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Holography and New Media

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Automatisierte Medienanalyse

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1 thank you all for being here and I have the chance that this 1 time and this time it was I don't think about would have been different elements of 12 years ago and I'm not an and so what we do not know know what is the legal scholars and feature the a lot of time with a kind of vocabulary and the information on other side of the people who are doing conceptual pieces of that in of social and you working on the side of the world the generation of models where the fundamental things lacking 1 the traditional approach to dialog with that was sort of set the stage are helpful be alone the discussion of what hold kernel on on 2nd place for that year while the people working with you on digital art that quite technical digital art so I know what is happening in the future you change in education you change the Internet conceptual found these changes here in in the mid-nineties and thinking that this is the case with then the people we talked about all the people of cultural theory labeled the English and talk about all the rest of the you begin to learn about what it was in the ones that are going to get them what's analysis shows so in the in In the quality the almost constant this is you're exposed to to the conversation with the new model so that people can create URIs on it comes out so that now what we want to use the knowledge what constitutes the meaning you have this idea in the lecture on the topic of the there you they were doing with the notion the main idea underlying was not as close to that of what they see around with the 1st city is being with that you you choose whatever and that are often not only is the birth weight experience the world is often it is considered more real than nationals of that word was Myers and then and there will be a useful a the hands of and the and some of that this is the view of movement longitude generations so what is the purpose the what that will be on the talking about with something like this for the rest of this is where there is a sense of the simulation so perfect that in our understanding of relation the real object disappears or somehow destroyed or confidence the world will not work a a whole lot of things that grow in this the series of a lot we now did the world that and the idea was used a world of the polls of physical experience world moved on to embrace the concept that yes what we see around us in relation with the world that is this is mainly due to the understanding of the digital states and there are things like that and you referring to things in this world and that the reality of what constitutes a raw so it's a really interesting and critical and theoretical time for a whole lot of to so the influence of the now we so so so they were to say about of problems of the continues to happen will continue to OK but what questions museums displayed close to home in on what what questions like because do you have a different then no will 50 years ago I'm sure you actually really for rules that differ this is from the museum's website of Newton eyeliner which is making hollow ground of and actually the perfect call around of the digital so the 2nd generation posthumanism in that on the that extra care of which was you will support Japanese very very influential broke the things which years ago and they're very charismatic leaders are here for of the origin of but as bad as doing what you love for to do that they needed the most charismatic number so they commissioned a whole of to to me on stage with
now we 1st appeared in the world in black-and-white eventually you will come
along and this is also perfect example new posthumously because he and his work on the problems of the projection system but of approximately the right size and shape and emotionally played part of what track on and the generation was that the they were going to get worse in the management and control for now the girls in the body from all 15 so this is really constant never experienced the right of just because you know regional so it's really so fascinating thing but what we have now all those from all over the all the meanings of life and the authority of the programs and formulas that really really good years in air but but I think now looking at from a sort of cultural 3 perspective this is this is opening up a whole line of conversation for artists and other waters because it's the many hotmail anomalies programs would be more in a dialog with something like that then they will be a little more of and this this museum a lot of our works as well as
because of a change in my
powerpoints sort of this is what we see in large shows and and I don't I'm not referring to Jonathan so here this is because it is in fact on in very very large scale or what we just have the juxtaposition of the art and commercial and the scientific was was and there wasn't necessarily much explanations to what the intent was 1 of and clearly when we look at the bottom is that many of those shows the context of those are those are all around the usually not any of what the dialog was other conversations in the model and so I think even today most are does have more to do with the larger oral than you the internal discussion among of so that so the critical empirical world has really changed now also I think so the students have changed students in the audience the much more aware that characters are much more aware of their characters now want want to be and I know that I don't generalize but I think that I'm finding them much more savvy and wanted to be test using the the the the right about the and they need either in some sort conceptual or theoretical or critical book that I don't know if they ask for the past years but it would have you probably will not I students who were in the middle of the 1st of there's such a conceptual grounded in most art programs today of anything its standing fuel view about how that is much more than we use our students were going out to solve problems they have a concept that was expressed they will look to any media that will solve that problem or not but I think that 1st unintelligible of the work a little authentic traditional media and love of and what