He has taught as adjunct assistant professor at Parsons MFA in Design & Technology and Parsons School of Art, Design, History, and Theory (ADHT) from 2010 to 2014. He has also taught in the Media, Culture, Communication dept of NYU Steinhardt School of Culture Education and Human Development (2009, 2010, 2011). He has also taught at NYU’s Interactive Telecommunications Program (ITP) (2007, 2008), and Trinity College’s MsC in Interactive Digital Media (2003, 2004). From 2001-2004 he was a Research Fellow in the Human Connectedness Group at Media Lab Europe and from 2006-2007 he was an R&D OpenLab Fellow at Eyebeam Center for Art and Technology in New York City. He received his Masters from ITP in 1999 and was an Interval Research Fellow from 1999-2001.
Jonah’s work and thesis focuses on the theme of “Deconstructing Networks” which includes over 80 projects that critically challenge and subvert accepted perceptions of network interaction and experience.
He is co-founder of the Dublin Art and Technology Association (DATA Group), recipient of the ARANEUM Prize sponsored by the Spanish Ministry of Art, Science and Technology and Fundacion ARCO, and was a 2006 and 2008 Rockefeller Foundation New Media Fellow Nominee. His writing has appeared in numerous international publications including WIRED Magazine, Make Magazine, Neural, Rhizome.org, Art Asia Pacific, Gizmodo and more, and his work has been presented at events and organizations such as DEAF (03,04), London Science Museum (2008), Future Sonic / Future Everything (2004, 2009), Art Futura (04), SIGGRAPH (00,05), UBICOMP (02,03,04), CHI (04,06) Transmediale (02,04,08), NIME (07), ISEA (02,04,06,09,12), Institute of Contemporary Art in London (04), Tate Modern (03), Whitney Museum of American Art’s ArtPort (03, 12), Ars Electronica (02,04,08), Chelsea Art Museum, ZKM Museum of Contemporary Art (04-5),Museum of Modern Art (MOMA – NYC)(2008),San Francisco Museum of Modern Art (SFMOMA) (2008), and Palais Du Tokyo, Paris (2009). His work has been reported about in The Times, The New York Times, Wired News, Make, Boing Boing, El Pais, Gizmodo, Engadget, The Register, Slashdot, NY Post, The Wire, Rhizome, Crunch Gear, Beyond the Beyond, Neural, Liberation, Village Voice, IEEE Spectrum, The Age, Taschen Books, and more.
He has given lectures about his work at locations and venues such as Intel Corporation, School of Visual Arts, Ars Electronica, Canadian Consulate, NYU, UCLA, USC, San Jose State University, ISEA 2002, 2004, 2006, 2012, University of Buenos Aires, Institute of Contemporary Art London, Transmediale, Universität der Künste Berlin, Tate Modern, Oslo National Academy of the Arts, Urbis Manchester, CCCB Barcelona, Open Hardware Summit, Contemporary Art Museum Belo Horizonte, Brazil, The Banff Centre, Brown University, Carnegie Mellon University, Rhode Island School of Design, Maker Faire, Royal College of Art, Royal Library, Copenhagen, Denmark, Eyebeam, Anderson Ranch Arts Center, Pratt Institute, and more.
Molly Dilworth, 547 West 27th Street (2009). From the series "Paintings for Satellites."
In the early 2000s, as location-aware devices first became commonplace, there was a lot of hype surrounding their potential creative use by artists. However, over time, this initial enthusiasm for "locative media"--projects that respond to data or communications technologies that refer to particular sites--leveled off, even dissipated. Regardless of this drought, geospatial technologies are widely used, and play an important and often unnoticed role in conditioning many aspects of our existence. Responding to this condition of ubiquity, artists have continued to use locative technologies critically, opening up closed systems, making their effects visible, and reconfiguring our relationship with such systems.
Photo: Andreas Nicolas Fischer.
