New Media Performance and Installation

Essay published together with the artist's book presented at his exhibition João Penalva at Trondheim Kunstmuseum in 2014. The text refers to his works Sleeping men (installation, 2014), Museum of Stands, Yuteval (installation, 2012), Monument (Installation, 2011) and People on Air (installation, 2014).

New scholarship on Nam June Paik is a thematic focus of 2020 College Art Association Annual Conference session Feedback and Feedforth: New Approaches to Nam June Paik. Organized by Gregory Zinman of the Georgia Institute of Technology, with contributions by Marina Isgro, Johanna Gosse and Gregory Zinman. Response by Hanna Hölling.

Thursday, February 13, 2020, 4:00 PM - 5:30 PM Hilton Chicago - 8th Floor - Lake Ontario

CHAIR Gregory Zinman, Georgia Institute of Technology

DISCUSSANT Hanna Barbara Hölling, University College London

PRESENTATIONS

This Is Participation TV: Nam June Paik at WGBH, Boston: Marina Isgro

Ray Johnson and Nam June Paik, Incommunicado: Johanna Gosse, University of Colorado, Boulder

Video Art’s Past and Present ‘Future Tense’: The Case of Nam June Paik’s Satellite Works: Gregory Zinman, Georgia Institute of Technology

This thesis focuses on my dance and new media project, "There", which was shown in 2014. I want to unveil my creative process and propose possibilities for intermedia in art. First, to grasp the meaning of moving images in a dance performance, I will submit as an example the experiment within, and analysis of, the "There" production process. The reason is to investigate the value of the combination of body expression and moving images. The street dance drama, "There" looks back at life from a place between this world and the afterlife. In this place, the various stories of a diverse crowd of people unfold as a dance drama through laughter, tears, and an overflow of dancing. Profound questions about life and death are universal. I want to try to expand the expression of these concepts through the intermedia art of dance work and new media.

본 논문은 본인이 2014년에 발표한 무용과 영상 미디어를 융합한 작품 "저곳-There"을 중심으로 구성하였다. 영상과 무용을 융합한 이 작품의 제작 과정을 공개하고 향후 융합예술의 가능성을 제시해 보려는 것이다. 먼저, 무용공연에 있어서의 영상의 의미를 파악하기 위하여 “저곳-There”의 작품제작에서 실행된 실험과 분석은 어떠한 것이었는지 사례를 들어 보려한다. 그것은 신체표현과 영상의 융합적 가치 및 본 제작에 있어서 영상미디어의 역할을 고찰하기 위함이다. 거리무용극 "저곳-There"은 이승과 저승 사이 그 어디쯤 자리한 곳에서 삶을 돌아보는 작품이다. 그것은 우리가 살아가는 오늘의 이야기다. 저곳에서 잡다한 인간 군상들의 갖가지 사연들이 웃고 울며 춤을 추듯 넘실거리며 한판 춤극으로 펼쳐진다. 본 연구를 통하여 삶과 죽음이라는 인간의 보편성을, 첨단 미디어와 무용의 융합을 이용하여 표현하고 영역의 확장을 시도하려는 것이다.

in Rio voador, Contemporary Art Group Exhibition in the CAPC (Círculo de Artes Plásticas de Coimbra): Francisco Queirós, Gonçalo Pena, Inês Botelho, Miguel Palma, Pedro Cabral Santo, Pedro Cabrita Reis, Pedro Tudela, Pedro Valdez Cardoso, Rodrigo Oliveira. Coimbra, Março 2012.
Fly-River-Land River
An airborne (unborn) river, an oxymoron of steam and stream; a strip of overlapping and reversible mediations giving us the full spectrum of twentieth century visual arts accomplishments: video, installation, sculpture, drawing, painting, architecture. The “habitat” of artistic condition exposing the cultural paradigm to the conceptual distortions and openings of its Fata Morgana (daily life, the non-transcendental, transient and repetitive “Beyt” deplored, beloved and re-represented by Russian modernists).The unwritten social pact between alterity (not-self, the cultural other) and permanence (self, the accepted identity) has to collide with the mundane facts of dirt and compulsion so Art can become a life factor. Here, at CAPC’s original dwelling in Rua Castro Matoso, the inadequate, unfinished , “over determined” noun  that we call “Art” keeps pace with that pact and with that impact; it happens as a permanent mirroring back , as a self-emulation motivated to find its otherness.