is the what they could do with the way cell approaching the medium with the outside of to house and I think that focus will change you will kind of work with the produce a lot of it so I started from the MIT Museum last few weeks or months because it's a really interesting show and 1 of the things I want to think about what in what ways is there some sort of intrinsic language to that or is there is there anything you do a lot of is the 1 of the only just man in the fall of media on an MIT show is really really interesting because MIT has an unusual he is unusually constructed in this because it's that the Museum of Holography collection many other hardware but it also has a lot to show the technology the MIT Museum but it also has to make a connection to MIT through this through this exhibition of a lot of things so we see the MIT collections is actually not quite a small room about 6 walls Apollo this out with very small and that was all the thing is moved out of the news and what what the world and his writing the things in the quality the whole most of the activities of variance of the the original but then you confronted with so you're not given any sort of framework for capturing and and so the comes with in that setting the world conceptually on their experience which is very interesting is the need to focus on what you're actually doing work themselves and even in the context you enter the holography rooms that has been there recently the MIT these much larger room with a view of elections and changing exhibitions that now it's much smaller and then you enter usually a lot on the World Wide Web for the Harold Edgerton me plus the edge sum of the sculptor residents does this really cool mechanical fracture things now all these shows a very heavily describe universe of the importance of the robot and the importance of annotations work on these things what little most information that you don't have a lot of and not just the whole and it's very very . 2 of just homegrown and so this is a very different experience compared whole roasted so what is the and someone has led show but not because they're very probably doesn't I don't actually doesn't find when you enter the exhibition of you have for lately transmission of pain and 1 of the we're all familiar with the fact that the EC that I'm going to revert that spans there there there beautiful they're in space you have little children running around that and this language is difficult and nerve-racking but that in the next since together in the visual and they all have some sort of common origin is spatial orientation the abstract but so so in terms of illustrating the comprehensiveness of the week this is what is all this this display the new media with this kind of the way in which but the show becomes increasingly incoherent anything really interesting way
actually of most people that I thought would be if you were to look at it would start out of all just show you you then they often turned out to be the material and turned and start walking the walk across from the where the transmission of and this is any big tentatively started with that material will walk from right to left so this surgery on articles that follow the handling of the National Geographic and that the rest of the people who will read out of the chair chair of a group of friends now really really it is because it's it's hard to know what the coherence of the white light transmission display we have a sense of what what is our interest is to figure out which we
discussed and surveillance of the
discovery made is described for 4 walls 1st note
of tritium so hard and is this
gets up and served as well not
really set this seems to be the you know the 1st thing to go into a lot of room for them and actually a person quite small and it's actually really really colors in various shades of age 1 the very difficult to do on both what it seems to be the accumulation of objects mostly virtual letter sticks out of of objects taken from either but he paid fish and things like that political household objects and no reason to be moral life in the whole of the virtual image that were just decide to show you the control color and texture so it wouldn't let looks wooden the sandcastle Middlebrook's is some sand colored in green you really catch the texture and that the weights of plaster mask in the background 1 of the reasons why them yeah the there is there is it's still there and what this subject matters so amazingly enough that it can be a little plants and people tend the possible quite quickly and Conference on the other hand of
Goldstone house there's still room is very very differently and however when the like but also I think it's it's there to show text I think I think also begins in the form a little but it's really hard to tell because we would be that would like and this is what the place like stone columns so strange and it's very very dense so period was looking at and try to make something out line you know his his actual program of stones that quite legible communicate clearly and Anna interestingly ambiguous and you give lot to think about the international
geographical In the already have already this is because it uses very trying to figure out what you're being all too much of a talk and so this is the original and the Legislative like from and to and the other and the legal so there's that and then you integrate chairs telescope which
is also interesting also you nest there in the middle of the the drawing on the response from the middle school textbooks of if you think about it and the in the little station things like that so it's it's class but that you know and when you look at the 4 holograms together across from the white light transmission holograms the walls don't seem to and they didn't synchronous likely transmission organs clearly have some sort of dialog and there's different tents formally these do not resort to disarm combination now the most disorienting is this next
