Interference Wave: Data and Art

Nash, A 2012, 'Interference Wave: Data and Art', in Su Baker, Paul Thomas and Andrew Varano (ed.) Proceedings of the Second International Conference on Transdisciplinary Imaging at the Intersections between Art, Science and Culture, Sydney, Australia, 22-23 June 2012, pp. 214-220.

Document type: Conference Paper
Collection: Conference Papers

Title Interference Wave: Data and Art
Author(s) Nash, A
Year 2012
Conference name Interference as a Strategy for Art
Conference location Sydney, Australia
Conference dates 22-23 June 2012
Proceedings title Proceedings of the Second International Conference on Transdisciplinary Imaging at the Intersections between Art, Science and Culture
Editor(s) Su Baker, Paul Thomas and Andrew Varano
Publisher Transdisciplinary Imaging Conference 2012
Place of publication Sydney, Australia
Start page 214
End page 220
Total pages 7
Abstract In the era of data visualisation and simulation, there is often a tendency to consider digital data as external to human life, ontologically endowed with its own special qualities. In fact, digital data is purely a product of human endeavour, and yet it exists in a plastic, formless state until it is interpreted. Thus, the interpretation of digital data can be seen as a formalised process of interference. This paper attempts to tease out some of the practical and theoretical considerations artists face when working in realtime 3D audiovisual environments composed entirely of digital data. This is done through an examination of the author's collaborative, networked immersive audiovisual artwork Reproduction, an artificially evolving performative digital ecology that collaborates and improvises with humans via networks using various forms of motion, sound and vision capture. Attempts are made at identifying the qualities and practice of the symbiotic relationship that is established between humans and digital entities in an affective feedback loop between the digital and material spheres. Some recent theories in algorithmic information theory are compared with the empirical results of the artists and other users interacting and improvising with Reproduction, to test the status of digital data and its remediated relationship with the material world via audiovisual display systems.
Subjects Computer Gaming and Animation
Interactive Media
Electronic Media Art
Keyword(s) Remediated Image
Networked Image
Copyright notice © 2012 Authors
ISBN 9780980718683
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