includes works of folks like Natalie Jeremijenko and Carlo Ratti at MIT's
Senseable lab. Also looking back at Buckminster Fuller's Geoscope concept
in 1961/62.
Fuller saw the need for a global inter-connected data visualization
skinning a a globe with multiple live data sets. He was far ahead of his
time and now this idea is becoming part of our larger culture. David
Mcconville, president of the Buckminster Fuller Institute (BFI) was
trained as an artist. He now does large scale immersive visualizations for
museums as well as Nasa and Noaa. This begs the question of aren't art
and science when combined often the leap forward and the place of
experimentation? And the terms themselves, as common usage standards as
they are, aren't they linguistically problematic? What border edge ceases
"ART" and what crossing line halts "SCIENCE"?
Math at the calculus level becomes poetry and poetry at times is inspired
by astronomy for a generalist example. Natalie is looking at environmental
data, pollution and even possible reactive architecture techniques yet is
an artist. Carlo Ratti is an architect yet has a malleable cloud city
proposal and an army of tiny helicopter sensors that fly in the air. The
line is quite porous between.
Stanza has a larger exploration at work, almost a meta research project
that his projects are nodes of. He is looking also at surveillance, the
future city as dystopic data heavy or re-constituted as some write of in
architectural theory as reactive architecture and even into Marcos Novak's
concepts of "Eversion" as well as new modes of interface as one moves in
spaces. I appreciate that he also by placing the data set off screen into
much older notions of public art and even arguably sculpture moves from
the data/screen dichotomy into a collision with other art and space
related memes.
This is also why several other artists in the exhibition are codified in
generalist terms as "writers" yet have done projects that take fictional
narratives and even personal experience and information and place them in
physical spaces. Thus we see explorations of space and data that range
from the reactive, to pure data, to grafted fictions to the personal
placed in a public context.
The question is where does it all go from here? Also what can encourage
more art/science cross/inter pollinations when there is so much pressure
to choose one or the other?
> jeremy
>
> the work of Stanza that was just posted to the
> LEA channel (
> http://www.youtube.com/user/LEAbroadcast?feature=uploademail_ch)
>
> http://www.youtube.com/watch?v=1ZTyNjyBWMg
>
> Sensity involves collected data across the city of London visualized
> to make art. The whole world is a dynamic real time artwork. The city
> data space becomes mirrored online and the environment becomes an
> emergent series generative artworks.
>
> This kind of work is proliferating that takes existing large
> data sets, or artist generated ones, and re inserts them
> into the city or personal environement via installations
> or other devices
>
> whats not clear to me is whether these kinds of work
> can really change our behaviours or relationship
> to the world= to the extenthat they occupy our
> mediated spaces they can perhaps "re thicken" our
> connection to phenomena that we only have
> abstract awareness of) but without embodiment
> do they remain un=intimate ? that boundary
> between the virtual and physical is multi layered
>
> roger
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