Kurt Vanhoutte discusses the history of human orreries, in which individuals take the place of the celestial bodies, re-enacting the motions of
the orbiting planets. Going back at least to the eighteenth century,
Vanhoutte traces the history of the orrery as an inherently theatrical
device, and demonstrates that the main purpose of a human orrery is to
enact the dynamics of the universe by playing the role of the planets,
“walking the orrery” as it were, in a scale model laid out across the landscape. Enacting the orrery in  lockstep, Vanhoutte argues, makes users
immediately experience the planets moving at different speeds. This
dynamic interactive map of the solar system gives users the opportunity,
through performance and play, to cognitively map one’s sense of presence
and direction in space.

The category mobile media architecture, mobile design between "media" and "architecture" consists of urban interfaces: digital screens used in urban public space, often in conjunction with locationbased and/or mobile media technologies. These interfaces intervene temporarily, yet fundamentally, in the city's built environment. I consider the spatiotemporal logic of two installations that challenge more traditional ideas of spatial design and architecture as fixed, stable, and permanent: the selfie pillar as example of (temporary) urban advertising and narrowcasting, and the art project The Bridge, designed for a traveling screen. These very different examples of urban screens both construct temporary and mobile architectures for spatial extension and connectivity. In so doing they demonstrate an intersection of architectural and cartographic logic. This twin logic is inherent in the intersection of spatial design (architecture) and mobile and location-based technologies that offer tools for spatial orientation (cartography). Between infrastructure, interface and intervention, these forms of mobile media architecture exemplify our current visual regime of navigation. fluid architectures that turn buildings into moving structures; perhaps even site-specific performances and temporary installations that turn architecture into scenography. What are the consequences of these dynamic interfaces that are site-specific and mobile, architectural and dynamic, and essentially performative?

Öz Günümüz dijital medya teknolojilerinin ortaya koyduğu iletişim biçimleri, internet üzerinde 'ağ' ve ağ'lar oluşturma mantığı, bu teknolojileri yalnızca kullananlar açı-sından değil kullanmayanların bu yapı içerisindeki varlığı noktasında yeni ontolo-jik sorunları beraberinde getirmektedir. Bu bağlamda kültürlerin, kurumların çeşit-liliğine bağlı olarak farklı biçimlerde ortaya çıkan yeni bir toplumsal yapının olu-şumu gerçekleşmektedir. Yeni yapı, Manuel Castells'e göre tarihsel olarak 20. yüzyılın sonlarına doğru kapitalist üretim biçiminin yeniden yapılanmasıyla şekil-lenmiş yeni bir kalkınma biçiminin, enformasyonelizmin ortaya çıkışıyla ilişkilidir. Bu süreç yalnızca bu noktalarda değil kendini yeni medya kanalları üzerinden tek-rar inşa eden öznenin kendi ontolojisine ve kimliğine dair tüm varsayımlarını da kökünden ters yüz etmiştir. Castells, sözkonusu bu yapıları toplumsal bir formas-yon olarak " Ağ Toplumu " kavramsallaştırmasıyla ifade etmiştir. Ağ toplumu yeni kimliklerin ve aidiyet ortamlarının yanında yeni zamansal ve mekansal formları da beraberinde getirmiştir. Bu çalışmada dijital medyanın ortaya koyduğu iletişim bi-çimlerinin gündelik hayat pratiklerine yansıması noktasında ağlar üzerinde olmakla ilgili olarak ortaya çıkan yeni ontoloji, zaman ve mekan ilişkileri eleştirel perspek-tiften irdelenerek yorumlanacaktır.