A kind of cold weather antipode of summer's "Love Parade," the Transmediale 2014 media arts festival was a beacon of light in the long dusk of a Berlin winter. As a twist on the usual curated exhibition, this year's festival opted for an ad-hoc "Art Hack Day" (AHD) approach, where submitting artists were expected to create new and original artworks in the span of two days (and nights). Opening the exhibition with a more down-to-earth feel, AHD ultimately resembled a DIY, garage-style party instead of a highbrow exhibition space.
PXL, Rainer Kohlberger, 2012
As the iPhone just celebrated its fifth year on the market, artists have already made a substantial dent in the commercially lucrative world of Apple’s AppStore. Despite this success, artists are still pushing forward to build apps that further integrate with the device’s sensors and location-based capabilities. Rather than working solely within the context of software art as I have covered in two previous articles on the subject for Rhizome, there is a focus now on artists who are interacting with the physical world by using the device’s internal sensors, location capabilities, constant Internet connectivity, and built-in cameras.
Using the camera as a sensor, “Konfetti” by German based designer Stephan Maximillian Huber visualizes the image of its subject into countless dots. In effect, the camera image is translated into virtual confetti that follows any movement and creates an ever changing images based on which camera is selected. The dot’s movement is correlated to the detected flow captured by the camera and by repelling other dots, which also move as you touch and drag them. Huber explains over email how the app works as a reflection based art tool. “The app started as an iPad-only app, and on an iPad the app acts like a mirror, showing an abstract reflection of yourself. You'll get a clear image of yourself only when you concentrate on the process of the app, and don't move too fast. It's like contemplating about yourself and the image of yourself. And as your thoughts and emotions aren't static the image the app generates is dynamic and adapts to minimal movements and new ...
In the summer of 2009, I wrote an article here at Rhizome about the burgeoning activities of media artists creating new works or updating versions of their older interactive screen-based projects for Apple's iPhone and iTouch mobile devices. As the article made its way throughout the blogosphere, comments surfaced ranging from criticism of the "closed world of Apple's App Store and iPhone devices" to a championing of the availability of inexpensive multi-touch technology now available to artists who had been waiting for a platform that could adequately display and allow for the type of interaction their projects demanded. A year after the article came out, the draw of these devices and their potentially expansive audience has become even more irresistible to artists enough so that several more "apps" have surfaced. The following article catalogs several new iPhone works which have emerged over the past year, works that are pioneering the next generation of portable media art.
Jonah Brucker-Cohen is a researcher, artist, professor and writer. His writing has appeared in numerous international publications including WIRED Magazine, Make Magazine, Neural, Rhizome, Art Asia Pacific, Gizmodo and more, and his work has been shown at events such as DEAF (03,04), Art Futura (04), SIGGRAPH (00,05), UBICOMP (02,03,04), CHI (04,06) Transmediale (02,04,08), NIME (07), ISEA (02,04,06,09), Institute of Contemporary Art in London (04), Whitney Museum of American Art's ArtPort (03), Ars Electronica (02,04,08), Chelsea Art Museum, ZKM Museum of Contemporary Art (04-5),Museum of Modern Art (MOMA - NYC)(2008), and the San Francisco Museum of Modern Art (SFMOMA) (2008). He received his Ph.D. in the Disruptive Design Team of the Networking and Telecommunications Research Group (NTRG), Trinity College Dublin. He is an adjunct assistant professor of communications at NYU's Interactive Telecommunications Program (ITP) and in the Media, Culture, Communication dept of NYU Steinhardt School of Culture Education and Human Development.
2009 was an important year for the Internet as a whole. The advent of web 2.0 and "crowdsourcing" initiatives has enabled a much richer array of content from users who might never have ventured onto the Internet in previous years. My top 10 sites for this year cover a wide range of topics from art made for mobile devices with iPhoneArt.org to evidence of both information saturation with Information Aesthetics and physical and pseudo intellectual abundance with This is Why You're Fat and There I Fixed It, to strange observances of mistakes in the public realm with Fail Blog. In addition to these crowdsourced content sites, I also see some ongoing potential with artist-created sites such as Brett Domino's lowtech approach to music making ...
