introduction
artists
committee
jurors
panels
working artists

 

 
Petra Gemeinboeck
Roland Blach
Nicolaj Kirisits

artist statement | technical statement | process



process

The whirling appearance of Uzume is based on the idea of a space that grows and changes dynamically over time, and is "drawn" purely by movement.



After Aristotle, the dialectic of matter and space appears in the movement. Movement is the material aspect of time and there is no time without a subject. The material aspect of time thus also determines a formal aspect.



Heinz von Foerster says in "Wahrnehmen wahrnehmen", (Perceiving Perception) that it is the variation of what we perceive, generated by movements, which enables us to experience three-dimensionality.


Stanislaw Lem talks in 1964 of the "phantomatic machine", stating that the effect of phantomatic can be considered as an "art with feedback", that enables the former recipient to become an active participant, a hero.





Oliver Sacks describes chaos as referring to systems that are extremely sensitive to the smallest, partly infinitely small, modifications in their initial conditions, and the status of such systems quickly becomes unpredictable.


In "Medien-Zeit-Raum" (Media-Time-Space) Goetz Grossklaus states that time becomes the actual medium of each computer-generated simulation. As cybernetic space (Cyberspace), the space of action and movement, is nothing else than a time field.



Participants are challenged to "communicate" with their movements and to motivate thus their opposite to respond. It is fascinating to observe what a ëlively' character the unpredictable behavior [of the chaotic system] can assume.



Michael Heim's interpretation of the ancient Greek term "prosopon" (face facing another face) describes two faces that make up a mutual relationship, in that one face reacts to the other, and the other face reacts to the other's reaction. The relationship then creates a third state of being that lives on independently.


Metaphoric spaces of virtual environments are not technologically constructed, but rather shaped by the memories, emotions and the social context of their inhabitants.