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Digitale Kunst: 8 Text passages
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1.  Rudolf Frieling «Reality/Mediality
Hybrid Processes Between Art and Life»production and reception in art, in the media, on the street. In the essay «Concepts for an Operative Art» (1969), Jeffrey Shaw wrote: «The event we look for is when a particular structuring of art/architecture/spectacle/technology makes [more]  |
| 2. Rudolf Frieling «Reality/Mediality
Hybrid Processes Between Art and Life» the spectacle,[30] a line can be traced from underground events such as those of the Eventstructure Research Group (with Jeffrey Shaw and others) over the first corporate occupation of audiovisual immersive space at the Osaka World's Fair, 1970 Expo (where [more] |
| 3. Heike Helfert «Technological Constructions of Space-Time
Aspects of Perception» the concepts of the 1960s and 70s in spatial and active integration of the beholder in the artwork with technological means. Jeffrey Shaw, for example, one of the initiators of inter-media events like «Movie Movie,» resumes the participative approaches [more] |
| 4. Söke Dinkla «Virtual Narrations
From the crisis of storytelling to new narration as mental potentiality» of the new art form. These vanguard artists include Ken Feingold, Grahame Weinbren, Bill Seaman, Simon Biggs, Jeffrey Shaw, and in another sense also Lynn Hershman, who in her works «Lorna» (1983–1984) and «Deep [more] |
| 5. Söke Dinkla «Virtual Narrations
From the crisis of storytelling to new narration as mental potentiality» and the psychology of the characters lose their reference points and are dissected into narrative fragments.[25] Jeffrey Shaw achieves a comparable effect in «Revolution» (1989) by accelerating the images while at the same time radically [more] |
| 6. Oliver Grau «Immersion and Interaction
From Circular Frescoes to Interactive Image Spaces» of this art form, such as Charlotte Davies, Christa Sommerer and Laurent Mignonneau, Monika Fleischmann and Wolfgang Strauss, Jeffrey Shaw or Victoria Vesna work as scientists at research institutes in the field of developing new interfaces, interaction models and [more] |
| 7. Oliver Grau «Immersion and Interaction
From Circular Frescoes to Interactive Image Spaces» 1990s is a signature of virtual art and the technology upon which it depends is mirrored in the work of the Australian artist Jeffrey Shaw. Together with the British artist and theorist Roy Ascott, who began to publish texts on interactive computer art in the [more] |
| 8. Inke Arns «Interaction, Participation, Networking: Art and Telecommunication» Hershman's «Deep Contact» (19891990); interaction between body and (static or dynamic) data realm, as in Jeffrey Shaw's «The Legible City» (1988), Peter Weibel's «Die Wand, der Vorhang (Grenze, die) fachsprachlich auch: [more] |