Oct. 27-31, 2002
By Jonah Brucker-Cohen (firstname.lastname@example.org)
Held in the harbor city of Nagoya, Japan, ISEA (Inter-Society of
Electronic Art) 2002 was a curious mixture of presentations,
performances, workshops, and exhibited works. Topics ranged from the
conference's theme of the Japanese word "Orai", translated as comings
and goings, to emotional context in digital art practice, to
synthetic renderings of natural environments, to musical and visual
outputs for technological artistic expression. The video game like
layouts of the warehouse spaces in Nagoyako Harbor (where most of the
venues were situated) were the perfect inspiration for the works
featured inside. Projections filled the weather-beaten concrete walls
while sound echoed in cacophonous rhythms through the immense spaces.
Stepping inside warehouses No.4 and No. 20 visitors were confronted
with multiple interactive installations that focused on play as a
theme for interactive narrative. Highlights included Kaoru Motomiya's
"California lemon sings a song", a rocket shaped array of Sunkist
lemons on the floor that served as the power supply for several small
greeting card size musical devices. The project proved that nature
still provides sustenance for digital devices. Sound installations
ranged from Shawn Decker's "Scratch Studies #3: Moths", which used
stepper motors to slowly turn metal arms that grated against steel
supports, and Beatriz Da Costa's "Cello", a robotically controlled
vintage acoustic cello that changes its movement and sound according
to feedback from visitors to the space.
Visual narratives such as Takeshi Inomata and Tsutomu Yamamoto's
"Talking Tree", uncovered experiential meaning in the simple
interface of a stump where visitors placed their hands to change
imagery and shake the virtual tree's projected shadow. Other
highlights included Miyuki Shirakawa's " Safe Toturing Series-9",
featuring haunting projections of visitors faces into kitchen
blenders filled with floating Styrofoam, Tiffany Holmes' playful
"Follow the Mouse" that replaced the computer mouse with a sleepy
Japanese mouse in a cage, and Tomohiro Sato's "Floating Memories"
providing a crank for visitors to power a bulb which provides the
light for a camera to capture images and project them on a table as a
The paper, poster and panels sessions ranged from personal projects
by artists to institutional presentations about academic programs
focusing on art and technology. This year's ISEA theme was "Orai",
meaning comings and goings and focusing on both social and individual
cultural artistic constructs of digital art practice. Many
presentations focused on this theme by positioning projects and ideas
within the context of ephemeral landscapes, emotional resonance, and
societal impact. On the linguistic and art history side, topics
ranging from Karen McCann's "Programming Literacy for Artists" to
Rachel Schreiber's "The (True) Death of the Avant-Garde" to Annet
Dekker's "The Influence of New Technologies on Language" asked
questions pertaining to art as a means for social reactivism through
theory and practice. What are artist's roles in social discourse? Is
perpetuating social conscience through art a necessary or arbitrary
On the practice side, Los Angeles based artist Angie Waller's "Data
Mining the Amazon: American political parties and their CD
recommendations", was a humorous take on Amazon.com's customer
recommendation system by using the information available to discover
the CDs associated with international political figures. In real
space, Teri Rueb's "The Choreography of Everyday Movement" used GPS
to track and combine people's daily movements in urban space to show
contrasting relationships between transportation networks and
habitual travels. Also Paul Sermon's telematic installation "There's
no simulation like home", featuring video displacements in the
bedroom, living room, and kitchen of a model home, and Kjell
Petersen's "Mirrechophone & Smiles in Motion", two video connected
chairs that come to life when inhabited, showed how connected spaces
can create emotional contexts for interaction.
In the poster sessions, I gave a presentation on "Physical Web
Interfaces" focusing on several of my projects including MouseMiles
and SpeakerPhone that deal with adding a human and physical side to
networked interfaces. The response was very positive and sparked an
interesting debate on the future of emotional attachment to computer
interfaces. Most people really liked the idea of manifesting
individual experiences as shared interactions through networked
devices on a distributed scale. My point was that by connecting our
similar yet distributed activities in physical space on a global
scale our methods of connection between ourselves and information
become as important as the information contained within the
transmission. My conclusion asked if digital information actually has
meaning and pointed out that networks are not only for data, after
which I got a few nervous looks.
