http://95.216.75.113:8080/xmlui/handle/123456789/141 Mon, 06 Apr 2026 11:06:35 GMT 2026-04-06T11:06:35Z http://95.216.75.113:8080/xmlui/handle/123456789/178 Beyond the Point One Zero World: The Dialectics of Opsis and Optics in the Data Practice of Thorbjørn Lausten Søndergaard, Morten http://95.216.75.113:8080/xmlui/handle/123456789/178 http://95.216.75.113:8080/xmlui/handle/123456789/177 The City as a Projection Space Kekou, Eva Contemporary viewers’ reception of moving image based performances is undoubtedly affected by traditional cinematic experience [which refers to a dark, sound insulated room with fixed seats and a rectangular screen]. Since the beginning of the 20th century artists have explored the artistic possibilities of the cinematic medium and attempted to re-invent its projection space. At night, the urban fabric may be used as a locus for image-based performances and thus transform into an ephemeral cinema space. The performances only survive in the viewers’ memory, as the spaces will quickly regain their previous use. This new type of “projection space” may be public (squares, parks, disused industrial buildings), private (houses, art spaces, dance clubs), or semi - private (terraces, communal gardens). Through public art, urban voids become a center of social and cultural interaction. Viewers are not fixed in their seats, as in a typical cinematic space. They are dispersed and interact visually, being fully aware of each other’s presence. The artwork itself may be interactive, in an attempt to increase the viewer’s engagement. The accessibility of a public space is a paramount concern, as it broadens the number of people who can participate. This paper will explore, through a series of case studies, the effect of image-based events in changing people’s familiar relations with urban space, focusing on the role of new media technology in facilitating common experiences and encouraging people to express themselves in a public context. http://95.216.75.113:8080/xmlui/handle/123456789/177 http://95.216.75.113:8080/xmlui/handle/123456789/176 Art-Science connections for the visualisation of minerals: historical precedents for media arts Worden, Suzette The Making of Rocks: ‘By what furnaces of fire the adamant was melted, and by what wheels of earthquake it was torn, and by what teeth of glacier and weight of sea-waves it was engraven and finished into its perfect form, we may perhaps hereafter endeavour to conjecture.’ [John Ruskin, Modern Painters, vol iv. part v. ch. vii, § 2.] Visualisation is a complex process for artists and scientists. In both science and art visualisation can refer to objects that have material existence, or the visualisation can be a representation of conceptual or abstract phenomena. One area where there is a rich history of both representation and conceptualisation relevant to a critical understanding of current media arts is in the visualisation of rocks and minerals. This paper will discuss historical examples from the arts and design of the 19th and 20th centuries as the background for considering actual and potential synergies in present day arts-science collaborations that explore visualisation within the earth sciences and specifically mineralogy and crystallography. This will include reference to current theoretical approaches to visualisation where knowledge building,the expressive potential of visualisation of data, and consideration of visual representations and models as tools and mediators are integral to the complexity of our visual culture. http://95.216.75.113:8080/xmlui/handle/123456789/176 http://95.216.75.113:8080/xmlui/handle/123456789/175 The Relocation of Theatre: Making UNMAKEABLELOVE Shaw, Jeffrey; Kenderdine, Sarah This paper addresses the histories of liveness and performance and of the life of machines by articulating theoretical positions on Samuel Beckett’s prose work The Lost Ones in relation to a recent new media work UNMAKEABLELOVE (Kenderdine and Shaw, 2008). Beckett’s prose has been interpreted by a number of leading scholars including Lyotard (‘systematic madness’), Schwab (‘soulmaking’) and Porush (Beckett’s ‘cybernetic machine’) who envision the texts’ narrative agency as ‘a disembodied artificial intelligence’ exploring the boundaries between the human and post-human. This paper examines these topics through references to the histories of Automaton Theater, figurative actors, computational agents, the pioneering interactive installation POINTS OF VIEW (Shaw, 1983) and the seminal Mabou Mines theatrical production of The Lost Ones (1975). UNMAKEABLELOVE advances the practices of algorithmic agency, artificial life, virtual communities, human computer interaction, augmented virtuality, mixed reality, multimedia performance to engage ‘the body’s primordial inscriptions’ (Schwab, 2000, p. 16). It focuses and makes interactively tangible a state of confrontation and interpolation between our selves and a virtual society that is operating in a severe state of physical and psychological entropy. Its mixed reality strategies of embodied simulation intricately engage the presence and agency of the viewer, and impel them to experience the anomalies of a perceptual disequilibrium that directly implicates them in an alienated and claustrophobic situation. http://95.216.75.113:8080/xmlui/handle/123456789/175