Day of digital art
It had been some time since I'd invested any amount on time in exploring the digital art scene since graduating from university in 2005, so when the opportunity arose on Sunday I was somewhat intrigued by what developments have occurred.
My first stop-off was Listening Post at the Science Museum. The installation was difficult find amid the rooms and halls of scientific paraphernalia and displays, so I would recommend speaking to someone at the information desk upon visit. When I finally found the the location, it was the sound that struck me first. Melodic overtones encapsulated small clicks and sporadic Hawking-esgue readings. And then I was faced with the 21 rows of 11 digital LED displays. Each display reading a short message, beginning with 'I'm'. Such as 'I'm in Brazil' or 'I'm 24'.
It is supposed to be an experiment in cyber voyeurism, to provoke questions about our current use of online-communication platforms in revealing ourselves. It genuinely did make me think about my privacy settings. However; the overall experience struggled to mesmerise in a way that it had potential to. Maybe if it had been presented in a better setting it might have succeeded. I.e. raising the backdrop to the ceiling or darkening the room.
The next installation was across the road at the V&A, where Universal Everything had been given the prime spot of the Madejski Garden to present their latest piece. Forever is a large videowall of endless animations responding to an ever changing soundtrack. 'The bespoke generative design system at the heart of Forever spawns unique audio-visual films every day, forever'.
The designs were impressive in intricacy, colour and speed, and the sounds associated with them were powerful. A toddler, whose vocabulary was probably restricted to a maximum of 5 syllables actually yelled "wahhhh", as she was led outside by her mother.
The third and final digital art installation on the agenda was Under Scan by Rafael Lozano-Hemmer in Trafalgar Square - the prominence of this location was enough to excite. Yet the installation was a severe let down. Video projections of people appeared on the ground, to wave smile and do whatever. And that was it.
All three of these pieces have been built with high production standards and skill. And were placed in prime locations across London, leading me to believe that digital art has come along way in support since 2005. However, they all lacked excitement and engagement that I would have thought would have been the priority of the artists.
Art nowadays has the potential to connect to people in ways traditional artists can only dream of. Fingers crossed London be will host to more digital art in 2009.
My first stop-off was Listening Post at the Science Museum. The installation was difficult find amid the rooms and halls of scientific paraphernalia and displays, so I would recommend speaking to someone at the information desk upon visit. When I finally found the the location, it was the sound that struck me first. Melodic overtones encapsulated small clicks and sporadic Hawking-esgue readings. And then I was faced with the 21 rows of 11 digital LED displays. Each display reading a short message, beginning with 'I'm'. Such as 'I'm in Brazil' or 'I'm 24'.
It is supposed to be an experiment in cyber voyeurism, to provoke questions about our current use of online-communication platforms in revealing ourselves. It genuinely did make me think about my privacy settings. However; the overall experience struggled to mesmerise in a way that it had potential to. Maybe if it had been presented in a better setting it might have succeeded. I.e. raising the backdrop to the ceiling or darkening the room.
The next installation was across the road at the V&A, where Universal Everything had been given the prime spot of the Madejski Garden to present their latest piece. Forever is a large videowall of endless animations responding to an ever changing soundtrack. 'The bespoke generative design system at the heart of Forever spawns unique audio-visual films every day, forever'.
The designs were impressive in intricacy, colour and speed, and the sounds associated with them were powerful. A toddler, whose vocabulary was probably restricted to a maximum of 5 syllables actually yelled "wahhhh", as she was led outside by her mother.
The third and final digital art installation on the agenda was Under Scan by Rafael Lozano-Hemmer in Trafalgar Square - the prominence of this location was enough to excite. Yet the installation was a severe let down. Video projections of people appeared on the ground, to wave smile and do whatever. And that was it.
All three of these pieces have been built with high production standards and skill. And were placed in prime locations across London, leading me to believe that digital art has come along way in support since 2005. However, they all lacked excitement and engagement that I would have thought would have been the priority of the artists.
Art nowadays has the potential to connect to people in ways traditional artists can only dream of. Fingers crossed London be will host to more digital art in 2009.
Labels: digitalart, london
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