work and thoughtfulness about it is inspirational. The telematics timeline attempts to capture some of these highlights as well as a longer history of enabling technological innovation. Most importantly, it is open source. Anyone can upload new information or interpretations into the timeline via the Internet.

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16 NOVEMBER 2004

A Net Art Idea Line: mapping lines of thought through time

"The Idea Line displays a timeline of net artworks, arranged in a fan of luminous threads. Each thread corresponds to a particular kind of artwork or type of technology. The brightness of each thread varies with the number of artworks that it contains in each year, so you can watch the ebb and flow of different lines of thought over time."

(Martin Wattenberg)

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30 DECEMBER 2003

Virtual Reality: Pre-digital Immersion Experiments

Oliver Grau (2003 Virtual Art)
Millstones – an incomplete history:

  • cir. 365BC Allegory of Plato's Cave: image projections of people, projected on a cave wall 'fools' spectators into believing that the images are actual people (http://faculty.washington.edu/smcohen/320/cave.htm).
  • 1894 – stereopticon: 16 slide projectors working in rapid succession, projecting circular pictures.
  • 1895 – Lumiere brothers – Arrivée d'un train en gare le Ciotat: the film causes viewers to rush for the door, believing that they were about to be run–down by the travelling train.
  • 1900 – Cinéorama (World Exhibition, Paris): 10 70mm film projects simultaneously, forming a connected 360 degree image.
  • 1900 – Cinéorama/mareorama (Le Tour du Monde, dioramas of colonies, panaramas of Madagascar and the Congo).
  • 1921 – Teleview: first 3–D film. The technique used red and green coloured projections that were separated–out by two–colour glasses worn by patrons.
  • 1939 – New York World Exhibition: Building the world of tomorrow (plans for new urban development). Futurama: Norman Bel Geddes – a scale–model of an American city in the 1960's.
  • Late 1930's – early 1960's – US. Vitarama/Cinerama: Fred Waller – used by the US air force to improve flight simulators but also screened commercially. The films were shot using three cameras and presented with stereoscopic sound.
  • 1947 – O Stereokino: Sergei M. Eisenstein – an essay stressing the synthesis of all art genres. Despite failing to offer any suggestions as to how to produce such an instrument, he believed that such a device would allow images to 'pour' from the screen into the film auditorium – stereo sound would be essential. The experience would immerse, capture, involve, and engulf the viewer.
  • 1960 – Stereoscopic television apparatus for individual use: Morton L. Heilig – patented 3–D TV using miniature TV screens a users glasses. Commercial application built
  • 1962 – called: Sensorama Simulator.
  • 1964 – Marshall McLuhan: appropriated the term symbiosis to describe the relations between humans and machines.
  • 1970 – Osaka World Exhibition: Pepsi–Cola pavilion presented a near synaesthetic experience using dry ice, interactive laser effects, stroboscopes, and music.
  • 1970's – 1980's – Omnimax: small immersive circular cinemas with spherical projection, extending the viewer's ambient viewing array to 160 degrees.
  • 1974 – film: Earthquake: Robson – included haptic sensations that shock cinema seats.
  • 1981 – Polyester: John Waters – including smells. The entrance ticket came with a card which cinemagoers rubbed during appropriate film sequences, releasing corresponding smells.
  • 1990's – 3–D IMAX (modern–day panorama): The movies take spectators to inaccessible, far–off foreign places.
  • 2000 – Hanover World Exhibition EXPO Planet m: Bertelsmann.

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TAGS

3-D TV • allegory of the caveambient • Auguste Lumiere • cave • cineorama • Eisenstein • futurama • Heilig • historyIMAXimmersionimmersive experiencelaser • Louis Lumiere • Lumiere Brothers • mareorama • new media art timeline • O stereokino • omnimax • pavilionPlato • Polyester • projection • stereopticon • stereoscopic • stroboscope • synaesthesia • teleview • timelinevirtual reality • vitarama • Waller • Waters • World Exhibition
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