Digital Interdisciplinations - Prototypes: Prosthetics, Parasites
Tin Sheds Gallery, 10 August–8 September, 2012
148 City Rd, Darlington NSW 2006, Sydney
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.
Anim.OS (Ollie Bown, Erin Gee)
ANIM.OS is a distributed and extendable multi-device work in which a network of computers form an audio-visual ensemble. The network is managed by an algorithm that establishes different modes of musical coordination by traversing through a range of classical sociobiological models of cooperative and competitive interaction. The system follows a gradual generative progression through different levels of coherence: a clear hierarchy, a babble, tight synchrony, loosely coupled pulses, static harmonies, a division into factions.
The work is a collaboration between Canadian singer and media artist Erin Gee, and British programmer and electronic musician Ollie Bown. The songs contained in the performance cite critical texts on architecture, particularly on the experience of containment, belonging and perspective, which can be considered in their relationship to the myriad and more complex configurations of social networks. The viewer is invited to contemplate the sociobiological mechanics of such networks' evolutionary emergence.
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