Virtual Skiing as an Art Installation

The Virtual Skiing game allows the user to immerse himself into the skiing sensation without using any obvious hardware interfaces. To achieve the movement down the virtual skiing slope the skier who stands on a pair of skis attached to the floor performs the same movements as on real skis, in particular this is the case on carving skis: tilting the body to the left initiates a left turn, tilting the body to the right initiates a right turn, by lowering the body, the speed is increased. The skier observes his progress down the virtual slope projected on the wall in front of him. The skier’s movements are recorded using a video camera placed in front of him and processed on a PC in real time to drive the projected animation of the virtual slope

Wilkins Hill and the art of hermeneutical uncertainty

This article discusses the Neo-Conceptual Installation Art of Wendy Wilkins and Wes Hill, Brisbane-based artists currently residing in Berlin. The article discusses their conceptual development and their place within the art-world context

HEADROOM - A space between presence and absence

This paper represents the first theoretical account of 'HEADROOM', a site-specific interactive art installation produced by Paul Sermon in Taipei as the successful recipient of the 2006 Taiwan Visiting Arts Fellowship. This residency programme was a joint initiative between Visiting Arts, the Council for Cultural Affairs Taiwan, British Council Taipei and Arts Council England. The development of this interactive art installation has been extensively documented as part of the AHRC Performing-Presence project [1] led by Prof. Nick Kaye from Exeter University in partnership with Stanford University. HEADROOM was exhibited at Xinyi Assembly Hall Taipei, April 2006

My road to ruin: the studio without walls

This paper considers examples of ‘ruin’ in contemporary visual art and examines fracture, fragmentation and provisionality in contemporary installation art practice. Areas of commonality and difference are explored within a critical framework of concepts. The paper contributes towards the creation of a taxonomy of potential source material for the study of ruin in visual art

Flash@Hebburn Urban Art in the New Century

The publication of Flash@Hebburn, explores the creation of the public art installation Flash@Hebburn featuring light and electricity, by Charles Quick, on the banks of the River Tyne at Hebburn Riverside Park in South Tyneside, which spanned a period of seven and a half years and was inaugurated on March 9th 2009. It extensively documents the testing, making and installing of a public art installation that resembles a technical functional placement, which serves to evoke a largely post-industrial site without resorting to nostalgia, while strongly relating to the community where it is placed. Jonthan Vickery’s essay, Infrastructures: Creating Flash@Hebburn, places the work not only in its context of site and its relation to the audience but also in the development of an art world discourse on new urban arts. This is supported by an interview with the artist by Dr John Wood, Henry Moore Institute which discusses the project as a piece of art work in relationship to other contemporary works the artist and others have carried out

LPDT2: La plissure du texte 2

This paper will discuss the artistic processes involved in the creation of the three dimensional, virtual art installation La Plissure du Texte 2, which is the sequel to Roy Ascott’s ground breaking telematically networked art work La Plissure du Texte, created in 1983 and shown in Paris at the Musée de l’Art Moderne de la Ville de Paris during that same year. While the underlying concepts of the original art work, as well as its capability of regenerating itself as an entirely novel manifestation based upon the concepts of distributed authorship, textual mobility, emergent semiosis, multiple identity, and participatory poesis will be underlined, the main focus of the text will be upon the creative strategies as well as the technological means through which the architecture was brought about in the contemporary creative environment of the metaverse. This paper will discuss the artistic processes involved in the creation of the three dimensional, virtual art installation La Plissure du Texte 2, which is the sequel to Roy Ascott’s La Plissure du Texte. While the underlying concepts of the original art work, as well as its capability of regenerating itself as a novel manifestation will be underlined, the main focus of the text will be upon the creative strategies of LPDT2

Guidelines for Organizing Art Exhibitions on Addiction and Recovery

Outlines the Innovators Combating Substance Abuse program's model for exhibiting art by those in addiction recovery as a way to offer insight into substance abuse and recovery. With lessons learned and submissions, selection, and installation guidelines

What Rises Above the White Noise: the Possibility of Hearing Truth in a Post-truth World

This installation in a valley in the UK’s Lake District National Park taps into the idea of communication, the problem of apparent fact and post-truth, and which voices are being heard when it comes to standing up for the environment. In consideration of post-truth and the confusion between fact and fiction, particularly with regard to issues about environment, this art installation explores the possibility of clarity in voices that are heard above the white noise of facts, partial truths and information overload. It is a site-specific installation, created around a single tree and a rapidly flowing river in the Lake District National Park, where many different organizations strive for balance between human occupation and natural biodiversity, and not everyone feels their voices are heard or adequately acted upon

A Conceptual World: Why the Art of the Twentieth Century is So Different From the Art of All Earlier Centuries

This paper surveys 31 new genres of art that were invented during the twentieth century, chronologically from collage, papier colle, and readymades through installation, performance, and earthworks. This unprecedented proliferation in art forms was a direct consequence of the dominant role of conceptual innovation in the century's art, as a series of young iconoclasts deliberately broke the conventions and rules of existing artistic practice in the process of devising new ways to express their ideas and emotions. This overview affords a more precise understanding of one conspicuous and important way in which twentieth-century art differed from that of all earlier eras. The proliferation of genres has fragmented the advanced art world. A century ago, a great painter could influence nearly all advanced artists, but today it is virtually impossible for any one artist to influence practitioners of genres as diverse as painting, video, and installation. This survey also underscores the central role of Picasso in the advanced art of the past century, as he not only created the first, and one of the most important, of the new genres, but in doing so he also provided a new model of artistic behavior that became an inspiration for many other young conceptual artists.