This paper discusses how these materials create a sensual and emotional experience through what I will say, 'selective visuality'. The paper is an attempt to understand materials and light through, placement, interaction, social value, mood, emotion, and motivation. This paper also examines how these scenographic elements evoke a certain emotion, experience, and unexpectedness in theatre and performance practices. By placing light and material, the paper explores the politics and aesthetics of material and materiality in performances. Before going to make any broader claim, it would be a good idea to characterize the term 'material' and 'light' in the context of scenographic. My employment of the term material in this paper always suggests 'visual material' in the arena of performance. The material could be in any form and any shape like a set, costume, props (wood, leather, mud, plastics, and garbage), and so on. Similarly, with light, any source of light which are used in pay/performance has been considered as theatre light. For analysis, the paper includes Abhilash Pillai's Peer Gynt (2015), Helen (2007), Anuradha Kapur's Virasat (2013), 409 Ramkinkars and Deepan Sivarman's Dr. Caligori (2015), Ubu Roi (2013) to intended to explore the different material and diverse lighting composition. It is interesting to see how the director has used different types of material and lighting for expression, communication, and meaning-making process.

Animation is pervasive in video games, advertising, music videos, and is increasingly featured in forms of hybrid and blended media. Not only does cinematic vision now extend beyond the movie theatre, but moving-image culture extends across a large landscape of technologies, media influences, and social relationships. The essay's trajectory begins with changing conceptions of animation as an art form, the phenomena of animation's historical exclusion from exhibition, the 'high/low' art divide. These ideas are briefly exemplified by a discussion of some recent exhibitions, to illuminate how relationships between moving image installation and audiences are mediated. While many of the artists in these and other exhibitions are men, there is a growing cohort of women working in animation installation. The essay focuses on the installation works of three women animation artists: Rose Bond, Tabiamo and Marina Zurkow, and reveals resonances and distinctions in their works in terms of animated spaces, worlds and domestic and gendered realms.

A Spanish-translated collection of essays on postinternet art, including "Lost Not Found: The Circulation of Images in Digital Visual Culture," originally from Words Without Pictures (LACMA, Aperture/ Thames & Hudson, 2008); "Postinternet: Art After the Internet," originally from Foam Magazine #29 (Winter 2011/2012);  and "The Rhetoric of Soft Tools," originally from The Emergence of Video Processing Tools: Television Becoming Unglued, ed. Kathy High, Sherry Hocking, Mona Jimenez (Intellect/ University of Chicago Press, 2013).


All but the interview above, in Spanish:

_Arte Postinternet_, Marisa Olson, Cocom Press (Escuela Superior de Arte de Yucatan: Mexico), 2014

Early in Tod Machover's opera Death and the Powers, the main character, Simon Powers, is subsumed into a technological environment of his own creation. The theatrical set comes alive in the form of robotic, visual, and sonic elements that allow the actor to extend his range and influence across the stage in unique and dynamic ways. The environment must compellingly assume the behavior and expression of the absent Simon.

'Toward Responsive Architectures' is a part of the exploration of the interconnectedness of what surrounds us. The focus of the Responsive Architectures: Subtle Technologies collection is on a new generation of interactive systems within science, art and architecture that are based on constantly evolving relationships. Using a wide definition of architecture that includes both built and natural realms, we examine dynamic systems and environments of scales from molecules to cities. A responsive environment can be described as a networked structure that senses action within a field of attention and responds dynamically with programmed and designed logic. Focusing the issue of responsiveness more precisely within the field of architecture raises multiple questions: which parameters of such environments might a designer address in order to imaginatively employ their capacities for dynamic transformation and interaction? These projects cast light on the subject of responsive architecture from diverse viewpoints derived from current architecture, science, and art practices. They examine the relation between a physical environment and its inhabitants and focus in particular on professional practice. How do responsive systems affect us? Scientific research, art and architecture come together in this multidisciplinary forum documenting the 2006 Subtle Technologies Festival of Art and Science. Subjects include electronic art and performance installations, research in cell structures and natural systems, and design of interactive buildings. Discussions include historical context and contemporary implications.

