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Global Space, Time and Speed: T_Visionarium II and Beijing Accelerator

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The Work of Art in a Digital Age: Art, Technology and Globalisation

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Abstract

Following on from the previous chapter that explored radical 1990s art works, this chapter considers two digital installations from the new millennium: iCinema's T_Visionarium II (editor note: italicise title) and Marnix de Nijs' Beijing Accelerator (editor note: italicise title). Both works use dynamic technologies to offer more particular understandings of globalisation’s spatial, temporal and kinetic affects. The roles that interactive, haptic and responsive technologies can play in triggering personal and affective responses are examined.

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Notes

  1. 1.

    Neil Brown, Dennis Del Favero, Jeffrey Shaw and Peter Weibel, ‘Placeworld’, iCinema, <http://www.icinema.unsw.edu.au/projects/prj_placeworld.html>, 2007, (accessed 17 December 2007). This link is no longer active.

  2. 2.

    Neil Brown et. al, ‘Placeworld’, <http://www.icinema.unsw.edu.au/projects/prj_placeworld.html>.

  3. 3.

    Neil Brown et. al, ‘Placeworld’, <http://www.icinema.unsw.edu.au/projects/prj_placeworld.html>.

  4. 4.

    Lev Manovich, The Language of New Media.

  5. 5.

    Pierre Bourdieu, ‘The Field of Cultural Production’, in Anthony Giddens (Ed.) The Polity Reader in Cultural Theory, Cambridge, Polity Press, 1994, p. 53.

  6. 6.

    Dennis Del Favero, ‘Digitally Expanded Forms of Cinematic Narration’, p. 3.

  7. 7.

    Gene Youngblood, ‘A Medium Matures: Video and Cinematic Enterprise’, p. 47.

  8. 8.

    Gene Youngblood, ‘A Medium Matures: Video and Cinematic Enterprise’, p. 47.

  9. 9.

    Gene Youngblood, ‘A Medium Matures: Video and Cinematic Enterprise’, p. 47.

  10. 10.

    Neil Brown et al., ‘Interactive Narrative as a Multi-Temporal Agency’, Future Cinema, Cambridge Mass., MIT Press, p. 312.

  11. 11.

    Jay David Bolter and Richard Grusin, ‘Immediacy, Hypermediacy and Remediation’, p. 23.

  12. 12.

    Jay David Bolter and Richard Grusin, ‘Immediacy, Hypermediacy and Remediation’, p. 23.

  13. 13.

    Dennis Del Favero, ‘Expanded Cinematic Forms of Narration, p. 1.

  14. 14.

    Joline Blais and Jon Ippolito, At the Edge of Art, p. 7.

  15. 15.

    Gene Youngblood, ‘A Medium Matures’, p. 48.

  16. 16.

    Pierre Bourdieu, ‘The Field of Cultural Production’, p. 53.

  17. 17.

    Anna Munster, ‘New Media as Old Media’, p. 22.

  18. 18.

    Dennis Del Favero, ‘Expanded Cinematic Forms of Narration’, p. 3.

  19. 19.

    Neil Brown et al., ‘Interactive Narrative as a Multi-Temporal Agency’, p. 4.

  20. 20.

    Neil Brown et al., ‘Interactive Narrative as a Multi-Temporal Agency’, p. 312.

  21. 21.

    Neil Brown et al., ‘Interactive Narrative as a Multi-Temporal Agency’, p. 1.

  22. 22.

    Manuel De Landa, A Thousand Years of Nonlinear History, p. 271.

  23. 23.

    Andreas Huyssen, ‘Back to the Future’, p. 149.

  24. 24.

    Andreas Huyssen, ‘Back to the Future’, p. 150.

  25. 25.

    Keir Smith, ‘Rewarding the Viuser: A Human-Televisual Data Interface Application’, iCinema, <http://72.14.253.104/search?q=cache:s3oXhII19jUJ:www.icinema.unsw.edu.au/pdf/rewarding_viuser.pdf+Keir+Smith+’Rewarding+the+Viuser:+A+Human-Televisual+Data+Interface+Application’&hl=en&ct=clnk&cd=1&gl=au>, 2003, (accessed 01 January 2005). This link is no longer active.

  26. 26.

    Keir Smith, ‘Rewarding the Viuser’, <http://72.14.253.104/search?q=cache:s3oXhII19jUJ:www.icinema.unsw.edu.au/pdf/rewarding_viuser.pdf+Keir+Smith+’Rewarding+the+Viuser:+A+Human-Televisual+Data+Interface+Application’&hl=en&ct=clnk&cd=1&gl=au>.

  27. 27.

    Mark B.N. Hansen, New Philosophy for New Media, p. 11.

  28. 28.

    Mark B.N. Hansen, New Philosophy for New Media, p. 14.

  29. 29.

    Marnix De Nijs, Marnix De Nijs Website, <http://www.marnixdenijs.nl/>, (accessed 30 September 2010).

  30. 30.

    Marnix De Nijs, Marnix De Nijs Website, <http://www.marnixdenijs.nl/>.

  31. 31.

    Marian Van Mourik, ‘Beijing Accelerator’, Rhizome, 27 June 2006, <http://rhizome.org/editorial/archive/2006/jun/?page=18>, 2006, (accessed 4 April 2013). This link is no longer active.

  32. 32.

    Marnix De Nijs, Marnix De Nijs Website, <http://www.marnixdenijs.nl/>.

  33. 33.

    No author, Strozzina Gallery Website, <www.strozzina.org/asap/e_index.php, (accessed 30 September 2010).

  34. 34.

    No author, Strozzina Gallery Website, <www.strozzina.org/asap/e_index.php>.

  35. 35.

    Marnix De Nijs, Marnix De Nijs Website, <http://www.marnixdenijs.nl/>.

  36. 36.

    Marnix De Nijs, Marnix De Nijs Website, <http://www.marnixdenijs.nl/>.

  37. 37.

    No author, Strozzina Gallery Website, <www.strozzina.org/asap/e_index.php>.

  38. 38.

    No author, Strozzina Gallery Website, <www.strozzina.org/asap/e_index.php>.

  39. 39.

    Rob Bartram, ‘Visuality, Dromology and Time Compression: Paul Virilio’s New Ocularcentrism, Time & Society, September 2004 vol. 13, no. 2–3, pp. 286.

  40. 40.

    Rob Bartram, ‘Visuality, Dromology and Time Compression’.

  41. 41.

    No author, Strozzina Gallery Website, <www.strozzina.org/asap/e_index.php>.

  42. 42.

    Marnix De Nijs, Marnix De Nijs Website, <http://www.marnixdenijs.nl/>.

  43. 43.

    Nova, ‘Sona8’, TagR.tv, <http://tagr.tv/tag/beijing-accelerator/>, 2008, (accessed 4 April 2013).

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Authors and Affiliations

  1. University of Notre Dame, Fremantle, WA, Australia

    Melissa Langdon Ph.D.

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  1. Melissa Langdon Ph.D.
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Correspondence to Melissa Langdon Ph.D. .

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Langdon, M. (2014). Global Space, Time and Speed: T_Visionarium II and Beijing Accelerator . In: The Work of Art in a Digital Age: Art, Technology and Globalisation. Springer, New York, NY. https://doi.org/10.1007/978-1-4939-1270-4_5

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  • DOI: https://doi.org/10.1007/978-1-4939-1270-4_5

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  • Publisher Name: Springer, New York, NY

  • Print ISBN: 978-1-4939-1269-8

  • Online ISBN: 978-1-4939-1270-4

  • eBook Packages: Computer ScienceComputer Science (R0)

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