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Audience as Producer

Through the use of electronic medium fragments of information are given to the audience. Due to the lack of a narrative due to the prolifiration of electronic art, and the questioning of time and spatial relations, the modes of production are shifted. The artist does not provide a distinct perspective or opinion to the audience, but allows the audience to have the final say on what the work is about. The audience becomes a producer of the art as well as participant, as they piece together the information to provide a finality to the piece.

Nothing is ever obtained without a loss of something else. What will be gained from electronic information and electronic communication will necessarily result in a loss somewhere else. If we are not aware of this loss, and do not account for it, our gain will be of no value

Virillio, Paul, Speed and Information: ‘Cyberspace Alarm!!’ In CTHEORY, Vol. 18, No 3

27.8.95

‘The Murder of Crows’, Janet Cardiff and George Bures Miller, Biennale of Sydney 2008

Sound Installation.

Moving sound.

ImprovEverywhere - performance group involving the audience, using film.

Earth Star2008David Haines & Joyce Hinterding.

Earth Star
2008
David Haines & Joyce Hinterding.

Japanese artist Toshio Iwai, created the Tenori-on, a digital interface instrument designed for a wide audience with no previous music knowledge

David Lawrey & Jaki Middleton
The sound before you make it (installation view), 2005, kinetic sculpture.
 Wood, plastic, paint, motor, strobe light, sensor, sound Sound sampled from Michael Jackson’s Thriller video (1983)
Remixing a scene from     Michael Jackson’s Thriller, this work employs the technology of the zoetrope;     animating three-dimensional figures via the sequencing of movement and a strobe     light to create the illusion that the disk is stationary and the zombies are     dancing.

David Lawrey & Jaki Middleton

The sound before you make it (installation view), 2005, kinetic sculpture.


Wood, plastic, paint, motor, strobe light, sensor, sound
Sound sampled from Michael Jackson’s Thriller video (1983)

Remixing a scene from Michael Jackson’s Thriller, this work employs the technology of the zoetrope; animating three-dimensional figures via the sequencing of movement and a strobe light to create the illusion that the disk is stationary and the zombies are dancing.

NeORIZON by Maurice Benayoun

Shanghai 2008.

Benayoun creates an ‘urban installation’ of ID worms which take the photo of each person who puts their head to the viewer. The ID worms then convert each person into a QR code (a “quick response” two dimensional barcode which allows the contents to be decoded at high speed.) These ID images can be found again on the internet, but are also displayed on a large screen in the city as an “ID city” - the ID images accumulate into stacks which resemble skyscrapers.

Olafur Eliasson: The Weather Project 2003

Olafur Eliasson: The Weather Project 2003

Audience as Producer

Through the use of electronic medium fragments of information are given to the audience. Due to the lack of a narrative due to the prolifiration of electronic art, and the questioning of time and spatial relations, the modes of production are shifted. The artist does not provide a distinct perspective or opinion to the audience, but allows the audience to have the final say on what the work is about. The audience becomes a producer of the art as well as participant, as they piece together the information to provide a finality to the piece.

Nothing is ever obtained without a loss of something else. What will be gained from electronic information and electronic communication will necessarily result in a loss somewhere else. If we are not aware of this loss, and do not account for it, our gain will be of no value

Virillio, Paul, Speed and Information: ‘Cyberspace Alarm!!’ In CTHEORY, Vol. 18, No 3

27.8.95

‘The Murder of Crows’, Janet Cardiff and George Bures Miller, Biennale of Sydney 2008

Sound Installation.

Moving sound.

ImprovEverywhere - performance group involving the audience, using film.

Earth Star2008David Haines & Joyce Hinterding.

Earth Star
2008
David Haines & Joyce Hinterding.

Japanese artist Toshio Iwai, created the Tenori-on, a digital interface instrument designed for a wide audience with no previous music knowledge

David Lawrey & Jaki Middleton
The sound before you make it (installation view), 2005, kinetic sculpture.
 Wood, plastic, paint, motor, strobe light, sensor, sound Sound sampled from Michael Jackson’s Thriller video (1983)
Remixing a scene from     Michael Jackson’s Thriller, this work employs the technology of the zoetrope;     animating three-dimensional figures via the sequencing of movement and a strobe     light to create the illusion that the disk is stationary and the zombies are     dancing.

David Lawrey & Jaki Middleton

The sound before you make it (installation view), 2005, kinetic sculpture.


Wood, plastic, paint, motor, strobe light, sensor, sound
Sound sampled from Michael Jackson’s Thriller video (1983)

Remixing a scene from Michael Jackson’s Thriller, this work employs the technology of the zoetrope; animating three-dimensional figures via the sequencing of movement and a strobe light to create the illusion that the disk is stationary and the zombies are dancing.

NeORIZON by Maurice Benayoun

Shanghai 2008.

Benayoun creates an ‘urban installation’ of ID worms which take the photo of each person who puts their head to the viewer. The ID worms then convert each person into a QR code (a “quick response” two dimensional barcode which allows the contents to be decoded at high speed.) These ID images can be found again on the internet, but are also displayed on a large screen in the city as an “ID city” - the ID images accumulate into stacks which resemble skyscrapers.

Olafur Eliasson: The Weather Project 2003

Olafur Eliasson: The Weather Project 2003

Audience as Producer
"Nothing is ever obtained without a loss of something else. What will be gained from electronic information and electronic communication will necessarily result in a loss somewhere else. If we are not aware of this loss, and do not account for it, our gain will be of no value"

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A collaborative blog by Catherine Dyhin, Luke McMaster, Rachel Famularo & Tegan Emerson for "Ways Of Being and Seeing in an Electronic Age"

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