A través de este texto se pretende realizar a una aproximación a las  técnicas y disciplinas artísticas  contemporáneas que están compuestas con elementos relacionados con la tecnología y los nuevos medios, realizando una breve revisión de la Historia del Arte reciente. Al mismo tiempo, se realiza un cuestionamiento de la aceptación que tienen estas obras en la sociedad y el mundo académico.

What follows here is not a definition of art by decree. Nor is this some kind of art manifesto. We are not saying this is how art should be, or could be, but how it is, if you let go of the prison of aesthetics, and follow an infinitely more interesting conceptual trail. This is about uncovering and identifying an approach to art which avoids the triviality of sensory-based aesthetic theory and moves instead towards exploring the experiential worlds that art presents us with. And this approach is not about diminishing the sensory enjoyment of artworks, but about placing them in a much richer context, where they can work a far greater magic.

As reflexões académicas em torno de como as redes sociais e as aplicações, media e plataformas amoldam a configuração dos nossos perfis e identidades digitais, para além também das suas potencialidades para influenciar as nossas identidades online – e offline – (Van Dick, 2013); referem-se, principalmente, às Mediated Memories – Normative Discursive Strategies – (Van Dijck, 2007, p.22) e às Terministic Screens (Markham, 2013). Estas chamam a atenção para como os filtros nos permitem expressar em certos aspetos, mas não em outros. Os filtros podem ser tecnológicos, culturais ou cognitivos, ou podem ser uma combinação destes (Filtered Reality, Filtered World;Walker Rettberg, 2014). Os perfis dos media sociais não são um reflexo da própria identidade, ou estádios neutros de auto desempenho, nem são um meio de autoexpressão
(Horning, 2014) - são as próprias ferramentas para formar as identidades
(Van Dijck, 2013). "A fusão de autoexpressão, a autocomunicação e autopromoção numa ferramenta, que é posteriormente utilizada para avaliação da personalidade e do comportamento da manipulação, deve sensibilizar os utilizadores nos seus diferentes papéis como cidadãos, amigos, empregados, empregadores, etc."(Van Dijck, 2013). Para além disso, a tecnologia descrita como a Architecture of Intimacy (Turkle, 2011), Architecture of Disclosure (Facebook: Marichal; 2012), onde a quantificação métrica prescreve a interação social (Desire for more – Facebook: Grosser de 2014), e a possibilidade de receber estímulos de todos os tipos constantemente e o ‘Design de Exposição’ (Serrano Tellería, 2014; 2015a) influencia constantemente a forma de estabelecer o nível de prioridade corretamente, bem como a forma de proteger a sua privacidade em diferentes camadas e estágios de acordo com suas possibilidades (Serrano Tellería, Oliveira; 2015; Serrano Tellería, 2015b). Apresentam-se neste trabalho os resultados de uma análise de conteúdo realizado sobre as contas pessoais de oito utilizadores portugueses (Covilhã, Beira Interior) no Instagram durante dois meses (Dezembro 2014 e Janeiro de 2015). Os objetivos principais foram perceber tanto as caraterísticas das imagens e mensagens complementários partilhados na rede como as próprias dinâmicas de ação e interação. O corpus foi composto por 884 imagens e analisado em base aos elementos e pessoas que compõem a imagem, os animais e as paisagens, a cenografia e a localização, o grado de exposição, as modulações da intimidade e as estratégias de visibilidade. A modo de conclusões gerais, através do conteúdo e formato das imagens como das dinâmicas de publicação dos utilizadores analisados, apercebe-se o Instagram como uma plataforma que serve de diário pessoal ou registo da vida no formato de memória digital, onde se misturam aspetos da vida profissional e pública com outros da vida íntima e privada a diferentes níveis (amigos e família), sem que haja uma clara definição de fronteiras ou limites.

Palavras-chave: Instagram; privacidade; smartphones.

El presente Proyecto Final de Master se centra en la ejecución de una instalación audiovisual tomando como eje la temática de la memoria personal y reflexionando sobre los diferentes procesos que participan en su construcción. Debido a la multiplicidad de aristas que presenta esta temática, nos detendremos, sobre todo, en las relaciones multidimensionales (hipertextuales/hipermediales) que efectuamos entre nuestros recuerdos, en las apropiaciones de material externo que incorporamos como propio a nuestro archivo mnémico y en la influencia que imprimen los medios audiovisuales en la construcción de nuestra memoria.

A time-based art (TBA) project team was established at the Art Gallery of New South Wales to undertake research and development, to address significant gaps in collection management practice, which had not kept pace with developments in art practice. This paper describes one key area of work undertaken by the TBA project team: the development of a cataloguing system to identify and describe time-based artworks. The history of the AGNSW TBA collection and collection management practices at AGNSW and other museums were reviewed to assist in identifying the range of practical and theoretical issues that were impacting the decision-making associated with the cataloguing of time-based artworks. Using the information gained from these sources and tested on artwork case studies, a new cataloguing system was developed in consultation with relevant staff. The new cataloguing system, which has been in use since early 2017, has underpinned the broader project, which has encompassed changes across a wide range of collection management practices necessary to facilitate the preservation and display of time-based artworks.  Moreover, this system has reset institutional understanding of these works by ensuring that the cataloguing accurately represents the conceptual, physical, digital, electronic and variable elements of TBA works.

Since the mid-1960's, Bruce Nauman's abundant and complex body of work continues to address a fundamental notion in art: the nature of artistic experience. While Nauman's work is often labeled as conceptual, it carries a strong existentialist and deeply humanistic undercurrent, mapping a phenomenology of both artist and viewer from a dual perspective of spatial environment -as physical space and psychological entity -and of body, as a site of psycho-physical tension. As we shall see, in Nauman's work the boundaries between these two perspectives are never firmly established. They appear as a function of the interaction between artist, viewer and work -and embrace a number of philosophical tenets rooted in the notions of empathy and embodiment. In addition to exploring the sites of space and body, we will also consider Nauman's use of mirrors as an interface between them. We should mention a fourth perspective, central to Nauman's phenomenological mix: communication (in its verbal and textual forms), as a manifestation of the artist-viewer relationship. We will, however, focus primarily on the first two propositions of space and body, and their connector, the mirror.

This thesis is about creative strategies for staging places as performances. To remain viable in the rapidly changing technological and social context, architecture needs to extend its engagement with research, reappraise its fundamental goals and develop creative strategies adequate to new challenges.

However, utilisation of research in design disciplines is still immature and the methodologies of this utilisation remain a matter of controversy and active debate. In particular, the potential of cross-pollination between designing and research requires further clarification. This thesis addresses this need by developing a methodological approach that combines participant observation and investigative designing. Utilising these methodologies, this thesis considers several case-studies, including interactive installations and virtual environments.

Engagement with case-studies through participant observation and investigative designing in this thesis motivates a discussion that reinstates place as the focus of architectural practice. Existing discourse and practice in architecture often assume retrograde, romantic, essentialist and exclusionary understandings of places, for example as singular, bounded and static. By contrast, this thesis highlights an open and flexible vision of places as performances. Considering the possible roles of architectural designing in place-making, it suggests that architects cannot produce ready places but can engender placemaking performances and influence their growth with provocative, open and collaborative creative-design strategies.