Performances focused on sound and visuals as ambient narrative clips
into each performers psyche. Chris Csikszentmihiyi of the MIT Media
Lab managed to find an art truck (webs.to/ART-TRUCK), a shiny beast
of a truck that shimmered in polished steel with flashing lights to
perform his "DJ I, Robot Sound System". Other highlights included
Mark Amerika's "Filmtext 2.0", a foray into interactive cinematic
experiences with projected sounds and urban narrative visuals. Guy
Van Belle's "Society of Algorithm - translocal mutations" looked at
real-time drawing systems in performance and how to augment spatial
metaphors with responsive interactivity. Finally Montreal's Alain
Thibault and Yan Breuleux's mesmerizing "Faustechnology" was a visual
and auditory romp into the abstraction of Faustian theory and
synthetic forms of computer visualization.
Rounding out the event was the Electronic Theater which included a
large portion dedicated to early works of video art from Japan.
Highlights from the film exhibition included Patrick Lichty's "8 bits
or less" a short film made from Casio's Wrist Camera, Brad Todd's
"Screen", a telematic web-based project that allows visitors to
control an interactive ecosystem inside Todd's studio in Montreal,
and Takafumi Ohira's "In the Seaside", a clever look at the plight of
increased urbanism as buildings and scenery grow and eventually
topple each other as a giant concrete wave.
As art and technology conferences mature, greater expectations on
simplistic input and output seem to be prevalent. Gone are the days
when interactive or digital art can be justified with theory and art
jargon if the interactive experience fails to be compelling.
Especially when exhibited, audiences seem less inclined to spend time
with digital projects if their own personal frustration with
computers encroaches on the artistic intention. Maybe we don't want
to be reminded that we are interacting with computers at all. By
emphasizing natural and human-centered interfaces, many of the
projects presented at ISEA 2002 were getting closer to the ubiquitous
personal interactions we take for granted in everyday life.
Jonah Brucker-Cohen | Media Lab Europe
Research Fellow | Sugar House Lane
Human Connectedness | Bellevue, Dublin 8, Ireland
(h) +353 1 4760375 (w) +353 1 4742853 (m) +353 1 (0)87 7990004
Anyways -once again didnt mean to offend -
September 7 - 12, 2002
By Jonah Brucker-Cohen (email@example.com)
If you walked barefoot into the lounge at the O.K. center in Linz this week,
you might think you reached the beach of the future. Instead of sand,
millions of tiny plastic beads lined the floor of this blacklight neon room
with low cushions and a fleet of laptops displaying net art projects. This
year's Ars Electronica took the theme "Unplugged: Art as the Scene of Global
Conflicts" a metaphor for the state of post 9/11 artistic practice amid an
international climate of political tension surrounding globalization,
terrorism, and threats of war. As it was my first visit to Ars, I tried to
inhale as much stimuli as possible without suffering my own blue screen of
The festival consisted of 8 venues scattered throughout the smog-infested,
small town of Linz. The museum built specifically for electronic art, the
Ars Electronica Center (AEC), is a fairly antiseptic space, and this year
hosted the "Hidden Worlds" exhibit featuring Golan Levin's "Hidden Worlds of
Noise and Voice." An augmented reality simulation that pinpoints the
location of audible sounds and through display goggles renders 3D worm-like
colors emanating from the source of the sounds. The project gave everything
from high-pitch squeals to bass thumping burps a virtual counterpart. Also
at AEC was Motoshio Chikamori and Kyoko Kunoh's "Tools Life" an interactive
installation consisting of various tools (e.g., hammers, cheese graters)
that launch animations in the object's shadow when touched. The focus of the
work was to illuminate and display invisible data layers moving within
The more spacious O.K. Center hosted the honorable mentions and winners in
the CyberArts category, which focused on themes of simulation and
representation. Golden Nica winner, David Rokeby's "n-cha(n)t" asked what it
would sound like if a network of computers chanted in unison - computers
hanging from the ceiling use speech recognition technology to transform
visitor's vocal input into lyrics. Taking telepresence to sonic heights, was
Atau Tanaka and Kasper Toeplitz's "Global String," a long steel cable
stretching from floor to ceiling connected to another cable's resonant sound
frequencies over the Internet. Also inspired by physical movement through
spatial mapping, "Body Brush" developed by a group from Hong Kong, generated
a colorful 3D landscape through "Digital Action Painting" where
visitors could dance on
the floor while their movements and gestures are tracked in space. The crowd
pleaser was Volker Morawe and Tilmann Reiff's "PainStation", a rendition of
Pong in an armored cabinet where users have to place their hands on elements
that quickly heat up or be whipped by motorized strings if they miss the
ball with their paddle. In effect, the threat of physical harm provided a
compelling incentive to engage strangers in the game.