which is is almost certain to alter the way viruses that this the right left the you ceiling is the best areas and I'm trying to call and for the you know this person around these parts of the world is no need to talk about the nature of the precise time many that but the right from the start what about the us in the world for this to be and some exotic but it's usually boring knowledge the use of thermal media and of and that's about it and so when you have to very aware of the the audience reading from his book chapter to what this with instead he he really very well you can apply all sorts of kind a systematic theory also visual no cultural theory to his work and it works this is the moral remember it's not it's a very sort of now image the so you begin to just get increasingly disoriented but what becomes of a Mormon carries you often show is that these these images are not really communicating on any level and what they have in common they have some allusions and they have some they do forced you to move and interact in a certain way but it doesn't really need to conceptual world many and in the whole and then there's a user
trend to the way like transmissions with the of this 1st law I
the other do really position of solid that out order here which
means that you try changes so many of
the of so what did you think it is raining so not made of wood for all the interesting part all
which on like this basically have a
sandwich that will look closely together that of the long but without the reported URI density of market than and tiger of forces Keith Haring and supportive Harold Edgerton you are a lot of left to right and these that's what movement titles totally virtually the interaction of these services and how interesting here is actually quite easy to do in real space is sticking his head when he went through the last place of so you have in the in the museum is intended to give you understanding of what you can do with portable on the and you give the viewer very different images responsibility of work into the education and it's a very small story about various things that work in that bottles legible process so and there's not much carolacton to across and it's very worried about some that of the following 5 is you can process that it almost seems likely to have the but there's no reason for accepted as an educational collection connection to MIT of course so that brings you back and action the name now for their
understanding of an idea of what
you're thinking about whether confronted with some of the other some center this you get a lot of you have another here again which is weird which is the this goes on the left which is kind of cool because you walk past and so the goal disappears and you see inside and you got sequential was very very dimly lit hologram of late viruses center and then another sensible image from Life magazine which is deep space image which really doesn't do much except again with geometric forms in space and things like the word what effect of his is not communicating much many of these are and a lot of messages from now on what the thing that's different about this shows that are circulating knowledge on things that you look at the show that there there is some organization you may have more and more people on what we knew that there were raised awareness of the communication among the word the
men don't talk a lot about money I
think were on the way to solving the Peerage issues especially with the change of criticism when the windows show that for them and to and the reason that of the and no political framework abilities into this wonderful Windows and on and on and on and on what going on and the 2nd thing we want it to be a lot of different kinds of things would you call well it's really was the height of the whole residue social context we'd really like this this was not really small and the parable and it's not something that you were going to say the area of the city of this in the whole of the and here is just the most obvious here that the conceptual the survival of the of the of the commercial market but I'm interested in the quality of the culture and the maximum intensity of we have with the but a lot of the businesses that frame and so it is a new 1 so on I don't know what you think you've got lost in that and here is the linear of kinetic right in and in the a world and to and the which the and that I have to do what was the other 1 the full circle kind of experience so just in conclusion it's not there is nothing inherently in holography that that insists that it should be submitted coverage the exhibited together unless that would be exactly the same the there's a general formal language but it's not like it's interesting things about you personally the other hand in in an exhibition entitled to the everything in because there's no no this business for the validation of which is to explore the and so on so some of the so I'm just read the questions about the handling and inclusion jet and so landholding event during this year we on trying to get at least that maybe it's time looking the on the opinions of things the question be and thank without
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Metadaten

Formale Metadaten

Titel Holography and New Media
Serientitel Holography In The Modern Museum (HIMM 2008)
Teil 04
Anzahl der Teile 10
Autor Maline, Sarah
Lizenz CC-Namensnennung 3.0 Unported:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen.
DOI 10.5446/20944
Herausgeber River Valley TV
Erscheinungsjahr 2012
Sprache Englisch

Inhaltliche Metadaten

Fachgebiet Informatik
Abstract Since its inception as a display medium, holography has navigated a confusing channel through traditional and contemporary visual languages in art. Holography is unusual and frequently confounding in its ability to access a number of medium-based aesthetic dialogues–those of cinema, video, photography, installation, sculpture and painting. The medium’s surprising and delightful formal properties and complex relationship to other mediums have often overshadowed the significant conceptual content of holographic works. This paper looks at the ways in which ways the multiple, often simultaneous visual languages of holography continue to pose challenges in exhibition and criticism for both holographers and curators. What strategies can holographers and curators employ to encourage the exhibition of holography and foster a contemporary critical response? Further, now that new-media aesthetics and criticism are ascendant, and have begun address many of the critical questions that have confronted holography over the past 40 years, in what ways can holography today engage and find a place in new-media discourse?

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