Having established the case for distributed, polyphonic, campaigning creativity in place-making, this thesis considers whether design computing can support its performative needs. Commonly, researchers and practitioners in architecture express concerns that design computing can hinder human creativity. By contrast, this thesis demonstrates that design computing can support distributed creativity by staging multiplicious, open, flexible, idea- and insight-generating participatory exchanges. In the process, this thesis considers interactive cinematography and procedural designing as place-making actions. This re-conceptualization demonstrates that design computing can usefully support creative place-making and sometimes be indispensable for its success.

This thesis contributes to knowing by 1) utilising and presenting an unorthodox methodological approach to architectural research; 2) presenting an approach to understanding and making of places novel to the field of architecture; and 3) re-conceptualizing innovative design-computing as an important creative resource for placemaking.

В книге рассматривается творчество четырех наиболее значительных итальянских композиторов конца ХХ – начала XXI века. Концептуально-эстетические установки С. Шаррино, Ф Ромителли, Л. Франческони, П. Биллоне, продолжающие идеи послевоенного авангарда, проецируются композиторами в собственный художественный контекст. Ключевой фигурой исследования становится композитор С. Шаррино, звуковая философия которого основывается на поисках перцептивных рычагов восприятия и возможности управления подсознанием. Выбор персоналий автора был мотивирован разнообразием творческих установок и одновременно общностью концептуальных корней, представленных в исследовании композиторов.
Книга предназначена музыкантам, специалистам в области философии и истории искусства, а также всем, кто интересуется современной музыкой и художественной культурой начала XXI века.

This paper examines the possibility of identifying a different perceptual and aesthetic paradigm of space at the confluence between real and virtual, in the circumstances offered by Augmented Reality (AR) technology.
Offering a seamless combination of the real scene perceived by the user with virtual information overlaid on that scene interactively and in real time, AR is able to create what I call a convergent space. The term refers to the process and the product of consolidating different—and differently situated—fragments of real and virtual spaces into a single “hybrid” space-image.
However, the realization of this presupposed continuum is somehow problematic—and this is one of the central arguments of this paper—since AR space is neither spatially homogenous nor temporally continuous. Nonetheless, AR space should not be seen simply as a “space of interaction” that connects but not integrates real and virtual elements. Unlike other non-AR media projects, AR not only places the real and virtual spaces in an adjacent position, but makes them perceptually convergent.
Thus, the questions this paper aims to answer are: is AR’s intricate topology able to be the place not only of convergence, but also of possible tensions between its real and virtual components? Do these tensions between real and virtual reflect others, between continuity and discontinuity, between stability and change, between temporal actualization and delay, between perceptual convergence and fragmentation of space? What relevance these changes have to spectatorship, to the relation between individual and social perceiving body?
My paper takes as examples four of the most representative AR artworks, authored by Jan Torpus, Jeffrey Shaw, Rafael Lozano-Hemmer and Julian Oliver.

