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Major project: Art and technology


Interest in combining technology and art - finding a connection between science and art - art studio as laboratory



Examples of artists using technology:


Hans Haacke

Condensation Cube, 1963-1968

Sculpture, 76 x 76 x 76 cm


Condensation Cube (1963-1968) is one of Hans Haacke’s earlier works. While over time the artist developed a critique of art as an institution and system, these early works focus on art in the sense of process and physical system. Interested in biology, ecology and cybernetics, in the mid-sixties Haacke was influenced by the ideas of Ludwig von Bertalanffy, especially those outlined in his General System Theory of 1968. For the Austrian biologist and philosopher, a living organism is an open system that continuously changes depending on its dialogue or interaction with the environment. Haacke’s early works, such as Condensation Cube, transpose this concept to the realm of art.


  • This piece is very captivating in how it combines a minimalist and scientific approach to making

  • Looking at intersections between art and science

  • Also makes the audience an active participant as their presence raises the temperature of the room and causes the water to evaporate

  • Time based works - allow a change throughout the duration of an install - I can consider ways in which I include time based aspects in my own work



Utilise different sources of information - visit talks or seminars on digital technologies in art


Inclusion of material components that are interactive through electronics

Electronic sculptural integration

What is the key thing I am interested in with mechanics


Chico MacMurtrie

http://amorphicrobotworks.org/



Chico MacMurtrie, Robotic sculptures


Robotics artists – processes and technologies are still useful reference –


Zimoun – avant garde minimalist sculpture and music – metronomic work


steve reich – minimalist composure




Haroon Mirza

https://www.maxgoelitz.com/en/artists/35-haroon-mirza/


Haroon Mirza, The National Apavilion of Then and Now, Ikon Gallery


  • juncture between sound and image – make sounds – similar to foley artist

  • creating physical spaces

  • time based quality that react to people entering a space

  • psychological - creating oppressive environments - change the emotional responses of the audience


https://www.a-n.co.uk/media/52481916/


https://www.thehorsehospital.com/events/gentle-stranger

list of artists


Sholto Dobie


https://www.maddiebanwell.com/gas-ring-alligator-park

Maddie Banwell and Grace Black



Basking Spot, 2022. Grace Black.


  • industrial, messy aesthetic

  • creating physical objects that contain electronics such as light, sound and movment

  • useful reference for considering how I incorporate my own electronics into my sculptures



Secluded Brontë

Performance artists


Supernormal – festival at oxford – contemporary fine art and musicians – experimental music


https://conradshawcross.com/


Conrad Shawcross


https://www.stirworld.com/see-features-sculptures-by-conrad-shawcross-unravel-lyrical-harmony-of-the-physical-world




Series of light works


  • incorporating mechanisation

  • Large scale that takes up entire space - work is not too crowded and illuminates the room

  • Elements of science fiction - appears like a pointless object with no apparent purpose - I like how this could be applied to my own work - there is something quite profound and radicicolous about an object that is so perfectly crafted but is pointless.



Sun Yuan and Peng Yu


https://www.guggenheim.org/artwork/artist/sun-yuan-and-peng-yu



Can't Help Myself


Machine – bodily and oppressive


The instant transformation of the hose into a deadly threat points to certain paradoxes of freedom: first, when unleashed, a powerful aspiration toward liberation may not spare blood or sacrifice, and second, in some societies, so-called freedom often takes shape in a very prescribed manner. Can’t Help Myself (2016), which engages a programmed robotic machine to evoke the conditions of surveillance and warfare surrounding border control (Guggenheim, 2016).


Rebecca Horn


– kinetic sculptural


Black paint over flying books – books act as a documentation. Relationship between contextual archive that is in movement



Rebecca Horn, Flying Books Under Black Rain Painting

  • Sense of poetics in work

  • Looking at haptic movement

  • Elements of chance

  • Sporadic movement

  • Uncontrollable


Reference:

https://hum11c.omeka.fas.harvard.edu/exhibits/show/open-readings/flyingbooks-artvslit#:~:text=O'Brien's%20Trauma-,Rebecca%20Horn's%20%22Flying%20Books%20Under%20Black%20Rain%22%20%2D%20The%20Intersection,rainfall%20painting%20across%20the%20wall.


Guy Osherov aka Guy Dubious – sound and performance based artist – PHD researcher – looking at loops and the breaks within loops


What are these artists relationship between movement in work – why they use kinetic element – does it produce narrative – textual meaning (literary/psychoanalytic?) making references to other forms. Or is it more performative, sound based – like Zimoun – makes dialogue between minimalist sound work – prepared instrument (Cage prepared piano) works in a way that s depednant on the conditions of space. Motors are dependant on different variables – excentuate the movement – chaos theory or butterfly effect. – small effect, Related to minimalist phasing – things beconning in and out of synch – constantly making different patterns



https://www.youtube.com/watch?v=qCXBE3_O8yc



Example Works:


Formal qualities of my own work – which is more important? Aesthetic formalism – adds a playfulness to something austere

Interrupts its serious

Disruption of minimalist heritage sculpture

Why is this disruption important – intentional disruption?

Adding unpredictable element

Could it be connected to the sound in the space – correspond or responding or playing with data that comes from somewhere else? Katie Patterson – who uses scientific data in sculpture

Amplifying a sense – show an energy that is unseen

Show the agency or the energy of a material – audience to engage with a sense of there being an invisible energy

Imperceptible made visible


Laboratory approach – the formal boundaries of the sculpture frame that moment e.g. 2 cement plaques – gives a focus and space a boundary – the break between one thing and another in which to view the activity



Prepared DC motor, string, concrete


Motor sculpture

Passage of time and duration – what are markers of time

Related to Deluezian philiosphy – a continuous loop – does it have any breaks in ti – what makes the break – a distinction between when something begins or ends – framing moments

Point to different interpretations of breaks of an epoch

Finding ways of focusing the viewer to experience an intensity of an action – be attentive

Forcing these sculptures to function – so that we can see what matter does when it is activated

Too vague to just be into materiality – needs another discourse and a focus

Analysing what these interventions are that it causes

How you make the viewer aware of them – tell them that the action is the main event – other parts are there to frame them



Flocked sculpture


Concrete and white flock, 2023



Links to Matthew Barney artist sculpture


very subtle sculpture – having a sense of something having to occur

turning something inert into something living – foundation for a new colonisation


connections to biophilic architecture

spirulina algae – bioplastics


growing algae inside tube – the interacting in space – kinetics and pumps – creating something that is a sculptural form – part of a cycle that you create


create a durational effect

aesthetic based on abstract minimalist sculpture – ideas around phasing

structures themselves could have a relationship with document of time – ways in which the movement can have some narrative relation possibly to an event (connects to algorithm)


Philip glass – phasing in minimalist music and Steve Reich


Yuri Pattison – artist – very digital but utilises data

What kind of data could I be engaged









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