The festival's defining strength seemed to be embedded in the energy and
rawness of the performances. Japan's 66b/cell group upstaged most of the
events with its epic show at the Peter Behrens Haus featuring alien-like
costume design, embedded LED clothing, perfect projection synchronization
with dance moves, techno beats, and a dancer painted in gold with long
spikes emanating from the tips of his fingers. Similarly, "Vivisector" by
Klaus Obermaier and Chris Haring featured dancers moving within video
projections and shifting their bodies to distort and shape incoming light
movements. Rounding out the live events was the "Gameboyzz Orchestra
Project", a collection of six on-stage practitioners creating 8-bit console
sounds through customized sequencers connected to drum machines.
The symposium's focus on global conflict and media representation post 9/11
turned into a backlash against the political motivations of the exhibited
art. Was the art political? Did it have a social message? If so, does this
quality make it more or less valuable? Of the winners, Rafael-Lozanner
Hemmer's full scale "Body Movies" installation addresses the relational
structures between urban landscapes and the people inhabiting them. His
project raised the questions: "What is a city today? When does it begin an
when does it end?" The answer seems to be based more on psychology than
physical boundaries since everyone who answered seemed to have a different
opinion. In Net Vision, RSG's Carnivore project looked at the political
junction of art and government surveillance and how public networks can be
manifested through artistic output with real-world input. Also looking at
public space was It's Alive's mobile phone, location-based, pervasive game
"Bot-Fighters," which tracks the relative position of people through a city,
and engages them in a combat simulation as a robot avatar. Basing game play
on fears of surveillance and tracking, the project transforms public space
into a recreational arena similar to earlier, localized games like
Ars Electronica, the decisive festival for digital creativity, is an
for artists working in this realm. The festival's longevity (it was
established in 1987)
stands as its greatest strength and artists have evolved their careers via the
relationships and connections the event enables. Despite its ambition
to be a global
leader in the recognition of digitalarts, Ars seems still committed
by the 'little guy'. In the digital domain, the aesthetic pressures
of the professional
art world are present but less obtrusive. There's still no
Michelangelo of digital art
and that's a good thing. Festivals like Ars challenge and provoke us enough to
prove that the promise of artistic perfection is only upstaged by the
that failure is more interesting.
-Jonah Brucker-Cohen (firstname.lastname@example.org)
Jonah Brucker-Cohen|Sugar House Lane
Research Fellow | Bellevue
Media Lab Europe|Dublin 8, Ireland
(w) +353 1 4742853 (m) +353 1 087 7990004
THE DARKLIGHT DIGITAL FESTIVAL RETURNS in a new exciting venue
From Friday 20th to Sunday 22nd September 2002, Darklight Digital
Festival once again brings to Ireland the best in new digital cinema
Darklight screens short-films, documentaries, music videos, feature
films, and animations - innovative films that utilise digital
technology in their production. The Digital Hub sponsors Darklight 4.
