Enjoyed the work and your thoughts on a net baroque.
It would be interesting to explore the idea of these spaces having what
can be described as ?agency? ie. electronic space can be populated with
?intelligent entities? that interact with the user. Clearly the moving image/sound
fields in piranesia have agency in that they pursue the viewer in order
to immerse them in loops of image and sound. ie. what ?happen(s) in human
imagination and memory, in the affective experience of resonance and recursion
inside the spaces of the Baroque? is also happening within the ?mind? of
the machine in its model of the player/user. It is not only the perception
of the space that changes in the mind of the player/user, but an electronic
space can literally change / mutate / reform / loop around etc.
Perhaps this agency is embodied in the religious associations of Baroque
experience in that they are mediating / simulating experience of other mysterious
/ spiritual forces. The notion of the ghost in the machine / cyborg could
be perceived as a new manifestation of this ?other? force.
The immediacy of the space and its actualisation of abstract logics / codes
through simulation makes the difference ? the space interacts with the user
in a literal / real way.
>> Hi Christina,
>> What is the plugin to install for
> ? I got a
>> hard drive and did a clean install of xp, so i don't have all the plugins
>> installed i used to, but would like to view your vrml.
>Blaxxun for pcs
>Cortona for mac
>There should be music fragments in interactive crashes, that are stimulated
>by the users exploration but at least on my server the sound isnt coming
>across. Does it work on yours? I sincerely apologize if the sound isnt
>working as it is crucial to the sense of space in the work.
>> concerning 'baroque', it seems like a term that has been used by some
>> primarily disparage plugin net.art. and it is misapplied to work that
>> plugins but doesn't really seem baroque, though there is some net.art
>> does seem (vaguely) baroque. but it seems mainly a term of disparagement,
>> doesn't it? Though I should add I don't think that's the way you're using
>Well, just for a quick thought here, the Baroque is a very rich period
>music, visual art and architecture, rich because its sense of space and
>meaning is hybrid and has an interest in interactivity, interpolation,
>recursion, reversal, reflexivity, juxtaposition and emergence. Think Bach,
>Michelangelo, Caravaggio, Piranesi, Bernini, Borromini. The term 'baroque'
>has an idiomatic connotation of a quality of excess or immersion,
>totalizing, over the top.
>I suspect that an argument could me made to link analogically between
>aspects of the nature of electronic space representation and affect and
>space generated by the Baroque. Troy Innocent identifies some aspects
>electronic space (excerpts), which I link (very anecdotally), in the spirit
>of play, to Baroque spatial obsessions in the following imaginary dialogue.
>(Apologies to Troy for misapplying his very finely tuned definitions and
>wholesale lifting out of context, my fault entirely):
>For the Troy Innocent complete text please see
>(TROY)"....Feedback loop. A combination of direct control and immediate
>feedback create a strong sense of engagement between the user and the
>electronic space... "
>(CHRISTINA) In the Baroque, the inside space of the work attempts to
>stimulate a constant shifting so that as you engage with the space it opens
>up volumes that invite imaginative projection beyond themselves... The
>feedback loop is in the function of the 'user's kinaesthetic memory inside
>the baroque space
>(TROY) - "the starting point is a void, these spaces do not need to follow
>the rules of the real world - fantastic new experiences may be created
>on their own rules of existence. "
>(CHRISTINA) Baroque aesthetics of space often involve emergence from
>darkness, doubt, the unknowable, the unseeable, and towards transformation,
>transfiguration, excess, illumination, and back, to shadow. An interest
>complexities of form arising dynamically and in unstable combinations,
>hanger specials, out of the darkness.
>(TROY)... "intense focus is placed on the user's immediate experience of
>virtual world. This connection is often strong enough that, psychologically,
>the user is inside that world...."
>(CHRISTINA) The affective space of the Baroque wants to draw you into
>itself, absorption is the watchword rather than independent status.
>Cartesian space is not privileged. What you see may not turn out to be
>you can know; complex transformations are just offstage and about to come
>(TROY)...."This sense of immediacy is partly to do with the way these spaces
>are perceived. Engaging with the real world is an experience that immerses
>the body in their surroundings. Direct and peripheral vision, sound
>resonating within the environment, being able to move over, around, through,
>in and out of spaces, and the ability to observe and manipulate solid
>objects all contribute to this feeling of being in the world...."
>(CHRISTINA) Obviously this could not happen in a pre electronic space in
>such a literal, hands on way. But, did it not, does it not, happen in
>human imagination and memory, in the affective experience of resonance
>recursion inside the spaces of the Baroque?
>(TROY) "...Transmutational space. Electronic spaces are artificial
>constructions - simulations where the entire virtual world is a code, every
>part of the space is a re-representation. They allow multiple forms of
>representation to easily coexist and be blended with one another, creating
>hybrid systems of signs."
>(CHRISTINA) Especially so in the Baroque, I imagine...created in a time
>breakdown and clash of ideologies, loss of normative or rule based cultural
>standards, nearly continuous warfare, and rapid commercial and technological
>advances, leading to a taste for fragmentation, the edge of chaos,
>dissolution at the edge of organization--generally, a hybridity, a fluidity
>of forms, to quote Eisenstein.
>> looking at the def below, for instance, i don't see it applying to my
>> work or much of the work discussed at
, which is interactive
>> audio work
>Probably true enough..
>> are you 'reclaiming' the term 'baroque'?
>That would be far too grandiose an aspiration!
>Significantly, Eisenstein recounts that he came up with the idea of montage
>from studying the Carcieri series of Piranesi, a series of imaginary prisons
>with irrational spatial configurations. My vrml piece, to which you refer,
>was inspired by Eisenstein's remark: