| URL: | http://netzspannung.org/database/145583/de |
| Last update: | 10.05.2004 |
| Date of print: |
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Place-Ruhr |
Kurzdarstellung
Kurzbeschreibung
Die Installation bietet dem Besucher eine rotierende Plattform, mit der er ein projiziertes Bild interaktiv auf einer großen kreisförmigen Projektionsfläche drehen und eine dreidimensionale virtuelle Umgebung erforschen kann, die aus einer sinnbildlichen Konstellation panoramischer Landschaften und Filmszenen besteht. Die Arbeit zeigt eine virtuelle Landschaft mit elf fotografischen Zylindern, die bestimmte Orte des Ruhrgebiets abbilden. Der Zuschauer kann in diesen dreidimensionalen Raum navigieren und diese panoramischen Zylinder betreten. Innerhalb eines Zylinders füllen filmische Sequenzen die Projektionsfläche vollständig und zeigen eine 360 ° Surround-Filmvorführung, in der die zuvor aufgezeichnete Situation zum immersiven Erlebnis des Betrachters wird.
(Jeffrey Shaw)
KünstlerInnen / AutorInnen
- Jeffrey Shaw
MitarbeiterInnen
- Adolf Mathias, Software
- Andreas Kiel, Software
- Huib Nelissen, Hardware
Entstehung
Deutschland, 2000
Kommentar
Place-Ruhr is closely related to two earlier works by Jeffrey Shaw:
Place - a user´s manual (1995) and rePLACEd (1998).
Eingabe des Beitrags
, 10.05.2004
Kategorie
- künstlerische Arbeit
Schlagworte
- Themen:
- Interface |
- Urbaner Raum |
- Medienkunst
- Formate:
- Installation |
- Projektion |
- interaktiv
Inhalt
Inhaltliche Beschreibung
In this installation a rotating platform allows the viewer to interactively rotate a projected image within a large circular projection screen and explore a three dimensional virtual environment constituted by an emblematic constellation of panoramic locations and cinematic events.
The work presents a virtual landscape containing eleven cylinders that show particular sites in the Ruhr area. The viewer can navigate this 3D space and enter these panoramic cylinders, inside each of which a surrounding cinematic sequence fills the projection screen and presents a 360 degree pre-recorded situation and acted event.
The ground surface of the overall landscape is inscribed with a diagram of the Sephirothic 'Tree of Life' in figurative relation to which the eleven Ruhr site cylinders are situated. This diagram is coupled to a map of existing underground mining tunnels in the Dortmund area. The identity of each of the eleven sites is defined by its environmental scenography (both actual and composited) conjoined with the time based events that have been staged there.
On the platform there is a column with an underwater video camera. This device is the interactive user interface, its buttons and handling allow the viewer to control his movement through the virtual scene as well as cause the rotation of the platform and of the projected image around the circular screen. A small monitor within this housing also shows the ground plan of the virtual environment with reference to the user's location there.
A microphone on top of this interface camera picks up any sound that the viewer makes, and this causes the release of continuously moving three dimensional words and sentences within the projected scene. Originating in the center of the screen, the physical arrangment of these texts in the virtual environment is determined by the path of the viewer movements while they are being generated. These texts have a temporal five-minute life span; becoming more and more transparent until they disappear they constitute traces of the viewer's presence there.
(Jeffrey Shaw)
Kontext
Statement
"The traditional activity of art has been the representation of reality - manipulating materials to create tangible mirrors of our experience and desire. Now with the mechanisms of the new digital technologies, the artwork can become itself a simulation of reality - an immaterial digital structure encompassing synthetic spaces which we can literally enter. Here the viewer is no longer consumer in a mausoleum of objects, rather he/she is traveller and discoverer in a latent space of sensual information, whose aesthetics are embodied both in the coordinates of its immaterial form and in the scenarios of its interactively manifest form. In this temporal dimension the interactive artwork is each time re-structured and re-embodied by the activity of its viewers." (Jeffrey Shaw, 1992) http://jeffrey-shaw.net/html_writings/writings_by_2.php3)
Ausstellungen / Präsentationen
- Vision Ruhr, Dortmund, Deutschland, 2000
Veröffentlichungen
- SHAW, Jeffrey: Modalities of Interactivity and Virtuality, in: Artistic Exchange. Akten des XXVIII. Internationalen Kongresses für Kunstgeschichte Berlin, 15.-20. Juli 1992, Ed. Thomas W. Gaehtgens, Berlin, 1993, pp. 295-300
» http://jeffrey-shaw.…gs/writings_by_2.php3[link 02] - SHAW, Jeffrey: Der entkörperte und wiederverkörperte Leib, in: Kunstforum. Die Zukunft des Körpers I, Vol. 132, November 1995-Januar 1996, pp. 168-171
- SHAW, Jeffrey: The Dis-Embodied Re-Embodied Body, in: New Ideas in Science and Art, Final Acts of the Prague Conference 19-23.11.1996, Council of Europe, 1997, pp.50-56
» http://jeffrey-shaw.…gs/writings_by_3.php3[link 03] - Further writings by Jeffrey Shaw
» http://jeffrey-shaw.…rameset-writings.php3[link 04]
Referenzen
- Jeffrey Shaw, Place - a user´s manual, 1995
» http://jeffrey-shaw.…ork.php3?record_id=96[link 05] - Jeffrey Shaw, rePLACEd, 1998
» http://jeffrey-shaw.…rk.php3?record_id=101[link 06] - Michael Naimark, Be Now Here, 1995-1997
» http://netzspannung.…ntryId=122425&lang=de[link 07]
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