La exposición fue resultado de una investigación a partir de los fondos del museo que duró cuatro años. Es preciso indicar que la inercia de la mayoría de los museos españoles de arte contemporáneo desde su aparición en cascada en los años 80, fue generar programación en forma de exposiciones, así como adquirir obras, ya que las colecciones españolas habían sufrido tremendas carencias en este sentido durante la dictadura. Sin embargo, la tarea de construir un tejido museológico español en tan pocos años, dejó aparcada la investigación sobre las obras que se estaban adquiriendo. 
No se trata por tanto simplemente de una exposición, ya que se investigaron los fondos del museo obteniendo interesantes resultados en obras mal identificadas o colocadas en una taxonomía errónea. En ese sentido podemos citar algunos ejemplos, como la correcta identificación de una obra fundamental en la trayectoria del artista americano Richard Serra (la obra adquirida por el museo en los años 80 era otra distinta a la que aparecía en el inventario), del alemán Lothar Baumgarten (la obra adquirida por el museo no podía volver a mostrarse), o la del español Federico Guzmán (inventariada como pintura, y que era en realidad una pieza performativa que contaba con la participación del público).
La muestra reunía obras de cruciales creadores internacionales desde los años 50 hasta la década pasada: John Baldessari, Lothar Baumgarten, Dara Birnbaum, Christian Boltanski, James Lee Byars, Carmen Calvo, Teresa Cebrian, Victoria Civera, Nacho Criado, Maribel Domènech, Peter Fischli & David Weiss, Joan Fontcuberta, Hamish Fulton, Susy Gómez, Federico Guzmán, Richard Hamilton, John Voelcker, John McHale, el Gary Hill, Per Kirkeby, Guillermo Kuitca, Ángeles Marco, Gordon Matta-Clark, Allan McCollum, Antoni Miralda y Benet Rossell, Antoni Muntadas, Juan Muñoz, Bruce Nauman, Juan Navarro Baldeweg, Evarist Navarro, Miquel Navarro, José Antonio Orts, Marjetica Potrc, Manolo Quejido, Dieter Roth, Reiner Ruthenbeck, Richard Serra, Robert Smithson, Serge Spitzer, James Turrell, Richard Tuttle, Hannsjörg Voth, Gilberto Zorio, José Mª Yturralde.
El catálogo cuenta con aportaciones de Isabel Tejeda, Jesús Carrillo, Clare Bishop, y fichas catalográficas de Fernando López.

The book of papers on the work of Oron Catts and Ionat Zurr, artists forming the Tissue Culture & Art Project. Particular chapters analyses different issues, like artistic, ethical, philosophical of their art as well as problems related to posthumanistic contexts of bio- and biotech art and the relationships between art and science.

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

Media Scores provide a theoretical and technical means to orchestrate multiple modalities in the creation of expressive works of art and performance. New technologies afford numerous opportunities to tell stories and create expressive artworks through a variety of media. However, the tools of planning, composition, design, and creation of these works remain disjoint with respect to the artwork’s constituent disciplines and from the final experience. Media Scores extend the metaphor of a musical score to other modalities in order to facilitate the process of authoring and performing multimedia compositions, providing a medium through which to realize a modern-day Gesamtkunstwerk. Research into the representation and encoding of expressive intent provides the conceptual underpinnings for the development of novel interfaces for composing and performing with Media Scores. Using such a tool, the composer is able to shape an artistic work that may be performed through human and technological means in a variety of media and utilizing various modalities of expression. Media Scores offer the possibility of authoring content that incorporates live performance data and the potential for audience participation and interaction. This paradigm bridges the extremes of the continuum from composition to performance, allowing for improvisatory compositional acts at performance-time. The Media Score also provides a common point of reference in collaborative productions, as well as the infrastructure for the real-time show control of any technologies used during a live performance.

This research was ultimately generated by the recognition of disturbances and difficulties pertaining to the curation, exhibition, and preservation of contemporary new media art. To start to formulate a process that is understood and achieved through the adaptation of artists, curators, and Academia, by researching current professionals’ experiences and opinions in each of these roles is the goal of this study. Comparisons between those artists categorized as “fine” or “commercial” show diversions that take this genre of fine art away from the art institution, and solutions on how to bridge the gap between these diversions are theorized. The role of the “medium” is broken down as Virtual Reality (as well as Mixed Reality and Augmented Reality) is touched upon as a crux in the theory of the aura of art and digital reproduction, as well as an outlet for future preservation and exhibition. Three case studies are presented to supplement each section of research including: Christopher Bauder, Vello Virkhaus, and Björk.

Surveys and contextualizes recent New Zealand artists' cinema by genre including, Landscape, Psychodrama, Identity Politics, Visual Music, Installed & Expanded Cinemas, and Animation. Touches on aspects of Asian and Western philosophy that resonate with cinema, art, perception and consciousness. From Diary of a Viewer, Part Three
Includes updates and revisions covering some work produced after the initial publication of this article in Illusions Magazine.

See also: Before Artists' Cinema