biome presents:
Digital Interdisciplinations - Prototypes: Prosthetics, Parasites

Tin Sheds Gallery, 10 August–8 September, 2012
148 City Rd, Darlington NSW 2006, Sydney

Featured Installations:
Black Spring
The Creators
particles rev.
Pattern Symbiosis
Untitled (32465…)

Digital Interdisciplinations - Prototypes: Prosthetics, Parasite

Digital Interdisciplinations recognises the transition that has occurred from our initial collective amazement with digital technology towards a more nuanced fascination with the potential for new relationships it generates. The exhibition focuses on the delicacies of these relationships – are these symbiotic, prosthetic or parasitic? What happens in a digitally enhanced responsive environment, when mutual dependencies develop on a temporal individual basis? What happens when, as David Rokeby suggests, the interactive part becomes as much a material for designing as matter itself?

The exhibition is informed by these human concerns. Its approach to the digital (animation, advanced geometries, fabrication and interactivity) springs from more messy cultural and intersocial concerns, embedding desire, memory, hunt, loss, curiosity, imagination, identity and recognition, within the works and making these emotional qualities the drivers of exhibition projects that become prototypes of interactions and interdisciplinations.

Digital Interdisciplinations exists in a digital crossroads, bridging between design realms that develop in and out of the digital – it recognizes that digital techniques, software and computation have become a joint language between disciplines. The project pursues speculative ideas, concepts, processes, techniques, and technologies that develop at the boundary of art, architecture and interactive media art.

The Creators (Constanza Casas, Mark C Mitchell, Pieter Steyaert)
The Creators explores the boundaries of viewer participation through both direct and indirect participation as an analogy to concepts of causality and responsibility.

By approaching the installation, the viewer indirectly influences the system by sound and movement. Through direct contact, the manipulation becomes a choice—a recognised responsibility. The viewer, inadvertently or purposefully, is always a creator.

By exploring these themes of participation, causality and consigned responsibility, the work is a portal, reflecting the chaos of life and our burden of choice through ripples invoked by viewer interaction. In this way, the work has a goal of silently activating the viewer, heightening their conscious experience of their role in this world.

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