Object-Subjectivities : a Techno-Art Saga (an interactive digital chronology)
Research output: Creative and Literary Works in Non - textual Form › Other artefact
Author(s)
Related Research Unit(s)
Detail(s)
Original language | English |
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Place of Publication | Hong Kong |
Publisher | School of Creative Media, City University of Hong Kong |
Size | 8-metre wide digital projection on wall |
Publication status | Published - 27 Dec 2018 |
Exhibition
Title | Algorithmic Art |
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Location | Hong Kong City Hall (Exhibition Hall) |
Place | Hong Kong |
City | Central |
Period | 27 December 2018 - 10 January 2019 |
Link(s)
Other link(s) | |
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Permanent Link | https://scholars.cityu.edu.hk/en/publications/publication(0c02906f-bdad-4a36-ab6c-a5e8db1c9408).html |
Abstract
Data visualisation and interaction using Process, the work contains 300+ slides with images presented on an 8-metre long wall projection navigated by 4 programmed digital joystick consoles.
Object-Subjectivities: a Techno-art Saga is a curatorial statement in the form of an artwork. It is an 8m long interactive digital chronology mapping all the14 artworks in the show Algorithmic Art: Shuffling Space and Time (27 Dec 2018 - 10 Jan 2019, City Hall Exhibition Hall, Hong Kong, curated by Linda Lai) onto a broader history of art and technology, based on assumptions in media archaeology. The making of this chronology adaptively combines Erkki Huhtoma’s topos study approach, and Siegfried Zielinski’s “deep time” perspective, built into Lai’s ongoing experiments with notation systems and chronological visualization. In Huhtoma’s terms, topos study emphasizes “cyclically repeated motifs and processes, but does not deny progress,” and each artwork in the show is the focal point of a topos, such a work can imaginably form a unique landscape with the individual artist’s ongoing practices. The varied assembled landscapes of the 14 artworks in this show together accumulate into a geography for topoi analysis, attending to recurring discursive concepts, visual or audio, that can be traced cross-historically and, to various extents, cross-culturally. Lai finds such a broad view emphasis compatible with what Zielinski would call “deep time,” which is a distributive model, looking at objects and events (i.e. “media attractions” as he calls it) that are plottable on a chronology system equally as much as the vast silences and blankness of what is in between points. The chronology presented here marks an initial step in examining the “dynamics between continuity and change” and attempts a deeper more interconnected understanding of past traces of media art situated in Hong Kong. Visitors can access the data nodes on the point-line graphical map using a wireless joystick set, and explore the links in whatever way their curiosity leads them.
Object-Subjectivities: a Techno-art Saga is a curatorial statement in the form of an artwork. It is an 8m long interactive digital chronology mapping all the14 artworks in the show Algorithmic Art: Shuffling Space and Time (27 Dec 2018 - 10 Jan 2019, City Hall Exhibition Hall, Hong Kong, curated by Linda Lai) onto a broader history of art and technology, based on assumptions in media archaeology. The making of this chronology adaptively combines Erkki Huhtoma’s topos study approach, and Siegfried Zielinski’s “deep time” perspective, built into Lai’s ongoing experiments with notation systems and chronological visualization. In Huhtoma’s terms, topos study emphasizes “cyclically repeated motifs and processes, but does not deny progress,” and each artwork in the show is the focal point of a topos, such a work can imaginably form a unique landscape with the individual artist’s ongoing practices. The varied assembled landscapes of the 14 artworks in this show together accumulate into a geography for topoi analysis, attending to recurring discursive concepts, visual or audio, that can be traced cross-historically and, to various extents, cross-culturally. Lai finds such a broad view emphasis compatible with what Zielinski would call “deep time,” which is a distributive model, looking at objects and events (i.e. “media attractions” as he calls it) that are plottable on a chronology system equally as much as the vast silences and blankness of what is in between points. The chronology presented here marks an initial step in examining the “dynamics between continuity and change” and attempts a deeper more interconnected understanding of past traces of media art situated in Hong Kong. Visitors can access the data nodes on the point-line graphical map using a wireless joystick set, and explore the links in whatever way their curiosity leads them.
Research Area(s)
- art-science dialogues, computational art, AI in media art, experimental chronology, media archaeology
Bibliographic Note
Record validation is based on the information provided by the researcher(s) concerned. Suggestions for further amendments or supplementary information can be sent to [email protected].
Citation Format(s)
Object-Subjectivities: a Techno-Art Saga (an interactive digital chronology). Lai, Linda Chiu-han (Artist). 2018. Hong Kong: School of Creative Media, City University of Hong KongEvent details: Algorithmic Art, Hong Kong City Hall (Exhibition Hall), Central, Hong Kong.
Research output: Creative and Literary Works in Non - textual Form › Other artefact