Darklight 4 will take place in an exciting new city centre venue, the
former Lee's Cash n' Carry building on the corner of Thomas Street
and Crane Street, (neighbours to the Storehouse and Media Lab Europe,
and the Digital Hub)
There will be clear location markers on the day for those who are not
familiar with the site it is a ten minute walk from Dublin castle
For one weekend, this impressive space will be transformed into a
cinema and gallery: a perfect home for Darklight's eclectic and busy
series of events.
SELECTED HIGHLIGHTS OF DARKLIGHT 4 INCLUDE: a specially created
installation from DECAL, the WORLD PREMIERE of Glen Dimplex
Award-winning artist Paul Rowley's feature film AS LATHAIR, the
latest in cutting-edge digital art, short films and MOTION, a
selection of new music videos.
Darklight 4 will look at the theme of 'regeneration and new
generations', with it's CROSSING OVER programme, Rob Nilsson's SCHEME
6, a short programme of films produced and directed by NCAD and the
Educational Unit at the Department of Justice for Portlaoise
Prisoners, this programme will also look at work which deals with the
issues of immigration, and emigration out reach projects, there will
be an open forum discussion to tie in these ideas during the day.
DARKLIGHT 4: THE PROGRAMME
-OPENING EVENT: The festival will be launched by acclaimed Dublin
electronica duo DECAL, with FALKENS MAZE - a mixed media installation
created especially for Darklight 4.
-MEDIA LAB EUROPE (MLE): A selection of incredible new work from the
M.I.T. Media Lab programme, based in Dublin. Highlights include
Michael Lew's Office Voodoo (2002), an interactive sit-com where
viewers can manipulate the emotions of the protagonists using a
physical, graspable interface: voodoo dolls.
MLE will also feature installation work from Stefan Agamanolis and
Ben Piper, as well as IPO MADNESS, Jonah Brucker-Cohen's amazing
interactive, Internet connected domain-generating slot machine.
-NEW DIGITAL SHORTS: A diverse selection of the finest new short
films, from both home and abroad, utilising digital technology.
Highlights include THE RND# PROJECT (Random Number) by Richard
Fenwick, an ongoing series of short films that investigate and
question our hugely weird and wired reliance on, and for, technology.
-SCHEME 6: a new digital feature from Rob Nilsson, San Francisco
based film director and winner of both the Camera d'Or at Cannes (for
NORTHERN LIGHTS) and the Grand Jury Prize at the Sundance Film
Festival (for HEAT AND SUNLIGHT). Nilsson is a pioneer of today's
digital revolution, and SCHEME 6 is the latest in his 9@Night film
series: a unique cycle of
street level dramatic feature films about the lives of 50 inner city
characters, utilising a cast that mixes homeless, inner city
residents with professional actors.
-CROSSING OVER, an insightful pick and mix of experimental digital
artists' work, commissioned between 1996-2001 for the annual Crossing
Over Micro- Festival of Digital Film Culture. This programme includes
work from Estonia, N. Ireland, Bulgaria, Yugoslavia, Ireland,
Hungary, England, Scotland, USA, and Croatia.
-MOTION: a selection of contemporary graphic/music-led exploratory
films and music promos, offering international work from Warp (
creative review /www.warprecords.com/animate.) and Ninja Tunes
alongside new, emerging Irish collectives such as Del9 and Daddy.
MOTION will also showcase new work from acclaimed designer and online
artist Motomichi Nakamura.
-AS LATHAIR- ABSENT- World Premiere:
Shot in the deserts and cactus forests of Mexico, and four years in
the making,As Lathair is the first feature length work by Glen
Dimplex Award winning artist Paul Rowley. Based loosely on the
Western, the film takes the genre and breaks it apart, presenting a
series of broken fragments, stories aligned closely to the seemingly
random order of dreams. The haunting soundtrack and hypnotic movement
of the images pulls us through a world unlike any other in
cinema,where nothing can be explained, but everything makes sense.
