Experiential Surreality by samc

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									Experiential Surreality
Site Specific Digital Art

Surrealism
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Revolutionary artistic and philosophical movement beginning in the late 1920‟s in Europe, Post WW1 Led by Andre Bréton and linked to “Dadaism”
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Dadaism happened concurrent to WW1 in Switzerland and was in many ways an “anti-art” through means of “anti-war” and rejection of current political regime

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Work produced at this time was considered an artifact of the greater socio-political and ethical value shift

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In response to WW1, “Rational thought and bourgeois values had brought the terrifying conflict upon the world”
Automatic writing, exquisite corps, free association, cut-ups were all used as methods to “liberate the imagination” and the unconscious mind "surréel is to the réel what the surnaturel is to the naturel." English-speakers say "supernatural". (Quotations from Wikipedia)

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Examples
Left Top: The Persistence of Memory, Salvador Dali 1931

Left Bottom: The Treachery of Images, René Magritte 1928-9 Right: Indestructible Object, Man Ray 1922-3

Simulation to Emulation
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“The paradigm shift that emulation art suggests is the inevitable result of hybrid art research praxis at the intersection of scientific discovery, informatics and aesthetics, as we seek to understand the universe as an operating system in which we perpetually engage on both a microcosmic and macrocosmic level.”

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This quotation comes from a formative paper written by Shawn Brixey and James Coupe in 2005. This paper addresses the shift away from simulation and towards emulation. As stated in the quotation above, the work is not residing and operating on the confines of the computer‟s operating system but rather viewing the work as running on the operating system of the Universe itself. Thus enabling the artist to push the limits of their own work to reference points outside of animated depictions coming from a computer screen and towards an experience of “fully inhabit[ing] the vast continuum which humans have inherited”. (Excerpt from “Biological Agency in Art”
by Allison Kudla)

Site Specific Art
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Usually relies on principles of
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Location
Context Presence History

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An artwork dependent on the space it resides within and in dialog with the space it was created for

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Often public and outdoors and linked with Earth Art, though not always

Earth Art/Land Art
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Art embedded in the earth or physical landscape, typically called “earthworks”

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A movement beginning in the late 1960s and early 1970s Entropic by nature, continually changing and ephemeral
Coming out of recent environmental movements of that time period Often stemming from Minimalism and Conceptual Art

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Robert Smithson
Right: Floating Island, Manhattan, NY: sketched in 1970, physically instantiated posthumous, 2005

Below: The Spiral Jetty, Great Salt Lake, Utah 1970

Walter De Maria
“In this permanent environmental installation, Walter de Maria was interested in understanding the relationship of the ground to its atmosphere. The structure is composed of 400 stainless steel poles arranged in a rectangular grid, which covers a section of land one mile by one kilometer. The lightning poles harness the electricity which charges trough the air into the ground. To experience the work's intense power, it should be viewed for an extended period of time. The Dia Center for the Arts commissioned this installation and continues to maintain it.”
http://arted.osu.edu/160/13_DeMaria.php

CHECK OUT DIA: www.diacenter.org

The Lightning Field, New Mexico, 1977

Richard Serra

Left: My Curves Are Not Mad, Nasher Sculpture Center in Dallas, TX. Installed 1987

Andy Goldsworthy

Edward Burtynsky

"Manufacturing #18, Cankun Factory" Photography: Oct 21, 2005

Christo & JeanneClaude

Wrapped Trees, Switzerland 1997-8

Running Fence, California 1972-6

Blue Umbrellas, Japan 1991

James Turrell

Roden Crater, Arizona, WIP

Augmented Reality
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Skinning the surface of objects with projections and images

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Generating perceptual illusory spaces Interactive environmental screens
Technological landscapes/environments Altered acoustics, swapped spaces

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Video Projection „Skins‟
Christopher Bauder and Till Beckmann from w-h-i-t-e-v-o-i-d interaction design were showing one of their latest projects at the NEXT exhibition in
Copenhagen last weekend.

Video objects is a custom software to perspectively distort video content in
realtime. The pre-distorted videos are projected from one video projector onto multiple real world 3D objects. http://www.we-make-money-not-art.com/archives/009174.php

EAT is an art installation about consumption. It was produced as a class project for Michael Naimark's "Virtual Environments" class in 1989 at the San Francisco Art Institute where it received an SFAI Spring Show Gold Award.

http://www.naimark.net/projects/eat.html

Perceptual Illusions
Yayoi Kusama Infinity Dots Mirrored Room, 1996 b. 1929, Japanese glass, Formica, black light, decals long term loan 500 Sampsonia Way, 3rd floor

James Turrell "Atlan," 1995 (space division construction, Danae series) Ultraviolet light and tungsten light; installed at Art Tower Mito, Ibaraki, Japan.

http://www.amnesty.ch/fr/actualite/news/nouvelle-campagne-d2019affichage-d2019amnesty

Greyworld

QuickTime™ an d a TIFF (Uncompressed) decompressor are need ed to see this p icture .

Bins and Benches, Cambridge, UK (solar powered robotic benches and bins, WIP)

Marc Quinn

Quinn's sculpture in Carrara marble, Alison Lapper Pregnant (2005), for The Fourth Plinth of Trafalgar Square.
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Rachel Whiteread

House, Grove Road E3, Rachel Whiteread, 1993

Gordon Matta-Clark

Splitting, Gordon Matta-Clark, 1974

Peter Callesen

Castle of Dreams, Performance in Helsinki 2003

Juan Pampin

"Catch 22 goes underground" continues the saga opened by "Catch 22 degree zero" applying the concepts of feedback and recursion to a specific site to transform its acoustics. A 50-meter long public underpass is transformed into a sonic chamber using controlled feedback. People in transit through the tunnel can experience how their body interacts with the system also changing the acoustics of the place.

Studies
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Manufactured Landscape Amplification Feedback/Communication Memory/Time modification

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Please note: Given the short turnaround time of 4 days per assignment, some of these studies will take the form of happenings that you will then have the challenge of presenting to the class for graded discussion.


								
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