For full programme details please go to www.darklight-filmfestival.com
For press please e-mail email@example.com
or call Rachel O'Connor at 086 839 47 97
By Jonah Brucker-Cohen (firstname.lastname@example.org)
As technology speeds into the 21st century, it's inevitable new
spaces to experience art
will materialize. From the virtual Guggenheim to the Whitney's Artport,
major institutions are taking notice and creating hybrid physical /
online worlds where artists can exhibit their work. These new platforms
for both artist and audience allow for mainstream access to commissioned
work and a global avenue for audience interaction in the art making
process through online participation. But what lies beyond the
terrestrial and digital horizon for art? What new territories are left
Joining the venue-pioneering mission, London's Tate Gallery is taking
one "giant leap" into a new frontier for the art world: Space.
Tate in Space (www.tate.org.uk) has commissioned artist Susan Collins
to create a fictional venture by the museum meant to provoke dialog
about the possibilities of intergalactic art.
"Tate in Space is really more involved with examining the (primarily wester=
cultural ambitions of an institution and cultural production rather
than space art per se," explains Collins who worked with the Mullard
Space Science Laboratory, University College London on the
feasibility of launching a Tate Satellite "[Tate in Space] seeks to
provide a thorough
examination, history and discussion into issues surrounding space art
and is intended to raise questions, provoke thought and encourage
discourse in relation to ourselves and our own ambitions." The online
gallery includes pictures of earth from the orbiting satellite, programs
for audience participation, and a submission form to send designs of
your own model for the orbiting gallery.
Although anti-gravity museum gift-shops might be a world away, artists
are beginning to embrace the potential of this new landscape. Arthur
Wood's "Cosmic Dancer" (1993) (www.cosmicdancer.com), an aluminum
snake-like sculpture that inhabited the MIR space station was built
specifically for a weightless environment as an art piece that would
enliven the drab conditions inside the vessel. His focus in creating the
work was to exploit the physiological, philosophical and new sensory
experiences of space travel. Similarly, artist Richard Clar's
(www.arttechnologies.com) project "Earth Star" (1997) features a ceramic
artwork created in space and comprised of rock samples that react to
heat generated by the spacecraft's re-entry. Other past space projects
including Frank Pietronigro's "Research Project Number 33" focus on
performance in weightless environments such as dancing, "action
painting", and video documentation.
Recently, Dublin-based artist Anna Hill's (www.annahill.net) project,
"Space Synapse" highlights the interactive possibilities between
space-based art and earth-based installation. The work is an autonomous
communications device developed in cooperation with the European Space
Agency that will blast into orbit and be deployed inside the
International Space Station (ISS). Despite Tate in Space's emphasis on
space functioning as a separate entity for art experience, Hill, a
graduate of RCA's Interaction Design program, asks how connections
between the two realms can augment new forms of creative expression.
In her case, Space Synapse will interact with art projects in gallery
and site-specific locations across the planet. For instance, her
earth-based work "An Eye Open to the Night" reacts to Space Synapse's
orbit and consists of a beehive-like structure visitors can
enter. "Copper windpipes directed at the sea will utilize solar energy
to power an interactive device triggered by frequencies from the ISS and
Space Synapse during hours of daylight," Hill explains. "An antenna will
pick up broadcast frequencies (when the ISS orbit appears on the
horizon) that will open the pipes allowing wind music to play within the
As we explore new areas of artistic expression beyond earthly realms,
possibilities seem limitless. Projects like Tate in Space, Space
Synapse, and Earth Star are merely starting points for interpreting not
only the physical and psychological impacts of space travel, but also
the interactive relationship between planet and space. "Twentieth
century culture with all its specialist knowledge and material concerns
is, I think, in crisis, " Hill admits. "Yet we rely on the natural world
and need a sense of the spiritual implicit within it." If that's the
case, the answers might actually be in the stars.
-Jonah Brucker-Cohen (email@example.com)
Related Space Art Links:
Tate in Space
Anna Hill - Space Synapse -
Ars Astronautica - Space Art Web Project -
Arthur Woods - Cosmic Dancer on Mir
Arts Catalyst - the science-art agency
International Association of Astronomical
Leonardo On-Line Space Art Special Project
Leonardo Space Art Working Group
Richard Clar - Art Techologies